Charles Wilkin is one of those artists who captivate us with their ability to expand their visual universe while staying true to the themes that resonate with them and drive them to create art. Charles doesn’t change randomly in pursuit of new destinations; instead, he evolves by pushing the boundaries of his art.
Not too long ago, we had the pleasure of conversing with Wilkin on our podcast to review his career and delve into his world. During that conversation, he mentioned that he was going through a period of change and exploration. This entire process has culminated in “Proof of Invisible Light,” his recently inaugurated solo exhibition. We were absolutely enchanted by what we saw, so we were eager to ask him about this new body of work and the emotions he experienced while creating it.
TWS –Hi Charles, how are you doing? In the podcast episode that we recorded earlier this year, you already mentioned that there were some changes in your upcoming work. So, I wanted to talk to you because your latest exhibition is showing some new and very exciting pieces that mark a shift in the work that you’ve been developing in the past. Can you tell us what you are showing in Proof of Invisible Light, your ongoing exhibition?
CW –Hey sure! So, the work I’m showing in Proof of Invisible Light is a series of cyanotypes and ceramic works, about 60 total. I’m sure for some these pieces might seem like a complete 360 from my paper collages. But, I see them as just a continued exploration of familiar concepts with different mediums.
TWS –In this new series there are cyanotypes and ceramics, which are new to your artistic toolbox. But there are also elements from your previous work. Can you tell us what’s new in this series and what is still present from your previous work?
CW –My paper collages rely heavily on photography, especially vintage images, and I’ve always been inspired by alternative photo printing techniques. There are definitely elements of these techniques in my paper collage throughout the years. Right after Index-A was published I started experimenting with cyanotypes. Back then I never really figure out what to do with it conceptually, so I set it aside. I honestly had forgotten about it until I rediscovered a few pieces floating around my flat files. As I mentioned in the podcast, I’ve been searching for new directions and this old idea sort of felt new again. So, perhaps this is where the new work and old work connect. For me, this new work is simply an expansion of familiar concepts, however, my approach is very different. In my paper collages layering is everything but with these mediums, I’m forced to be much more minimal and direct. It’s been difficult to let go of complexity but in a strange way, these works seem to go much deeper than I expected. I can’t really put my finger on it just yet, it’s all a work in progress.
I’ve always had this idea of bending clay to look like fabric scraps, something I use a lot in my paper collages. So, like the cyanotypes, these pieces are yet another expression of my paper collages. Working with clay is definitely more physical than paper which is a new experience for me. Because of this, I feel like there is more of me in these works if that makes any sense. What I love the most about this ceramic work is that it’s real and tangible in ways my paper collage will never be. The whole process and experience of making this work has reinvigorated all the ideas and concepts I’ve been exploring for decades. I guess the most unexpected thing to happen is that suddenly everything feels new and infinite.
TWS –Are the technical challenges related to new ways of producing and manufacturing your work something that you enjoy exploring and facing? Do new mediums also inspire you to create new artworks that are an evolution from your previous phases? What have you enjoyed the most about creating these new artworks?
CW –The learning curve for both mediums has been steep but incredibly thrilling. From the very beginning, I forced myself to not worry about being successful. I expect to fail and decided to just embrace it. Once that pressure is gone there is an incredible sense of freedom and possibility. I really believe mistakes are the place where I’m able to find my creative voice in these mediums. This has always been true with my paper collage and I’m using this as a foundation as a move through these other mediums.
For me, whenever I’m experimenting with new mediums I usually just dive in. But because of time constraints, I decided to educate myself first instead of fumbling through. Photographer Katlyn Danielson and ceramicist Nonna Hall both generously shared their time and knowledge with me. I’m so grateful for their help because it truly accelerated my progress. I’ve also had to learn alternate ways to be spontaneous because both mediums lack the immediacy of paper collage. Patience and planning are new additions to my creative process, which I’m still getting used to. Overall, what’s been inspiring about these mediums is they’ve opened pathways to new ideas and pushed existing ideas further. I often feel overwhelmed by the potential which is an exciting place to be.
TWS –What’s next? Will you continue exploring cyanotypes and ceramics? Do you wish to go back to paper? Is there any other medium that you would like to explore in the future? Is there any piece of wisdom that you learned while creating these artworks that you would like to share with us?”
CW –I’m absolutely going to explore more of both, I’m sure there will be other mediums I’ll discover along the way but nothing specific yet. For now, I feel like I’ve just scratched the surface with ceramics and sculpture, and I’m eager to push those forward. I don’t think I’ll ever give up paper, it’s a medium I truly love. It was a very difficult decision to take a break from it, but right now it feels necessary. Being truly open to change and learning how to embrace it are two things learned through this process. I believe everything is interconnected and I will certainly come back to paper. I know the work I’m making now will only inform my future paper collages and vice versa. Perhaps I’ll find a way to bring it all together, I’m looking forward to seeing where all this takes me.
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Learn more about Charles Wilkin in his website or Instagram account
And catch up the exhibition IRL here:
Nonneta & friends creative:
16 Old Brook Road, Barryville, NY, 12719, United States
and online here
