Both of these writer/curators make note of the fact that material choice is central to my work and my conceptual thinking. Originally trained as a painter, I moved away from painting for 15 years into sculpture and public projects - only now to once again return to painting. Regardless of the specific medium, a continuous thread in my work is that I seem always to be processing what is around me in the world. I see my practice as an artist, even when I am alone in my studio, as a kind of social commitment and engagement. This has led me to numerous unlikely partnerships and collaborations and it also guides me in my recent work in looking closely at the land that I inhabit. It has been said that I make "small things" and even when I make something larger it seems to be made up of hundreds of small parts. Small invites you to look more closely, and small keeps my carbon/artist footprint to a minimum.
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"For Wilson, the careful choice of materials furthers the potential for meaning in her work. Among the media she uses are cast iron, bronze, and plastic, melting ice cream, a facsimile of cut glass, digital prints, and small somber paintings. Technique, too, plays a conceptual role: the casting processes that Wilson employs for the majority of the work allude to notions of presence and absence, volume and void, and the very human metaphors of body and nobody. Other formal strategies include massing and repetition, the use of text, and a conscious manipulation of gallery-display practices."
- Thomas Piche Jr., Director of Daum Museum, MO 2003


"Wilson creates an open-ended, enigmatic narrative. The barely discernable bits and pieces contained within this miniature baggage seem to emerge, like distant memories, from the deep recesses of her psyche."
-Donna Harkavy, Independent Curator, New York City 2004