At some point during the process, the forms coalesce into impressions strong enough to suggest a particular food, place, or object—which becomes the title. But the titles, though often highly specific, are not meant to be indications of what the work is “about.” “My work is to be experienced with eyes open, mind still,” he says. “People should have their own ideas and relation to the work. That’s where the real value is and it’s a more interesting place than one single path could lead to.” Between the shifting planes of pink, orange, and red in Crab Pot (2014), it’s easy to flash back to a memory of bright ingredients and spices simmering together in a pot. Meanwhile, more nebulous works, like First Thing (2014), offer innumerable different readings. Wilson’s paintings are not really abstractions, but more so conversations—intimate, mysterious whisperings that unfold between the artist and viewer.