Nicholas Wilton

Divine Life

NICHOLAS WILTON’s paintings are visual poems, informed by Nature and his personal experience of life. Color, texture, and organic forms are layered into a complex visual weave that hints at the underlying feelings and complexity of our lives. His work almost entirely relies on the metaphorical, patterning and the abstract rather than any particular literal iconography. In a recent interview with Art Collector Magazine, Wilton explains “It’s the accuracy of the feeling I am interested in rather than the accuracy of a specific representation that is already understood or recognizable. My work is deliberately open ended, more obtuse for this very reason. I want it to be reinterpreted, incorporated into the experiences and personal stories of others.” The actual process of combining spontaneity, excavated color and texture Wilton uses in the creation of his art also informs the content and final outcome of the work. The delicate balance and juxtaposition of opposites, whether physical or spiritual are poignantly presented in all of his paintings. In addition, the paradox of Change, notions of Risk, Fear and Intuition, all coexist beneath a veil of optimism and hopefulness that permeates Nicholas Wilton’s art. Nicholas Wilton was born in San Francisco, California and spent his youth exploring the wilderness areas of Marin County. As a teenager he studied design with the German contemporary glass artist Ludwig Schaffrath, who catalyzed his ongoing passion for art making. Nicholas studied art at the College of Creative Studies in Santa Barbara and then went on to receive his BFA from Art Center College of Design in Pasadena. In addition to gallery exhibitions and the inclusion in numerous private and corporate collections in both the United States and Europe, Wilton’s paintings have been used on the covers of the national bestseller “The Four Agreements” by Don Miguel Ruiz, and Brene Brown’s “The Gift of Imperfection”. Recently, the US Postal Service issued a stamp featuring Wilton’s artwork.