Giles Gilson
Embracing and interpreting both the mechanical and natural world with a distinctive vision, Giles Gilson relates his experiences with an appreciation for the graphic, tactile and dynamic.
"I've found that manmade devices often have the same forms and shapes as biological entities," the artist explains of his dual interests. "This is because the shapes are necessary to the function."
Although Gilson's works might suggest aerodynamic principles or have complex mechanics, their function is purely philosophical – to transmit the artist's experiences in a manner that challenges preconceptions and creates an emotional response in the viewer.
Embracing and interpreting both the mechanical and natural world with a distinctive vision, Giles Gilson relates his experiences with an appreciation for the graphic, tactile and dynamic.
"I've found that manmade devices often have the same forms and shapes as biological entities," the artist explains of his dual interests. "This is because the shapes are necessary to the function."
Although Gilson's works might suggest aerodynamic principles or have complex mechanics, their function is purely philosophical – to transmit the artist's experiences in a manner that challenges preconceptions and creates an emotional response in the viewer.
According to his formal biography, Giles Gilson was born in Philadelphia, Pennsylvania in 1942, in the front seat of a 1933 Ford. Gilson's father was a tool and die maker who did auto repair and body work on the side for extra money. He was also a pilot who had grown up on a farm, learning how to repair and, if need be, build the things he needed.
"I became interested in aircraft and automobiles because of his influence," Gilson says. "He started flying when 'aeroplanes' had only been around for a few years and the headlights on his Stutz were lit by kerosene."
Gilson became involved in industrial design and engineering at an early age, and they remain major influences on his artwork.
Gilson's father preferred practicality over fashion and knowledge over certification, in the interest of what worked best.
"I think I may have some of that from him," Gilson says in regard to his lack of concern with accepted notions and appropriate practices. In fact, if there has been one aspect of Gilson's work that has stood out over the years, it has been his penchant for breaking rules and challenging the status quo.
Having gained prominence as a woodturner, Gilson rejected the limitations of conformity and began painting over the wood, shocking many in the field. Initially scolded by collectors and dropped by galleries, he is now considered the greatest influence on the painterly explorations of a number of leading wood artists.
PERMANENT MUSEUM AND PRIVATE COLLECTIONS
· the metropolitan museum of art
· the smithsonian museum of american art, renwick gallery
· detroit institute of arts
· mint museum of craft + design, charlotte
· mobile museum of art
· the schenectady museum
· arizona state university museum of art
· university of michigan museum of art
· the lewis collection
· the lipton collection
· the woodturning center, philidalphia
"I've found that manmade devices often have the same forms and shapes as biological entities," the artist explains of his dual interests. "This is because the shapes are necessary to the function."
Although Gilson's works might suggest aerodynamic principles or have complex mechanics, their function is purely philosophical – to transmit the artist's experiences in a manner that challenges preconceptions and creates an emotional response in the viewer.
Embracing and interpreting both the mechanical and natural world with a distinctive vision, Giles Gilson relates his experiences with an appreciation for the graphic, tactile and dynamic.
"I've found that manmade devices often have the same forms and shapes as biological entities," the artist explains of his dual interests. "This is because the shapes are necessary to the function."
Although Gilson's works might suggest aerodynamic principles or have complex mechanics, their function is purely philosophical – to transmit the artist's experiences in a manner that challenges preconceptions and creates an emotional response in the viewer.
According to his formal biography, Giles Gilson was born in Philadelphia, Pennsylvania in 1942, in the front seat of a 1933 Ford. Gilson's father was a tool and die maker who did auto repair and body work on the side for extra money. He was also a pilot who had grown up on a farm, learning how to repair and, if need be, build the things he needed.
"I became interested in aircraft and automobiles because of his influence," Gilson says. "He started flying when 'aeroplanes' had only been around for a few years and the headlights on his Stutz were lit by kerosene."
Gilson became involved in industrial design and engineering at an early age, and they remain major influences on his artwork.
Gilson's father preferred practicality over fashion and knowledge over certification, in the interest of what worked best.
"I think I may have some of that from him," Gilson says in regard to his lack of concern with accepted notions and appropriate practices. In fact, if there has been one aspect of Gilson's work that has stood out over the years, it has been his penchant for breaking rules and challenging the status quo.
Having gained prominence as a woodturner, Gilson rejected the limitations of conformity and began painting over the wood, shocking many in the field. Initially scolded by collectors and dropped by galleries, he is now considered the greatest influence on the painterly explorations of a number of leading wood artists.
PERMANENT MUSEUM AND PRIVATE COLLECTIONS
· the metropolitan museum of art
· the smithsonian museum of american art, renwick gallery
· detroit institute of arts
· mint museum of craft + design, charlotte
· mobile museum of art
· the schenectady museum
· arizona state university museum of art
· university of michigan museum of art
· the lewis collection
· the lipton collection
· the woodturning center, philidalphia