“As I age I have found what I assign high value to has changed drastically. I long for almost nothing these days as I have discovered I already have much more than I need. Material things may have monetary value, but their worth is fleeting. The constant lust for acquiring more is what propels this greedy commercial system we are afflicted with, a system that has come very close to destroying this planet. Humanity is dangerously divided and at severe risk. Blinded by greed and a lust for power many can’t even see what’s happening. We seem to have lost our moral compass.
A series of medical emergencies did everything to correct my vision and value system. My vanity keeps me from saying I’m old, but I know I’m certainly not young. I realize there are more days behind than there are ahead, I am in the autumn of my years and I intend to make the most out of whatever time is left. The work in this exhibition briefly examines how I got to this place in time and what I have come to place the most value on.” –Carl Wilson
Wilson has been consistently adept at communicating a potent narrative in a single image but these new pieces take this genre to another level. The mastery of line is astonishing. Not Yet introduces an impressive range in texture creating layers of feathers in a divine messenger’s wing protectively outstretched over the patient’s head while folds in its costume cascade down a muscled leg. Wilson’s marks continue to evolve in his late mother’s tight, softly curling hair which contrasts to the coarse beard worn in this self-portrait. Printed on Kozo mulberry paper, its gossamer sheen deepens this cathartic scene.
Fastidious detail in Deuce produces a somewhat foreshortened fighter’s stance where muscles are tensed and shorts billow while boxing gloves catch the light at their awaiting contact point. The youthful face possesses a softness that counters anticipated aggression. The bottom right corner of the heavy Strathmore paper is crinkled with a bit of stain. Nothing is perfect. The path to peace includes the mistakes and imperfections we allow ourselves to accept and subsequently let go. As Wilson explores his value system post trauma, perhaps this is a personal fight for what really matters. This is a fight for harmony, justice, simplicity and love.
Wilson presents a few larger scale pieces which don’t include the same intricate detail as the smaller works yet demonstrate compositional command through attention to shape and space. In The Cheese Sits Alone, the head, slightly out of proportion, operates more as an arranged element than a figurative feature. Folds in a shirt and bed skirt are treated equally for their form and movement.
At maybe 8”x10” total, it’s one of the smallest pieces in the show. Line differentials in patterning allow for depth but difficult to excavate specifics. The dog seems to be dipping his dance partner or maybe the angel in Not Yet.
Keeping in mind this process requires the maker to think in reverse—what you carve out becomes negative space and what’s left becomes the subject matter—the finished works are stunning. Having survived a consciousness precariously toggling between this life and what comes next, Wilson’s perspective has been profoundly and irrevocably altered. Lucky for us he has an extraordinary manner in which to recount his metamorphosis.
“Love is the kingdom of heaven. I would do anything for love. Love is the only thing that matters. That is what makes one rich.” –Carl Wilson
I wrote a full essay for detroit contemporary on this exhibition and its companion. I generally don’t overlap reviews but Carl’s work is so extraordinary it demanded full coverage. You can find the dc essay here if you’re interested.
On view through July 28th at detroit contemporary 487 W Alexandrine Detroit
*images are mine
direct quote from gallery materials
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