Wilson was first introduced to the glass medium as an Artist in Residence at the Pilchuck Glass School. In watching the movement of the gaffers, she realized the relatedness of textile processes to glass -- glass is flexible and can be fibrous when molten to bend, spin, wind, and wrap. By translating fiber bobbin-winding and rewinding into glass, Wilson was able to exploit aesthetic analogies between these two materials and modes of production.
The sculpture, Rewinds, is comprised of a large horizontal glass platform, an architecturally aligned carpet-like space, filled with an array of glass weaving bobbins. Organized in a relationship to the working processes of sorting sizes and colors in piles and rows, these objects imply a transitional state of use-function. The sculpture implies a workspace, a topography of use.
From a larger social perspective, the rewind project addresses issues that exist within highly technological societies (a renewed enthusiasm for hand crafting and tactility in response to digital screen culture) and most of the world where objects such as these rewinds represent conditions of labor, economic survival, and a very non-romantic presence of the endlessly busy hand. In fundamentally clashing social, economic, and cultural contexts -- from the Tibetan refugee weaving studios in northern India, to European couture workshops, to the weaving studios in western art schools -- fiber rewinds exist as objects of similar function and practical resourcefulness. They are how textile workers save small lengths of fiber for later re-use. In Wilson's sculpture, the medium of glass fixes the process in time and elicits meditation on highly disparate cultural contexts about art, cloth, and cultural production.