GORDON WILSON PROFILE

Gordon Wilson was born in 1968. His artistic work has essentially spilled out into the Scottish Art scene over the last seven years as he devotes more of his time to painting.

 

When you interview Wilson, you get an insight into a hyperactive individual and begin to understand his artistic approach. He very deliberately rejects the dark side of life and works persistently to create a relief and a sense of enjoyment for the viewer in the form of his stunning and colourful scenic depictions and his slightly humorous and juxtaposed perspectives.

 

When he found his own artistic voice it was an uplifting one - he sets out to stimulate positive reactions rather than any sense of the negative.

 

Ask Gordon Wilson, what artists do for society and he will respond "it is a release for people and when people spend on art, art is the thing that (through time) keeps on giving them something back". Wilson feels he is achieving when he provokes a smile or creates a feeling of emotional contentment with his viewer.

 

Gordon was inspired as a young boy by an 'uncle', David Sutherland who was a cartoonist at DC Thomson, publisher of the Beano and Dandy comics. He was also inspired by his father who was a watercolour artist and a serial entrepreneur. Indeed, Gordon would work with his father in one of these ventures when, at the age of 19, he helped his father to found an art framing business in Milngavie. While he took classes at Glasgow School of Art, his actual artistic training was more practical and he would be steered by his daily exposure to artists work and by his own progressive painting experimentation.

 

As the framing business prospered, Gordon was able to devote more and more time to the development of his own colour palette and compositional techniques. The Lemond Gallery was an early supporter of Wilson’s emergence and we have now witnessed a significant expansion of his success.

 

Wilson paints from the heart – the artists who inspired him are evidence of this - Freud, Byrne, Stanley Spencer, Howson and Currie. He is able to focus on his painting supported by a close family unit with his wife, Helen and children Lucy and Mark. In particular, Helen is very persevering as his constant sketching spills out into her newspapers and magazines - "she always has to put up with holes and missing or torn pages as I scan and gather images for my next colour or subject matter".

 

Wilson is a character who has much to offer to the field of contemporary Scottish Art.

 

His art perspectives are light, enjoyable and immersive. It will be interesting to see his development over the next decade. If he can continue his relevance and momentum, he is bound to become a significant force in modern Scottish Art.


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