Independent 20th Century 2026: Marie Wilson
Gallery Wendi Norris will present work by Marie Wilson in a solo presentation at Independent 20th Century. Following the gallery’s critically acclaimed debut solo exhibition of Wilson in early 2026—which Artforum praised as “a mash-up of delicious morsels, a grab bag of Surrealist and visionary art: a little of Wifredo Lam’s curves, dots, and dashes; overlapping waves of glowing colors that brought to mind Agnes Pelton; the gestural cartoons of Joan Miró; and grids and geometries suggestive of Hilma af Klint”—this presentation marks Wilson’s New York debut and her first appearance on the East Coast.
Rooted equally in the cultural and spiritual milieu of Northern California and the San Francisco Bay Area of her youth, and in the intellectual currents of European Surrealism, which she experienced while living and working among the movement’s central figures, Wilson’s practice explored new Surrealist horizons and expanded the possibilities of modern art. As Surrealism continues to dominate the art world’s zeitgeist, this presentation foregrounds an artist whose contributions to the canon are only now being fully recognized.
About Marie Wilson
Marie Wilson (1922, Cedarville, CA – 2017, Athens, Greece) emerged from her Northern California upbringing with a conviction that she had “been born an artist.” After studying art at Mills College, Oakland, and the University of California, Berkeley, she entered the Bay Area’s vibrant postwar avant-garde, guided by the Greek artist Jean Varda and British surrealist Gordon Onslow Ford, and was drawn into the intellectual circle of the influential Dynaton movement.
Her move to Paris in 1952 with Austrian surrealist and theorist Wolfgang Paalen marked a turning point. She worked with the leading figures of European surrealism, notably André Breton, the co-founder of the movement, who exhibited her work alongside other surrealists’ and included her in avant-garde journals and reviews. During this period she deepened her engagement with automatism, occultism, and global spiritual traditions. Early works from this period fused lyrical abstraction with biomorphic, mosaic-like forms, reflecting a synthesis of surrealist experimentation and her longstanding interest in Indigenous American, pre-Columbian, and other non-Western iconographies.
By the mid-1950s, Wilson had forged an unmistakable, signature style: symmetrical, meticulously rendered, spiritually charged compositions that she approached with intense concentration and an almost ritualistic method. Inspired by "outsider" visionaries such as Fleury Joseph Crépin and Augustin Lesage, she developed a deliberate form of automatism. Her work from this period and beyond, including collaborations with her husband, the poet Nanos Valaoritis, reveals a visual language that echoes Navajo snd paintings, Tibetan mandalas, and Pacific Northwest art—a confluence of the cosmic and the totemic. She once described her process as such:
“When I look at an empty canvas, I go to the center automatically. Usually, I start a little above center, and draw a dot or maybe a little shadow there—something. Then I put another bit to the right and to the left, and then above and then below. It’s like a cross. I work like that, as if I were making lace. I invent it as I go. I am not starting with an idea. I don’t know where or what I am going to do when I begin a drawing or a painting.”
