M A R G O T  W I L S O N - I N T E R D I S C I P L I N A R Y   A R T I S T

Welcome 

Having spent 6-years reading philosophy and 4-years studying writing and art practice at the Royal College of Art I am now finishing my studies at The Slade School of Fine Art through their MFA Sculpture programme. Finishing in 2027 will conclude 17-years of continuous academic research resulting in, I hope, my Luminance and Resonance Project, Venus Manifesto and Third Millennium projects coming fully into the world.

My practice is grounded in a sustained, interdisciplinary enquiry that spans sculpture, astrology, philosophy, writing, meditation and improvisation in performance. Early work as an astrologer and independent researcher into consciousness and altered states established a long-term engagement with non-linear systems of consciousness and knowledge. This was deepened through formal study, completing a BA in Philosophy at Birkbeck and an MPhil Philosophy at the University of Glasgow (2010–2016), where I examined questions of Buddhist framing ignorance, cognition, and embodiment within a neuroscience framework. Alongside this, my writing and research into spiral energy and bi-handed drawing have developed as practice-based methodologies for thinking through motion, non-duality, and emergence. My current sculptural and performative work synthesises these trajectories, bringing together material experimentation and philosophical enquiry. This combined background enables me to approach my practice as both critical investigation and embodied ritual.

Luminance and Resonance in Porcelain Architectural Sculpture

For further information please click on the link.

SEE -LUMINANCE AND RESONANCE

Venus Manifesto (2022-)

The Venus Project reimagines one of art history’s most enduring archetypes, the Venus figure, not as an idealised body, but as a vessel of breath, rupture, and becoming. Working primarily in porcelain, I sculpt torsos that shift between abstraction and figuration, often dysmorphic, fractured, or monolithic. Each form emerges rapidly, dried upright to embody gravity and the lived tension of inhalation and exhalation.

Rather than reproducing the Greco-Roman goddess of perfection, my Venuses evoke ancient figurines as teachers of mortality, resilience, and transformation. Their surfaces, creased and ruptured, emphasise fragility as strength, each figure a unique meditation on the unstable thresholds of embodiment. Together, the works form a constellation of presences: silent totems that invite viewers to confront beauty, loss, and the unstable breath of life itself.

Group shows include Dalkeith Palace (Edinburgh 2023), Art in the Docks (Royal Wharf 2024), The Graduate Art Show (London 2024), Himalayan Sculpture Park and Garden (Yorkshire 2025).

See THE VENUS MANIFESTO

Third Millennium Project > 01.01.3000 (2022-)

Predictive Text 01.01.3000 is a trance-writing installation of ten 20-metre scrolls suspended as analogue thought-clouds. Written on vintage typewriters and based on the astrological chart of the Third Millennium, the work channels a stream of consciousness that echoes mystic texts and Beat poetics, treating prediction as imagination and courage. 

Predictive Text 01.01.3000 is a durational trance-writing piece made with vintage electric typewriters and ritualised materials, exhibited as a site-responsive installation. Ten 20-metre scrolls of streamed consciousness are suspended from the ceiling as analogue thought-clouds, invoking the in-between states of hypnagogia and dreaming. Based on the astrological chart marking the dawn of the Third Millennium, the text emerges through immersive trance-typing, echoing the Dead Sea Scrolls, Alice Bailey, W. B. Yeats’ spirit dictations, and Jack Kerouac’s spontaneous poetics.

Group shows include: After Judy (Campervan Collective) (Hyde Park 2024), International Body of Art, LEX1, (Peckham 2024), ONE EXTENDED MEDITATION: THE FURIES COLLECTIVE, Copeland Gallery (London 2024). 

SEE THE THIRD MILLENNIUM PROJECT

BREATH QUARTET

Short video introducing my vocal and arms meditation performance as one of Breath Quartet at IKLECTIK. For further information see the Breath Quartet page on my website or go to www.breathquartet. My colleagues are Marcus Herne on music composition and improvisational performance, Ziza on movement and vocals, and James Merrell on images and projection. Our producer was April Kelly. Gratitude to IKLECTIK for hosting us. Next performances are part of Pendulum/Derivo at the Old Church, Stoke Newington on May 6th and Dance Not Dance, with The Drum Also Dances at the Horse Hospital, London on May 21st.

