The work of William Wilkins is unique, both at the level of skill it displays and the length of time it occupies, he paints using a technique based on pointillism. Born of months, even years, of painstaking creation each picture exudes both artistry and joy; a celebration of perception which merits exposure to a wide audience.
Exhibition of Recent Works opens at Martin Tinney Gallery, Cardiff on 21st November 2018. A catalogue featuring an essay by David Fraser Jenkins will be available shortly.
Martin Tinney Gallery, Cardiff, November 2018.
A joint exhibition of ceramics by Yasuhisa Kohyama was accompanied by new paintings of his work by William Wilkins:
Erskine, Hall & Coe, London, November 2017.
Publication October 2014, £35.00
Author David Fraser Jenkins
Introduction by Geraint Talfan Davies, essay by David Moore. Over 100 colour art illustrations, large format hardback book size 300 x 300mm. Available from all good bookshops, or online: www.graffeg.com
Country Life, November 19, 2014:
'It's rare that an artist espouses a style of painting very specifically associated with a period of the past, in this case, pointillism, which had its heyday at the end of the 19th century with Seurat, Signac and Pissarro. Yet William Wilkins has spent long years studying this analytical approach to light and colour and makes calm reflective paintings of figures in interiors, still-lifes and landscapes that look remarkably modern...'
After completing his formal training William Wilkins taught and painted for seven years before making a radical change of direction in the late 60's. At this point he abandoned the abstract work on which he had been engaged and embarked on a rigorous regime of drawing, figure, still life and landscape, which lasted for five years....
Pointillism (pointillisme) is a very rarely used technique, developed by Georges Seurat in the 19th Century. It was experimented with by artists as different as Pisarro and Van Gogh and continued to be used, more or less following his principles, by a number of followers, such as Signac. But the use that William Wilkins makes of it has always favoured pointillism for its abstract surface and potential for rigorous precision rather than for the colour theories or palette.
Wilkins practise of pointillism is focused on the close observation of colour, rather than the application of principles, and whereas classic pointillism uses opaque colour, Wilkins' uses the 'pointe' to explore the poles of opacity and luminosity.