Ornament and Crime? is a sponsored project of Fractured Atlas, a non-profit arts service organization. Contributions for the charitable purposes of Ornament and Crime? must be made payable to “Fractured Atlas” only and are tax-deductible to the extent permitted by law.
Bio:
David J Wilson is an artist whose work has been prominently featured in exhibitions across the United States. His impressive portfolio includes showcases at Andrew Logan Projects, Moore College of Art and Design, Socrates Sculpture Park, the Bronx Museum, 5-50 Gallery, Albright College, Novella Gallery, and FLOW.15 public art on Randall's Island, among others.
Wilson's artistic journey has been enriched by multiple prestigious residencies, including LMCC's Workspace program, Socrates Sculpture Park, Sculpture Space, Vermont Studio Center, and the Bronx Museum AIM Program. Additionally, he has contributed as a visiting artist at Harvestworks.
Recognized for his innovative approach, Wilson has received grants and fellowships from the New York State Council of the Arts, NYFA, and the New York City Department of Cultural Affairs. His work is held in various private collections, reflecting his significant impact on the art world.
Currently, Wilson is engaged in a Fractured Atlas fiscally sponsored project titled Ornament and Crime?, slated for realization in late 2024. He holds an MFA in Sculpture from Hunter College and is based in New York City, where he lives and teaches.
Please contact for CV
Artist Statement:
IIn my work, I delve into the material evidence of power dynamics embedded within institutional hierarchies, particularly focusing on the justice system and its historical intersections with democratic governance. As someone with personal experience within the carceral system, I examine how these experiences reflect broader societal issues through my art.
My sculptures, crafted from wood and silicone, are the result of a meticulous exploration of perception, materiality, and process. These elements serve as a medium to question and reflect upon the psychological structures inherent in societal mechanisms and their impact on the human body and psyche. Through skill-intensive practices, I infuse physicality into the materials, creating forms that evoke emotive responses and challenge the object’s inherent facticity.
The subtle abstractions and material transformations in my work serve to place these objects into a state of crisis, questioning their conventional meanings and functions. I employ a variety of techniques—hand carving, laminating, steaming, bending, sanding, turning, and polishing wood—to visually render labor economies and the passage of time. Each process is a testament to the intricate interplay between craftsmanship and concept, highlighting the profound dialogue between materiality and human experience.
Through this work, I aim to illuminate the often invisible yet deeply felt impacts of systemic structures, making visible the intricate layers of experience and perception that shape our understanding of justice and humanity.