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W. Scott Wilson, Artist - Spatial Expressionist

Is it possible that Wilson has been creating art for about 60 years? An article published by The Orlando Sentinel newspaper in the early 1980s, Wilson said he had been painting since the early 1960s. It is most likely that he started as a boy. At the time of that interview he had two studios, one in Tennessee and another in Wisconsin. His studies were at the Hunter Museum of Fine Arts in Chattanooga, where he spent two years working on painting and two years drawing. In the interview he said “I drew for two years solid, then got into color”.

Wilson has spent years on the art festival circuit, packing up his art booth and moving on to the next street festival, weekend after weekend. During moments of respite, he creates work that fill his booth. There is a long list of accolades and awards by art judges and critics that have observed and judged his work. A quick glance at his lengthy list of awards would have you believe he should qualify for a national life-time achievement award in art. Upon double checking newspaper archives from across the southeast, clearly the archives confirm his numerous awards with announcements. Other newspapers would announce that W. Scott Wilson will be back again this year for an upcoming festival.

Wilson has won awards under several categories: watercolor, painting, graphics, drawing and/or collage. His mastery of art materials and techniques is wide and varied. Below is an example of an untitled mixed-media non-figurative drawing with pencil lead, red wax graphite, watercolor, gouache and a small element of collage.

"Untitled"
Mixed Media Work on Paper
12.5 X 16 Inches
Signed LRC: W. Scott Wilson

This two-dimensional surface creates eye movement throughout the composition; it is achieved through lines, planes and small elements of color, making it one of the most interesting lyrical drawings I have encountered. It is a delight to the eye and to fully enjoy it requires close inspection of the fingerprints, and miniature abstract drawings within the entire abstract composition.

He uses his mastery of spatial relationships and planes to create this drawing. The positioning of planes and their scale/size becomes an algebraic equation where one square plane equals another. Some of the floating planes are left untextured, others possess angular pencil texture, and other planes are allowed to sit next to the edge of the drawing, bleeding out of the composition. Other planes overlap one another. There are other squares/rectangles that are so small in volume that they become delicate elements filled with just a splash of dark blue watercolor becoming a miniature abstract painting in itself.

Wilson also understands the power of line within a composition. His mastery of spatial relationships is accomplished by the use of line, working almost like an architect/designer. He uses lines to define the separate planes. Some lines are thin, thick or jagged, others are short whereas others are continuous. He uses different pressure and thickness together on some line fragments with dark accents, keeping the viewer’s attention within the boundaries of the drawing. Then he creates fields of diagonal angular lines that become a shaded gray patch plane that adds patterned texture to the composition. He uses graphite to create surface enrichment, everything from boldness to blurred haze patterns that establishes rhythm within each space.

When it comes to color, Wilson balances the entire composition with areas of red created with compressed powdered graphite that has a clay base element. He uses this color to anchor the focal point of interest. There are other small elements of red that reappear within background locations. On the right, there is a small scribble of red that matches the red focal point in the composition. Along with a red focal point, he uses touches of blue, a midnight blue and black watercolor to serve as a contrast in the composition and enhances the red.

Finally he adds a small but important element of collage. The small block is a vertical rectangle that is covered with a splash of blue watercolor and a touch of bright white gouache. It is like a master painting for a doll house serving as the jewel for the composition.

Wilson’s work is in numerous corporate collections and several regional museums.

References and Documentation:

  • Martin, Francis Jr., Art Writer, W. Scott Wilson, The Orlando Sentinel, Orlando, FL, Nov. 16, 1981, Pg. 12 of 44.
  • Stewart, Laura, Critic's Choice, Art Center Watercolors Tell Some Subtle Stories (Maitland Art Center Exhibit), The Orlando Sentinel, May 12, 1985, pg. 101 of 422 -
  • Stewart, Laura, Watercolors a Lively Show in Maitland, The Orlando Sentinel, Calendar, Apr. 28 - May 4, 1985. 
  • Staff Writer, Festival Winner - 1st Prize for Graphics/Drawing/Collage, The Orlando Sentinel, Nov. 15, 1992.
  • W. Scott Wilson, Artist Website, https://www.wscottwilson.com/, unknown publication date.
Photo of Mr. Wilson:  
Wilson holding the Winning Ribbon, 2014
Wilson stands before his art booth
Some Previous Representation:

  • Eve Mannes Gallery, Atlanta, GA
  • Ambiance Fine Art, Nashville, TN
  • Gallery East, Chattanooga, TN
  • Gallery 600, Largo, FL
  • Coroner Gallery, Fort Lauderdale, FL
  • Clark Whitney Gallery, Lenox, MA
  • Art Independent Gallery, Birmingham, AL
  • Decker Studios, Virginia Beach, VA and Greenwich, CT
  • Cain Gallery, Oak Park, IL

_____________________
©2023 Waller-Yoblonsky Fine Arts Blogspot. Waller-Yoblonsky Fine Art is a research collaborative, working to track artists that got lost and overlooked due to time, changing styles, race, gender and/or sexual orientation. Our frequent blogs highlight artists and art movements that need renewed attention with improved information for the researcher and art collectors. The blog was created by Mr. Waller and all written materials were obtained by the Fair Use Section 107 of The Copyright Act - for educational purposes only. #waller-yoblonskyblogspot #walleryoblonskyblogspot #wscottwilsonartist #scottwilson #scottwilsonartist

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