Oscar T Wilson

South London based multi-disciplinary abstract artist, Oscar T Wilson expresses himself in many different forms, ranging from painting, sculpture and is currently undertaking his MA in Art & Material Histories at City & Guilds Art School, London. Raised in a family of artists, art has always been inherent to Oscar’s life.

Firstly, how much of your work is a reflection and influenced by the artistic and creative family that you’ve been bought up in?

All of it. It wouldn’t be without. I have no recollection of it prior to my existence and it was there from my start. How could I? Art is has been the catalyst for all discussion (argument within my gaff), it would seem all issues, positive and negative haha… the idea of expression, of self worth, of what you believe and then that in comparison with a world that is maybe, “Not of Art” but of investment and riches – left me a little confused. There are a lot of contexts that seem out of place, a lot of resentment wrapped up in a lot of intelligence within my childhood home. Its a place I feel, I felt full of amazement – that was overpowering for all to comprehend, I’m still trying to collect the pieces.

“A year is a long time with no food.”

Was it a natural shift from studying drama at university to a career in art, or was that always in your long-term plans?

Kind of. My life has been lived within a studio since I was a child. I can remember after school watching a wee bit of television to the horror of my father who instantly turned it off and would bring me into the studio. I mean it wasn’t that fun, it was almost like Dad was from a different era of “The Hard” artist…. The “Infamous” Abstract Expressionists. (He has taught? Imposed.). A great body of knowledge on me, he is an encyclopaedia on what “is worth knowing”. What you gonna do? I learnt early on, not to fuck with a devout artists “vision”. Lovely Bastard. 

What prompted you to undertake your MA in Art & Material Histories, and how much do you credit new mediums of work you’re using to it?

I think it is honestly the best thing I have done. I say this after many many jobs, courses, and mischievous’ things I have done. I don’t think this is a bad thing – your knowledge and self sometimes form naturally over a long period haha! But it is honestly fantastic – you dive into multiple realms from Art History, Philosophy, practice… but i’m still in the studio going at it. So it is intense, but I find when I fall into something like this, you would be a fool not to relish it.

“…the world is a complex place people aren’t that simply hunky dory…”

There’s been a bit of a shift recently to using glass a lot more in your body of work – what’s the appeal for you there? Are there any other materials that you’re particularly keen to work with in the near future?

Well within the context of my course I thought glass the perfect option to delve into, in terms of an in-depth depth look into a specific material. From the realities of Glass to the connotations, the philosophy, and the irony of an empty glass city like London. When all the connotations with large-scale architectural glass seem to be about multiplying it seems vey ironic, unintentionally ironic that there isn’t much need for deceptive space.

You say in a recent interview video that ‘sanity is overated’ – take us through what you think this means to the art world, and London in general?

I think it’s a difficult one. Walk a fine line. But the common ideal of sanity is over rated. I’m into Eccentric. Eclectic. Mysterious. Infamous? 

In terms of your collaboration with City States, what was it about the theme of Infamy that drew you to it as a source of inspiration?

I think in general there is an allure to the infamous – it’s a constant theme in folk stories, music, and art. I’m also allured by it in film, music, subconsciously we all are! And the most infamous Artists are very intriguing, from Carravagio to Pollock and Bacon-maybe less nowadays as we are in the age of social media and hyper technology but infamy, the infamous are mystical? Maybe that’s the wrong word but there are lots of contradictions that come with that. And the world is a complex place people aren’t that simply hunky dory and that comes with a level of infamy. The world is an interesting place, infamy makes up part of it like anything else some people are drawn to somethings and others to others. Well, I have a lot of stories. I would have thought to tell, but thought not, to support an interest in infamy. But in reality there is a fragility to the ego. It’s nice to calm down. You can live fast but see little.  

Are there any London based artists or figures out there currently who’s work is really inspiring you at the moment?

All of them. Anyone that is working – from any angle, district or path. But they have to be open to working with me. Or at least a discussion. If not they should fuck right off! Graffitti Artists, City States. My lawyer! All of City and Guilds of London Art School, Bleur Art, all of my friends, all the people I admire from afar, and all that disgruntle me. It’s very exciting, Art -if your intrigued by it. London offers inspiration daily. But also I think if given the opportunity to have an effect it is imperative to do this with a strict pattern that you wish to enforce. And I would love that to be positive. 

“I learnt early on, not to fuck with a devout artists “vision”. Lovely Bastard.”

As part of our ‘Creative Atlas Conundrums’ – what creative tool would you bring if you were stuck a desert island for a year?

I would bring a Japanese Knife to perform Seppuku. I want to die on my own terms. A year is a long time with no food. If there happened to be planes that fly occasionally over? If that is the case I would bring one of those massive brooms and would make sure that my HELP in the sand was constantly in tip top condition and fit for purpose.