SEE - BREATH QUARTET

Moon Milk and Breath Quartet (2026)

This is a short clip of my porcelain chime bells, each one an acoustic dome resonating at a frequency between a brass gong and bone. This was part of Breath Quartet's workshop in January 2026.

SEE - BREATH QUARTET

IMPERMANENCE> Portals

Contrasting my fired porcelain projects, my SYBL (See Your Body Later) project works with marble dust, fabric and found flint.  Stardusters reimagine sculptural materiality through a sensuous engagement with weight, breath, and transformation. Traditionally dense and rigid substances, marble dust, crushed flint, and porcelain, are sewn into soft muslin bodies, creating forms that are entirely moveable and self-supporting. These works act like permeable skins, fusing surface and content in an ever-shifting state of expansion and contraction, echoing the act of breath at its fullest.

Referencing both the cosmos and the gut, Stardusters consider the body's internal systems, especially digestion and the enteric nervous system, as sites of intelligence and holding. The intestinal composition suggests not just the processing of matter, but also of memory and presence. Stardusters here are emergent, sensate forms and sculptural bodies that listen, respond and reconfigure, gesturing toward an aliveness beyond static form, toward a poetics of the somatic.

Group shows include Royal Scottish Academy Exhibition, (Edinburgh, 2025).

See PORTALS

CHANNELLING TEXT

Spiritual and tantric meditation practices across humanity involve the cultivation of states of ecstasy. There are three essential components to achieving these fugue-like meditative states; the first is breath, the second is the eyes, the third is elongation of the spine. The first of these three components is shared by all mammals. The second component is the positioning of the eyes at the front of the skull and, most importantly, the converging of the focus and ability to direct the focus upwards to the centre of the forehead, the third eye. Doing so directly effects the pineal gland and the management of the body’s hormones, producing visions and ecstatic states Jung assigned as schizophrenia, and experienced himself. The third component is the ’S’ shape of the spine, is unique to bipedal humans. Apes and monkeys have a straight spine that join as an angle towards the rear of the skull while the human spine enters the skull more towards the centre. These three components combined together are possibly the minimum required to experience and comprehend and locate what is termed here as superhuman agency in ecstatic states. My practice of channelling and automatic writing draws upon this embodied technology. Body imagery and text drifts across the third eye field. Traverses the neural and nervous highways. Streams like Heraclitus's moving river through ten fingers. Pressing typewriter keys. Etching metal. Scratching scoring a new cosmic song.

See PUBLICATIONS

RESEARCH > DE-ONTOLOGISING EMPTINESS   

My essays and texts explore themes of equanimity, resonance, and post-self aesthetics, drawing connections between early Buddhist teachings, modern acoustic theory, Kundalini science and contemporary art.

Whether as academic publication, poetic text, or lecture-performance, my writing aims to open spaces of philosophical unknowing where ideas can be felt as much as reasoned, and where art becomes philosophy in action.

Published on Academia.edu, PhilPapers, Researchgate. Presentations given at TSC Poster Presentation, Towards a Science of Consciousness, Helsinki (2015), Breath Induced ‘Vivid Dreaming’ (BIVD:) Soma-Neuro-Immersive (SNI) Breath Work for Release of Soma-Neuro Holding Patterns, RCPSYCH Poster Presentation: Royal College of Psychiatry International Congress, Edinburgh (2017), How Can We Use Bi-Handed Drawing, Breath, and Sound to Investigate Cyclical Spiral Energy? Science of Consciousness, Taormina, Italy (2023).

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Towards Levitation > Breath (2020-)

Performances such as Lament for Gaia, Breath Quartet, and MA LAST MA bring together voice, body, and environment, creating live compositions that oscillate between meditative stillness and raw sonic intensity.  In this space performance becomes both ritual and research: a collective meditation on the fragility, resilience, and aliveness of being human.

Exhibited in various group shows including Tate Lates (Tate Modern 2024), Safe House (Peckham 2024), HSBC (Canary Wharf 2023). 

see more TOWARDS LEVITATION