Friday, November 1, 2013


Come join us for the reception of an exhibition about the history of cinema in New Orleans and contemporary art surrounding that theme. I will have a few photographs among many other works. It's going to be great!

Thursday, September 5, 2013

Group show at the Ten Gallery

TEN Collective Members have joined to curate an exhibition of works from their personal collections. The title is a play on the theme of the show, but also on the idea that as artists, collective members are often working in front of these pieces in their own practices. Artists on display include Michael Bonfiglio, Douglas Bourgeois, Ryn Wilson, and others. 

 Please join us for an opening reception in the Stairwell Gallery 
on Saturday, September 7, from 6-9 p.m. 
The works will be on display until Sunday, September 29. 
Gallery hours are 12-5 p.m. Saturdays and Sundays.

Sunday, August 4, 2013

Upcoming Show!

Making It

A show about artist collaborators and couples
Saturday, August 10, 2013
6-9 p.m.

Ariya Martin and Michael Winter, photography and sound

These artists show the ways in which two people influence each other’s artistic practices. Works will include photography, video, installation, drawings, sculpture, and painting. Exhibiting artists include Ariya Martin and Michael Winter, Kevin Baer and Sylvia Santamaria, Natalie McLaurin and Ben Fox-McCord, Ryn Wilson and Peter Hoffman, Kathy Rodriguez and Matthew Kirscht, Rachel and Christopher Deris, and Tony Campbell and Matt Vis (as Generic Art Solutions).  The show will run from August 10 to September 1, 2013.

2429 St. Claude Avenue, New Orleans, Louisiana 70117

Regular gallery hours are held on Saturdays and Sundays from 12-5 p.m.
This exhibit features UNO Department of Fine Arts faculty Ariya Martin, Tony Campbell, and Kathy Rodriguez; M.F.A. students Peter Hoffman and Natalie McLaurin; and M.F.A. alums Rachel Deris, Ryn Wilson, and Kevin Baer.

Friday, June 21, 2013

Review on Pelican Bomb

An excellent review of the group show I'm in was written by Taylor Murrow for Pelican Bomb.

Review: ''Pop Up Show'' at Martine Chaisson Gallery

Part of the enchantment of film as an art form is its ability to immediately draw viewers into a world outside of their own, and even if just for a moment, consider it as their own. It’s an escape from reality and perhaps also an exploration into a new identity, a new life, a new way of being. In "Pop Up Show," on view at Martine Chaisson Gallery, photographs by Ryn Wilson play upon those cinematic expectations reserved within us. In one diptych, Game of Thirds, 2012, a pair of hands dancing along a piano echoes the outstretched arm of a young woman lounging in the bathtub. This is no particular film, but the familiar tropes are all there, preying upon that universal part of the subconscious that secretly envisions starring in someone else’s scene.

Taryn Möller Nicoll invites a glimpse into our inner selves through her dissection of the body. In many cultures, bones are viewed as sacred elements; they represent humanity at its physical core, the most fundamental part of existence. In her photographic prints of collage, Nicoll forms collections of bones, like an archaeologist on an excavation rummaging through the remains of some lost species. In simplest terms, Nicoll points out the obvious: we are but a grouping of bones, muscles, and viscera. Are the desires unearthed by Wilson’s works any less significant in Nicoll’s anatomical view? Which facet defines us as more “human”—the body, the brain, or is it something else?

Carl Jung believed that within the unconscious mind lies the anima and animus—the feminine inner personality of the male or the masculine inner personality of the female.  In Anima and Animus, both 2013, Joli Livaudais has printed two life-size figures on aluminum, presiding like anointed deities over the gallery. The male Animus clutches a pomegranate in one hand and antlers in the other. While the female Anima is gently bathed in light, Animus appears more malevolent, shrouded in darkness, suggesting that both figures equally define the complexities of humanity.

At its core, the process of making art is an investigation—into the world around us, the unknown, and, of course, the self. Some of the artists in "Pop Up Show" challenge the fixed delineations of our bodies and our selves, and, in turn, ask where the intangibles—what we might call creativity or even the spirit—lie within. The question is not new, but remains inconclusive, reminding us why art, a medium that traffics in the ineffable, is a crucial vehicle for its exploration.

