About
My work brings my delicate, abstract experiences into a more concrete reality.
My subjects are drawn from the natural world – quite often a discovered object, or something from my own memory. The selections can be paradoxical: something chosen carefully but also randomly; I trust my process to reveal all. Here, while investigating a subject both materially and aesthetically, I try to find the unspoken.
If I look carefully, the subject begins to open-up and unfold, – offering instances of clarity and intense sensual awareness. This is something I want the work to convey.
I enjoy mould-making. Each project has inherent challenges and limitations, lends itself to different materials and techniques, but the process of mould-making is deeply meaningful for other reasons.
When I make a mould, I literally empty an object out. What’s left is its “form” – not unlike a perceived shadow or reflection. Something a step removed. The original object has been observed, served its purpose and been stripped away. From this moment on, where the physical material ends, something metaphysical begins. There is a moment of slippage between two points and I begin to re-form the image as I wish.
The result is an open-ended reading. It’s a process of transformation – of materials, but also interpretation. The piece becomes imbued with personal significance, but the viewer will also bring their own. Each motif becomes a part of my personal lexicon and, though the finished works seem momentarily recognisable, or like objects that can be named, this quickly unravels.
What is left has more to do with what is unseen – speaking to subtle, fleeting and abstract experience, which is perhaps every bit as real.
Bio
Born in 1965 in London, Veronica Wilton grew up in the USA. She then returned to the UK, studying at Chelsea School of Art, and Byam Shaw School of Art. Graduating in 1989, she took part in the British ‘New Contemporaries’, with Damien Hirst, Maud Sulter and other artists of her generation. Through the 90s, she went on to curate exhibitions in unconventional settings and public spaces in London, including ‘Siteworks’. After a personal loss, she spent time learning to fly light aircraft, an experience she says was important and, flight, lightness, poise and balance, vulnerability versus strength are all visible themes in her work.
Veronica’s pieces are in private collections in the UK and USA. Her projects have been backed by Arts Council England, London Arts Board, Paul Hamlyn Foundation, Oppenheim-John Downes Trust, Royal Society for the Arts, and others. She published ‘Siteworks’ by Isobel Bowditch, in 1997, (ISBN 0 9531643 0 6), and self-published ‘Proposals 1 – 9’, an artist’s bookwork in 2001.
Recent solo shows include, ‘The Time is Now’ with Meakin + Parsons, Oxford, and ‘Helios Rising’ at Close Ltd, Somerset, by whom she is represented.
Veronica currently lives and works in Somerset.
About
My work brings my delicate, abstract experiences into a more concrete reality.
My subjects are drawn from the natural world – quite often a discovered object, or something from my own memory. The selections can be paradoxical: something chosen carefully but also randomly; I trust my process to reveal all. Here, while investigating a subject both materially and aesthetically, I try to find the unspoken.
If I look carefully, the subject begins to open-up and unfold, – offering instances of clarity and intense sensual awareness. This is something I want the work to convey.
I enjoy mould-making. Each project has inherent challenges and limitations, lends itself to different materials and techniques, but the process of mould-making is deeply meaningful for other reasons.
When I make a mould, I literally empty an object out. What’s left is its “form” – not unlike a perceived shadow or reflection. Something a step removed. The original object has been observed, has served purpose and is stripped away. From this moment on, where the physical material ends, something metaphysical begins. There is a moment of slippage between two points and I begin to re-form the image as I wish.
The result is an open-ended reading. It’s a process of transformation – of materials, but also interpretation. The piece becomes imbued with personal significance, but the viewer will also bring their own experiences. Each motif becomes a part of my personal lexicon and, though the finished works seem momentarily recognisable, or like objects that can be named, this quickly unravels.
What is left has more to do with what is unseen – speaking to subtle, fleeting and abstract experience, which is perhaps, every bit as real.
Bio
Born in 1965 in London, Veronica Wilton grew up in the USA. She then returned to the UK, studying at Chelsea School of Art, and Byam Shaw School of Art. Graduating in 1989, she took part in the British ‘New Contemporaries’, with Damien Hirst, Maud Sulter and other artists of her generation. Through the 90s, she went on to curate exhibitions in unconventional settings and public spaces in London, including ‘Siteworks’. After a personal loss, she spent time learning to fly light aircraft, an experience she says was important and, flight, lightness, poise and balance, vulnerability versus strength are all visible themes in her work.
Veronica’s pieces are in private collections in the UK and USA. Her projects have been backed by Arts Council England, London Arts Board, Paul Hamlyn Foundation, Oppenheim-John Downes Trust, Royal Society for the Arts, and others. She published ‘Siteworks’ by Isobel Bowditch, in 1997, (ISBN 0 9531643 0 6), and self-published ‘Proposals 1 – 9’, an artist’s bookwork in 2001.
Recent solo shows include, ‘The Time is Now’ with Meakin + Parsons, Oxford, and ‘Helios Rising’ at Close Ltd, Somerset, by whom she is represented.
Veronica currently lives and works in Somerset.