T. Kelly Wilson
Current Exhibition Artist bio
Gurari Collections is very pleased to present INSIDE OUTSIDE, a new exhibition of oil-on-canvas paintings by T. Kelly Wilson. The artwork stems from a long-lasting exploration in the still-life painting of a Begonia plant in different contexts.
The artist's own statement exemplifies his process and discovery. T. Kelly Wilson, September, 2026 –
"I will often use plants or flowers to help address the notions of space and form I become invested in, placing them in arrangements against complex backgrounds contrived to create various kinds of contrast. As often, the plants serve to be their own complex entity. More about the exhibition…
Gurari Collections is an e-commerce website. Please click on the images below to be taken to that painting’s inventory page, where that piece of artwork can be purchased. Anything marked with a dot has been sold.
T. Kelly Wilson
2026
16” x 20”
Oil on canvas
“I will often use plants or flowers to help address the notions of space and form I become invested in, placing them in arrangements against complex backgrounds contrived to create various kinds of contrast. As often, the plants serve to be their own complex entity. The Cutchogue Series had their actual origin from a previous body of work concerned with the Begonia plant as a form of portrait painting; the plant was painted from observation at eye-level, not looking from above to below as in most still-life’s. I approached the plant as if it were an entity speaking directly to me, on my level, eye to eye.”
T. Kelly Wilson
2026
20” x 20”
Oil on canvas
“I will often use plants or flowers to help address the notions of space and form I become invested in, placing them in arrangements against complex backgrounds contrived to create various kinds of contrast. As often, the plants serve to be their own complex entity. The Cutchogue Series had their actual origin from a previous body of work concerned with the Begonia plant as a form of portrait painting; the plant was painted from observation at eye-level, not looking from above to below as in most still-life’s. I approached the plant as if it were an entity speaking directly to me, on my level, eye to eye.”
T. Kelly Wilson
2026
12” x 12”
Oil on canvas
“I will often use plants or flowers to help address the notions of space and form I become invested in, placing them in arrangements against complex backgrounds contrived to create various kinds of contrast. As often, the plants serve to be their own complex entity. The Cutchogue Series had their actual origin from a previous body of work concerned with the Begonia plant as a form of portrait painting; the plant was painted from observation at eye-level, not looking from above to below as in most still-life’s. I approached the plant as if it were an entity speaking directly to me, on my level, eye to eye.”
T. Kelly Wilson
2026
16” x 20”
Oil on canvas
“I will often use plants or flowers to help address the notions of space and form I become invested in, placing them in arrangements against complex backgrounds contrived to create various kinds of contrast. As often, the plants serve to be their own complex entity. The Cutchogue Series had their actual origin from a previous body of work concerned with the Begonia plant as a form of portrait painting; the plant was painted from observation at eye-level, not looking from above to below as in most still-life’s. I approached the plant as if it were an entity speaking directly to me, on my level, eye to eye.”
T. Kelly Wilson
2026
12” x 12”
Oil on canvas
“I will often use plants or flowers to help address the notions of space and form I become invested in, placing them in arrangements against complex backgrounds contrived to create various kinds of contrast. As often, the plants serve to be their own complex entity. The Cutchogue Series had their actual origin from a previous body of work concerned with the Begonia plant as a form of portrait painting; the plant was painted from observation at eye-level, not looking from above to below as in most still-life’s. I approached the plant as if it were an entity speaking directly to me, on my level, eye to eye.”
T. Kelly Wilson
2026
12” x 12”
Oil on canvas
“I will often use plants or flowers to help address the notions of space and form I become invested in, placing them in arrangements against complex backgrounds contrived to create various kinds of contrast. As often, the plants serve to be their own complex entity. The Cutchogue Series had their actual origin from a previous body of work concerned with the Begonia plant as a form of portrait painting; the plant was painted from observation at eye-level, not looking from above to below as in most still-life’s. I approached the plant as if it were an entity speaking directly to me, on my level, eye to eye.”
T. Kelly Wilson
2026
16” x 20”
Oil on canvas
“I will often use plants or flowers to help address the notions of space and form I become invested in, placing them in arrangements against complex backgrounds contrived to create various kinds of contrast. As often, the plants serve to be their own complex entity. The Cutchogue Series had their actual origin from a previous body of work concerned with the Begonia plant as a form of portrait painting; the plant was painted from observation at eye-level, not looking from above to below as in most still-life’s. I approached the plant as if it were an entity speaking directly to me, on my level, eye to eye.”
