ARTIST SHOT: FREYA WILSON

As an introduction to the exhibition, we present a series of articles exploring each of the artist's involved giving an insight to their thinking, processes and what is to be expected from them for Paradise.

 

 

 

FREYA WILSON is beginning her first year with Glasgow School of Art's prestigious painting & printmaking department in September. Wilson's work in the past has featured an obsession with meat as a vegetarian and has produced stunning, intricate monoprints with a delicate touch and fixation on her development as an artist. We discuss how she works and get a feel for how this will advance in the future.

Do you feel the subject of paradise, which is defined as a religious after death gift for the 'just', a difficult subject to tackle?

I feel paradise is a very broad word... it pertains to both a personal notion and, as you say, the historical connotation that we have culturally. This opens up a wide array of approaches by which you can go about tackling the brief. Therefore, you can perceive this as an overwhelming task or just an opportunity to make something both personal and meaningful to the viewer. Either way, 'paradise' provides an excellent freedom for the creative process.


Tell me about your approach to materials/working?

I typically begin by thinking about the materials themselves, and how I could employ them in such a way so as to reflect my inspiration. I always feel that there's a lot to be said about using traditional materials in interesting ways. The most important part of the process for me however, is just allowing ideas to be worked through as I find that this often creates better and more ideas.



You have spent the past year working in Tramway's Visual Arts Studio alongside artists/designers from a range of different backgrounds working in a vast scope of processes. How has this influenced you?

Tramway has been one of the best experiences of my life so far. I came into the course unsure of myself and my work, but creating in such a wonderful environment has both made me more confident and allowed me to see how others go about making their work too. The conversations that took place during the course not only between the students but also the teachers have influenced me to a degree I never thought possible... I now have a desire to learn about art more than ever before, and not just within my own discipline!
 


Do these conversations continue? Being that the exhibition is comprised of a select group of peers from your time at VAS, what can viewers expect to see in relation to these conversations within your proposed work?

Whenever I will want advice with my work I will always consult with my friends from VAS. I find that they understand where my work is coming from and also are able to tell me what they feel is weaker. This will hopefully bring about more refined final works. Everyone has a role in bringing about the exhibition; I personally am excited to see how each of our work will progress throughout the blog posts. What's wonderful about having an exhibition like this is that the work will almost be like one big collaboration especially when we begin curating the exhibition ourselves.
 

As a collective of artists/designers in your very beginnings this is your first show, which as you have mentioned will also be your first experience of curating, how do you want audiences to respond to the exhibition?

I spoke earlier on 'Paradise' having a wider cultural meaning, and all individuals will have their own interpretation of the word. I hope the exhibition will be able to connect with the viewer on a personal level and perhaps even enlighten people to the broader understanding of the word.

What's the best piece of advice you've been given and how has it impacted your work

It wasn't necessarily one piece of advice, but the continuous encouragement to honestly think about why it is that I'm doing a certain thing in regards to my work. It took a while for me to properly understand this, but put simply it's the idea that the artist has to think about everything when creating, from the type of paper to, for example, seemingly "accidental" marks. This is probably the best piece of advice I’ve received and could give to another. It not only enlightened my own work but how I view others.

 

 

 

 

Learn more about Freya Wilson by following the link to her page and visiting her social media outlets. You can also continue to keep up to date with the exhibition by following our instagram @paradise_exhibition and the blog

 

 

 

 

Article by Emma Hislop