The work of Edward Walton Wilcox exposes his darkest dreaming; hand-carved Gothic altarpieces soar twelve feet high while young maidens in nightgowns and child-size skeletons are captured in landscapes of blazing windmills. Hauntingly beautiful, the work is overt in its reference to Gothic convention, in both content and physical facture. Wilcox's use of primitive materials, such as wood, glass, rabbit skin glues, Italian pitch and gesso lend an old world authenticity to the crockets, tracery and other conventions of gothic carpentry that caricaturize the multi-disciplined art of Edward Walton Wilcox.


He has been aptly named by critics as a true American Gothic and the work was ascribed the moniker "Southern California Noir" by the the LA TimesArt and Living states, "Edward Walton Wilcox's work exhibits an eerie quality that is hard to keep your eyes off of… the suggestions he makes are often unsettling. His images are dark, yes, but it's a darkness that Wilcox suggests should be more closely examined."


Wilcox explains, "I am fascinated with the fine line between beauty and repulsion as I continue to navigate the 'dangerous reaches of the unconscious' whereby a 'romance troubled by nightmares' may be further explored."


Originally from West Palm Beach, Florida, Wilcox earned a BFA in Painting with high honors from the University of Florida, where he also received the Presidential Award for Excellence in the Arts.


Wilcox's work has shown in Los Angeles, San Francisco, New York, Palm Beach, Miami, Palm Desert, Seattle, and Berlin, and has appeared in publications such as The LA Times, Juxtapoz, Coagula Art Journal and FLAUNT Magazine and can be found in private and public collections across the United States and abroad.