Abigail Wilderspin has studied, exhibited and worked as a multidisciplinary artist across London since 2015. Commissions have ranged from portraiture to church ceiling mural restoration before moving into kiln formed glass. Her focus in fine art began to hone in on painting during a diagnostic art foundation at Central Saint Martins. In 2019 she graduated from Wimbledon Collage of Art with a BA in Painting, beginning a MA in Painting in the Autumn leading to an unexpected path and ultimate refocus in discipline at the Royal College of Art.
FROM PAINTING TO GLASS - Words from the artist
There was a significant change in my painting practice during the final year of my undergraduate. I came to the RCA to continue exploring the development of a new process. I was painting into wood grain; an impression of flow in trees, by following written codes, beginning with a pattern derived from the series of colours on the surface of a bubbles thinning film until it pops. I was thinking about algorithms and feedback loops, waves of light and waves in flow, surface and illusion. Creating visualisation of the spaces between the organic and the artificial, predictability and intuition. I began to consider materiality, opening up to the possible strength in the communication of concepts though other mediums. Experimenting with transformation and translation between information, the 2D and the 3D produced a generative nature between each work but also within them individually. Everything became a kind of branching ecosystem of codes, paintings and sculptural installation specific to the space, pushing me to refine sculptural skills.
I began to expand my knowledge of glass during my 2021 leave of absence. It was its optical qualities and how it can distort and scatter light like water; a reoccurring theme throughout my development as a painter. The control of gradients such as light and shadow and the expansion and contraction in mark making mirrors the control of variables in kiln forming, both a generative process where the outcomes are not always predictable. Glass is worked both hot and cold, allowing me to physically to explore transition states and space in between solidification and flow.