T. Kelly Wilson
2019
20” x 20”
Oil on canvas
“I will often use plants or flowers to help address the notions of space and form I become invested in, placing them in arrangements against complex backgrounds contrived to create various kinds of contrast. As often, the plants serve to be their own complex entity. The Cutchogue Series had their actual origin from a previous body of work concerned with the Begonia plant as a form of portrait painting; the plant was painted from observation at eye-level, not looking from above to below as in most still-life’s. I approached the plant as if it were an entity speaking directly to me, on my level, eye to eye.”
T. Kelly Wilson
2026
14” x 14”
Oil on canvas
“I will often use plants or flowers to help address the notions of space and form I become invested in, placing them in arrangements against complex backgrounds contrived to create various kinds of contrast. As often, the plants serve to be their own complex entity. The Cutchogue Series had their actual origin from a previous body of work concerned with the Begonia plant as a form of portrait painting; the plant was painted from observation at eye-level, not looking from above to below as in most still-life’s. I approached the plant as if it were an entity speaking directly to me, on my level, eye to eye.”
T. Kelly Wilson
2019
20” x 20”
Oil on canvas
“I will often use plants or flowers to help address the notions of space and form I become invested in, placing them in arrangements against complex backgrounds contrived to create various kinds of contrast. As often, the plants serve to be their own complex entity. The Cutchogue Series had their actual origin from a previous body of work concerned with the Begonia plant as a form of portrait painting; the plant was painted from observation at eye-level, not looking from above to below as in most still-life’s. I approached the plant as if it were an entity speaking directly to me, on my level, eye to eye.”
T. Kelly Wilson
2026
12” x 12”
Oil on canvas
“I will often use plants or flowers to help address the notions of space and form I become invested in, placing them in arrangements against complex backgrounds contrived to create various kinds of contrast. As often, the plants serve to be their own complex entity. The Cutchogue Series had their actual origin from a previous body of work concerned with the Begonia plant as a form of portrait painting; the plant was painted from observation at eye-level, not looking from above to below as in most still-life’s. I approached the plant as if it were an entity speaking directly to me, on my level, eye to eye.”
T. Kelly Wilson
2026
12” x 12”
Oil on canvas
“I will often use plants or flowers to help address the notions of space and form I become invested in, placing them in arrangements against complex backgrounds contrived to create various kinds of contrast. As often, the plants serve to be their own complex entity. The Cutchogue Series had their actual origin from a previous body of work concerned with the Begonia plant as a form of portrait painting; the plant was painted from observation at eye-level, not looking from above to below as in most still-life’s. I approached the plant as if it were an entity speaking directly to me, on my level, eye to eye.”
T. Kelly Wilson
2026
16” x 20”
Oil on canvas
“I will often use plants or flowers to help address the notions of space and form I become invested in, placing them in arrangements against complex backgrounds contrived to create various kinds of contrast. As often, the plants serve to be their own complex entity. The Cutchogue Series had their actual origin from a previous body of work concerned with the Begonia plant as a form of portrait painting; the plant was painted from observation at eye-level, not looking from above to below as in most still-life’s. I approached the plant as if it were an entity speaking directly to me, on my level, eye to eye.”
T. Kelly Wilson
2026
20” x 20”
Oil on canvas
“I will often use plants or flowers to help address the notions of space and form I become invested in, placing them in arrangements against complex backgrounds contrived to create various kinds of contrast. As often, the plants serve to be their own complex entity. The Cutchogue Series had their actual origin from a previous body of work concerned with the Begonia plant as a form of portrait painting; the plant was painted from observation at eye-level, not looking from above to below as in most still-life’s. I approached the plant as if it were an entity speaking directly to me, on my level, eye to eye.”
T. Kelly Wilson
2026
12” x 12”
Oil on canvas
“I will often use plants or flowers to help address the notions of space and form I become invested in, placing them in arrangements against complex backgrounds contrived to create various kinds of contrast. As often, the plants serve to be their own complex entity. The Cutchogue Series had their actual origin from a previous body of work concerned with the Begonia plant as a form of portrait painting; the plant was painted from observation at eye-level, not looking from above to below as in most still-life’s. I approached the plant as if it were an entity speaking directly to me, on my level, eye to eye.”
