Meet Madeline Wilson | Fine Art Photographer

We had the good fortune of connecting with Madeline Wilson and we’ve shared our conversation below.

Hi Madeline, what led you to pursuing a creative path professionally?
I have been a serious photographer since I was in high school. It was like a calling supported by the inspiration I gained from the Masters of Photography. I was fortunate to attend a school that valued the arts and had a vibrant photography program. I was never interested in pursuing commercial work, though I have done my fair share throughout the years. I aimed to get my work into galleries, and to be a contributing member of the greater arts community. I felt I had something to share through my art and I have challenged myself to work in series that provide cultural commentary, or highlight issues of justice, using a visual vocabulary.

Can you open up a bit about your work and career? We’re big fans and we’d love for our community to learn more about your work.
I began as a black and white photographer but quickly moved to color, as it better represented my interests in cultural landscape and studio works. In the 1990s I combined objects with my photography to create room-sized installations – for example commenting on the use of hospital gowns in the medical arena as a symbol of the de-humanization and reduction of the patient to an illness. The gowns were attached to the gallery walls to resemble a padded room, with a vinyl tile floor below printed with photographs of the “patient”. Later I became fascinated by abandoned spaces, “dead” buildings where I could photograph in complete silence, and in reverence to the people who made their history: textile workers, passengers, inmates, patrons. A more recent project, “Fractured Landscapes” explores our current relationship with the environment. From my statement:” “Ground”, “grounding” – these words imply constancy, permanence and security, yet, with the current threats to our environment that very ground seems to be shifting under our feet, causing a generalized feeling of uneasiness (dis-ease) and insecurity which resonates throughout our species.” Currently I am working on a series of photographs representing what has become one of our most recognizable cultural signifiers, the American Road Trip. This series of color images comments on our nostalgia for the inception of the road trip and our common fascination with the iconography that defines this key element of our culture.
My studio practice also includes some mixed-media work, including encaustics and hand-made artist books. These have become miniaturized versions of my early installations, combining found objects and imagery to communicate my ideas.
I still struggle with the notion of professional success. I spent my career teaching photography and video to have a steady income, while pursuing “success” in the art world. My students were an inspiration, and the ability to live my art through teaching and maintaining a studio practice was a great gift. I have learned many lessons along the way; it’s been a long career. Lately I’m taken by the notion of creating work for myself, and allowing the public to like it or not. In other words, to avoid playing to my audience and strive to be true to myself as an artist.

Let’s say your best friend was visiting the area and you wanted to show them the best time ever. Where would you take them? Give us a little itinerary – say it was a week long trip, where would you eat, drink, visit, hang out, etc.
First on the agenda is a trip up to Long Lake and a beautiful hike to Lake Isabelle. On the way home we stop off at Avery Brewing Company for an early dinner. On day two we head to the Santa Fe Art District in Denver, and then to the Denver Art Museum. It’s Friday night so when we get back to Boulder we go to the St. Julian for Salsa music and a happy hour dinner. On day three we go to the Chautauqua for a hike and Lunch in the dining hall. Day four we meet family at Junkyard Social and watch the kids play while we enjoy coffee and pastries. Later we go to the mall for some people watching and dinner at Avanti, where we sit on the roof and gaze at the Flatirons. Day five we go on an electric bike tour through the city, I show off the spectacular library and we grab sushi at Tasuki and watch the pedicabs going up and down Folsom Street. Day six – it’s brunch at Lucille’s. Then to the reservoir for a paddle and to hang out by the water. On the last day we drive the peak-to-peak and stop at the Stanley to explore and then walk along the creek in Estes Park and play with the musical instruments. Then coffee at Inkwell and Brew. Then home…

The Shoutout series is all about recognizing that our success and where we are in life is at least somewhat thanks to the efforts, support, mentorship, love and encouragement of others. So is there someone that you want to dedicate your shoutout to?
I would like to acknowledge the brave and cutting edge work of the Color Field Photographers of the 1970’s who pushed the limits of the medium and insisted their work be recognized as fine art: Stephen Shore, William Eggleston and Joel Meyerowitz broke through the barriers to bring color photography into the forefront of contemporary art, albeit with controversy, but paving the way for those of us who followed. On a more personal level, I am grateful to have had some wonderful mentors: Fred Day, Doug Baz and Gerold Prior. Other major influences include Hannah Wilke and Lorna Simpson.

Website: http://www.madelinewilson.com

Instagram: reachmadwilson

Image Credits
Robin Enright Salcido, RES photography