Ash Wilson (b. 1991, Victoria, BC) is an interdisciplinary, conceptual, research-creation artist based in Victoria and Ucluelet, BC, Canada. She will graduate with a BFA spring of 2026 from the University of Victoria and holds diplomas in Visual Arts (2014) and Arts and Science (2013) from Camosun College, Victoria. Working across installation, painting, sculpture, textile, digital, papermaking, and art books, Wilson’s work engages with critical theory, feminism, community resilience, religious fanaticism, and decolonialism. Notable projects include Doom Library (2025), Hysterical (2025), and Unrest (2024). Wilson has exhibited at William Street Studio, Victoria (Night Bird, 2025) and Stephen Kenn Showroom, Los Angeles (Honest Painting, 2019). She has participated in exhibitions at the Audain Gallery, Art Gallery of Greater Victoria, ArtisTree, Xchanges Gallery, and Camosun College, and was interviewed for YAM Magazine (2021).
I am an interdisciplinary conceptual artist based in Victoria, British Columbia, Canada, working across sculpture, installation, and painting. Raised in close proximity to nature but within a highly regulated religious environment, I became acutely aware of how ideological systems are often inseparable from mechanisms of power and inequality. Education provided a critical exit point and now compels me to use art as a way of uncovering, dissecting, and challenging the subversive narratives that sustain harm. My practice is grounded in research-led making and uses art as a method for inquiry. Materially diverse and subtly complex, my work encourages sustained and attentive engagement. I favour untraditional materials, often combining salvaged and industrial matter with carefully constructed handmade paper and paper clay, textiles, and richly pigmented surfaces. My current research examines landscape and infrastructure through a decolonial lens, interrogating how myths of pristine, “untouched” wilderness continue to shape environmental policy and Canadian cultural narratives. Through abstracted sculptural landscapes, I seek to illuminate the systems of power, care, and erasure embedded within land and built environments. This inquiry increasingly intersects with feminism and purity politics, asking how desires for purity — of bodies, landscapes, or systems — inform how futures are imagined on a damaged planet.
