AD PONDUS OMNIUM

His artistic inquiries revolve around scientific themes inextricably linked to ethical, philosophical, and religious questions such as: evolution, genetic engineering, and power relationships triggered by man.

His work reveals an investigation into the autonomy of self-organizing systems in nature - both biological and human - as well as their relevance, usefulness, and validity.

The fulcrum of the show is Self Feeder, where a deer’s heart is subjected to corrosion casting (the blood ways of the heart are revealed): exaggerating the closed system characteristics shared by all circulation apparatus, to chilling effect.

The primordial relationship between Man, Nature, and the Divine is manifested through the examination of human interventions.  Does man try to change a pre-existing order, which creates and regulates nature?

The reworking of the Zurbarán painting Agnus dei where the lamb of god is replaced with the dodo (the most clichéd example of forced extinction), questions who or what is governing these systems.

Whilst the glyptodont and the armadillo, painstaking works in charcoal, are intended to be a celebration of the diversity and complexity achieved through evolution.

The real urge to dominate is evident not only in the natural world, but in a more sacred sphere: blueprints of sacred sites demonstrate how their names have been changed over centuries due to the succession of dominant cultures.

Nevertheless, Wilson wonders if emerging systems free from the hand of man still exist. Works depicting poisonous plants painted from their antidotal plants which grow within ten meters of each other, could suggest a higher order.