About The Artist
Kolaya J Wilson
Integrity to the state of discomfort is one of my highest compositional values. It is how I discover the sculptural form inside my medium and the way that I loosen my creatures from the grip of motionlessness. Masters, such as Michelangelo, believed themselves to be aware of an immobilized being embedded into their medium. The sculptor became the privileged midwife of releasing a figure from its physical bondage, surface, and landscape. But what if the object became caught between the world of its medium and the final destination of its form? This question both fascinates and excites me. My Uncomfortable Creatures explore this intention. A type of sculptural purgatory.
I grew up in a lineage of woman that passed on the knowledge of weaving. Whether that be through thread, fabric, or yarn the women in my family have been tied to this idea of entwining. Weaving became the aspect of tending to their homes and families. The craft functioned to bring about basic necessities such as clothing, comfort, and keeping loved ones warm. These became a part of the covering of my childhood, teenage years, and adulthood. But the women in my family not only share a history of weaving but also of sexual violence. I too became a part of this story and a silent weaver. As the fabric continued to be bound, I began to consider the process of binding, or mending. My Uncomfortable Creatures are made safe by their bondage, and also are trapped by it. The surfaces of my creatures speak to that testament. Forms that are undefinable in their pain, their struggle to emerge, but coated in this soft skin of warmth.
My sculptures all contain found objects within which I exploit to aid the appearance of distress that the creature is both encompassed and engulfed by. The visual effects are highlighted through the yarn that is applied around the surface of the form. This mended exterior creates a language to read the beings. It guides the eye in the exploration of objects, interruption that protrude from the form, and the tension of the creature’s integrated landscape. I consider these materials to speak to my historical environment of womanhood, while also addressing the idea of bondage, or sculptural purgatory.