Douglas Fenn Wilson’s creative pursuits are Renaissance in breadth. The past 47 years have spawned a massive body of painting, sculpture, and architectural detail, of which his “sculptural” and “layered” paintings figure most prominently—a meticulous layering of realism against multi-faceted sculptural substrates. His interest in bridging artistic traditions and genres not normally bridged is where Wilson breaks ground—the two-dimensional with the three-dimensional; realism with abstraction; past with present. 

His work has been the subject of fifteen one-man exhibitions from San Francisco to New York; eight museums have acquired pieces for their collections. In 1990 Gore Vidal wrote: “he is like Poussin! — in the best original sense, academic.”

Wilson writes: 

“My eye’s impulse is to peel back, to shear away, to reveal what lies below the surface—small, multi-layered patterns at first, then shallow layers of geometry, then deep, building blocks of color—the beautiful unseen.”

With parallel industry, Wilson writes fiction, both novels and short stories, many inspired by art and architecture.

What Wilson calls his “most inspired canvas” is his artist-built home The Moon House Antiquarium in Glen Ellen, California, where his painting, sculpture, furniture, architectural designs, and fiction come together in breathtaking synthesis.

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