"Pop Up Show" on view until June 29 at Martine Chaisson Gallery (727 Camp Street) in New Orleans.

Monday, May 20, 2013

Pop Up Show at Martine Chaisson Gallery

I have work in and upcoming group show at the Martine Chaisson Gallery.
It will be up June 1st-29th.
Opening reception: June 1st, 6-9pm
727 Camp Street, New Orleans, LA
Gallery Hours: Tuesday-Saturday 11-5

Friday, April 5, 2013

CINEMATROPE review by Eric Bookhardt

The Gambit

March 26, 2013 Visual Arts » Art Review

Review: Cinematrope, by Ryn Wilson 

D. Eric Bookhardt is intrigued by the new show at the UNO St. Claude Gallery

     When we were young, we may have dreamed that our grown up lives would be like movies, epic adventures in which we were the stars and wrote the script instead of our mostly uncool parents. Only as adults did we learn that life is a collaboration of luck, intention and circumstance even if our dreams remained as cinematic as ever. Walker Percy explored this theme in the novel The Moviegoer, and now Ryn Wilson offers her take on it in this Cinematrope show, in which she often stars and writes the script, yet mostly remains a creature of context. Especially emblematic is Traces (pictured), a photograph of a woman toting a vintage valise into a foggy forest in a dreamlike scene that recalls Francoise Truffaut's flair for pastoral surreality. Here the setting dominates an image that evokes a deeply psychological sense of exile. Similar subtleties are heightened in a series of elegantly oblique diptychs, but Hitchcock sets the tone in The Fallen II, where a young woman in a short schoolgirl dress sprawls lifelessly at the bottom of a winding staircase. Wilson assumes a more personal role in a video of herself running alongside Cary Grant in the airplane scene in Hitchcock's North by Northwest, and peering in windows in Preston Sturges' The Lady Eve, but most of her work effectively taps the psychic reservoirs of cinematic myth we carry around inside us.
    In Sophie T. Lvoff's recent photography show at Tulane University's Carroll Gallery, the city itself was the star. Shadows of ironwork on cemetery walls mimicked the secret iconography of Voodoo hexagrams as cat's claw creepers scaled the walls of a desolate hardware store and ghostly figures in outlandish costumes appeared trapped behind fogged plate glass shop windows. Lvoff's understated images effectively evoked the intimate surprises that lurk, mostly unnoticed, around every corner: the secret lives of inanimate places and objects.


through April 6
Cinematrope: photographs and mixed media by Ryn Wilson
UNO St. Claude Gallery, 2429 St. Claude Ave., (504) 280-6493;

Sunday, February 24, 2013


My MFA thesis exhibition opens in two weeks!

"CINEMATROPE explores themes related to the history of film and how it affects our identity as a culture as well as our memories as individuals. Through a reevaluation of cinematic tropes, Ryn has created a series of fictional film stills. These "stills" allude to genres and repetitive imagery within the world of film without referring to any specific movie. She has created fictional movie posters with the same approach.

Her video installation explores the experience of mentally projecting oneself into a movie while watching it. Relating to characters on screen influences one’s personality as well as confuses real memories with what has been watched. Ryn physically puts herself into this position by projecting scenes from movies and inserting herself as a character into the story. She exists as both a fanatic who wants to be a part of this fictitious world, and a critic making a comment on the absurdity of the charismatic influence film has over its viewers. In this dichotomy she plays both the voyeur and the exhibitionist.
The sound is a collection of dramatic tracks taken from movies to emphasize cinema’s ability to manipulate viewers’ emotions. The soundtrack runs twice as long as the picture, illustrating the influence sound has over perception."

UNO St. Claude Gallery 
2429 St. Claude Ave. 
New Orleans, LA 70117

Exhibition dates: March 9th-April 6th

Opening reception: March 9th, 6-9pm
Closing reception: April 6th, 6-9pm

Open Fri-Sun, 12-5pm
(Closed March 29th-31st for spring break)