SOLD
T. Kelly Wilson
2019
20” x 20”
Oil on canvas
“I will often use plants or flowers to help address the notions of space and form I become invested in, placing them in arrangements against complex backgrounds contrived to create various kinds of contrast. As often, the plants serve to be their own complex entity. The Cutchogue Series had their actual origin from a previous body of work concerned with the Begonia plant as a form of portrait painting; the plant was painted from observation at eye-level, not looking from above to below as in most still-life’s. I approached the plant as if it were an entity speaking directly to me, on my level, eye to eye.”
SOLD
T. Kelly Wilson
2026
14” x 14”
Oil on canvas
“I will often use plants or flowers to help address the notions of space and form I become invested in, placing them in arrangements against complex backgrounds contrived to create various kinds of contrast. As often, the plants serve to be their own complex entity. The Cutchogue Series had their actual origin from a previous body of work concerned with the Begonia plant as a form of portrait painting; the plant was painted from observation at eye-level, not looking from above to below as in most still-life’s. I approached the plant as if it were an entity speaking directly to me, on my level, eye to eye.”
T. Kelly Wilson
2026
20” x 20”
Oil on canvas
“I will often use plants or flowers to help address the notions of space and form I become invested in, placing them in arrangements against complex backgrounds contrived to create various kinds of contrast. As often, the plants serve to be their own complex entity. The Cutchogue Series had their actual origin from a previous body of work concerned with the Begonia plant as a form of portrait painting; the plant was painted from observation at eye-level, not looking from above to below as in most still-life’s. I approached the plant as if it were an entity speaking directly to me, on my level, eye to eye.”
T. Kelly Wilson
2026
20” x 20”
Oil on canvas
“I will often use plants or flowers to help address the notions of space and form I become invested in, placing them in arrangements against complex backgrounds contrived to create various kinds of contrast. As often, the plants serve to be their own complex entity. The Cutchogue Series had their actual origin from a previous body of work concerned with the Begonia plant as a form of portrait painting; the plant was painted from observation at eye-level, not looking from above to below as in most still-life’s. I approached the plant as if it were an entity speaking directly to me, on my level, eye to eye.”
T. Kelly Wilson
2019
20” x 20”
Oil on canvas
“I will often use plants or flowers to help address the notions of space and form I become invested in, placing them in arrangements against complex backgrounds contrived to create various kinds of contrast. As often, the plants serve to be their own complex entity. The Cutchogue Series had their actual origin from a previous body of work concerned with the Begonia plant as a form of portrait painting; the plant was painted from observation at eye-level, not looking from above to below as in most still-life’s. I approached the plant as if it were an entity speaking directly to me, on my level, eye to eye.”
T. Kelly Wilson
2026
12” x 12”
Oil on canvas
“I will often use plants or flowers to help address the notions of space and form I become invested in, placing them in arrangements against complex backgrounds contrived to create various kinds of contrast. As often, the plants serve to be their own complex entity. The Cutchogue Series had their actual origin from a previous body of work concerned with the Begonia plant as a form of portrait painting; the plant was painted from observation at eye-level, not looking from above to below as in most still-life’s. I approached the plant as if it were an entity speaking directly to me, on my level, eye to eye.”
T. Kelly Wilson
2019
20” x 20”
Oil on canvas
“I will often use plants or flowers to help address the notions of space and form I become invested in, placing them in arrangements against complex backgrounds contrived to create various kinds of contrast. As often, the plants serve to be their own complex entity. The Cutchogue Series had their actual origin from a previous body of work concerned with the Begonia plant as a form of portrait painting; the plant was painted from observation at eye-level, not looking from above to below as in most still-life’s. I approached the plant as if it were an entity speaking directly to me, on my level, eye to eye.”
SOLD
T. Kelly Wilson
2019
20” x 20”
Oil on canvas
“I will often use plants or flowers to help address the notions of space and form I become invested in, placing them in arrangements against complex backgrounds contrived to create various kinds of contrast. As often, the plants serve to be their own complex entity. The Cutchogue Series had their actual origin from a previous body of work concerned with the Begonia plant as a form of portrait painting; the plant was painted from observation at eye-level, not looking from above to below as in most still-life’s. I approached the plant as if it were an entity speaking directly to me, on my level, eye to eye.”
SOLD