My work brings my delicate abstract experiences into a more concrete reality. At first glance, my pieces may seem representational, but I think as you look closer, this becomes uncertain.
When I make a mould, I literally empty an object out. An object has been observed, served its purpose and been stripped away. Where this physical material ends, a space opens up for something metaphysical to begin.
My finished pieces bear a likeness to resemble certain things, but they’re a stage removed. I like to think of them as ‘re-presentations’. It’s a process of deconstruction, and then, reconstruction. A transformation takes place – of materials, but also possible interpretation. This is exciting because almost anything could happen. My work offers instances of clarity and intense sensual awareness, and this is something I want my pieces to convey.
I make each image my own, part of a lexicon. The piece becomes imbued with personal significance, but the viewer will bring their own perceptions. In the end they are more to do with what is unseen – speaking to subtle, fleeting and abstract experience, which is every bit as real.
Bio
Born 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, USA and Italy. 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.
Veronica currently lives and works in Somerset.
My work brings my delicate abstract experiences into a more concrete reality. At first glance, my pieces may seem representational, but I think as you look closer, this becomes uncertain.
The original object is no longer part of the equation. When I make a mould, I literally empty an object out. The pattern has been observed, served its purpose and been stripped away. Where the physical material ends, an empty space opens up for something metaphysical to begin. What’s left is like a perceived shadow or reflection.
My finished pieces bear a likeness or resemble certain things, but they’re a stage removed. I like to think of them as ‘re-presentations’. The process is one of deconstruction and reconstruction. It’s a process of transformation – of materials, but also possible interpretation. This is exciting because almost anything could take place. My work offers instances of clarity and intense sensual awareness, and this is something I want my pieces to convey.
I make each image my own, part of a lexicon. The piece becomes imbued with personal significance, but the viewer will bring their own perceptions. In the end they are more to do with what is unseen – speaking to subtle, fleeting and abstract experience, which is 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, USA and Italy. 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.
Veronica currently lives and works in Somerset.