This is a series of single channel videos depicting a series of moving paintings that present a philosophical enquiry and overcome barriers for visually understanding the complex nature of connections and ruptures between memory and place. The works show time in reverse while they reappropriate various character-based portraits derived from medieval religious paintings at St. Michael's church, Schwaebisch Hall, Germany. Wilson's work has strongly influenced gothic sensibility and has had high cultural impact, helping to establish a genre identity internationally. Images were re-created through performative video as a way of repositioning memories of the original images into locations that themselves hold memories. Wilson's videoart influences include Bill Viola and Eija-Liisa Ahtila. "Wilson's hangover durationals best illustrate how cinema can affect another medium and comment on it. He steals memories from filmic locations, ones that carry the loaded weight of time and uses film techniques to burden us with their significance." "Only by using video could Wilson temporally hold us in his Altered States-like hyperbaric chamber. To use film would cost Wilson a fortune and slow him down (and it's the work he wants to slow down not the process." "It's within this militarised zone that video art can forge a universal appeal and communicate to more than a couple of art students."
Lee, B (07). Artlink, Vol.27, No.3, pp28-31. Also shown at venues in Aust., Europe and the USA; eg U-Turn, Glendale College Gallery, LA, curated by Larissa Hjorth and Kate Shaw (supported by Arts Vic. International Fund). Expert Malcom Bywaters used the series for an enquiry into important contemporary Australian artworks which focus on issues of memory and place. In 2006 Wilson was visiting Prof. at the Hochshule der Medien Stuttgart and founded the International Conf. on Film and Memorialisation series, with the first at the Uni. of Applied Sciences, Schwaebsich Hall.