Garden of Delights, 2013, is a collaboration with Peter Hoffman for Making It, an exhibition about artist couples and collaboration, showing the ways in which two people influence each other’s artistic practices. Curated by Kathy Rodriguez for UNO St. Claude Gallery, August/September 2013.


HEKS is a meditation on invented myth, magic and ritual through photography, video and sound collage. This work considers both a conflicted human reverence and persecution towards that which is not understood.

HEKS was born out of an observation of the way that the term “witch” has evolved in recent popular culture. A word, which in the past was used to accuse women of dissent and evil that would send them towards horrific fates, has become something that describes feminine power now in a more positive light.

These works utilize a cinematic style combining landscape, geometry and symbolism to evoke a sense of mysticism and the supernatural with a strong, female protagonist at the helm.



Accompanying HEKS is a sound experience titled Gentle Touch, a ten song collaboration with Michael Arcos of synths and samples on cassette tape.


Gentle Touch, a limited edition of 13 cassette tapes, accompanies the exhibition. A subdued explosion of synth, drum machine, and sampling, Michael and Ryn create an atmospheric, auditory experience to complement the works on view. In a handsome, ethereal, 32 minute special bundle of repurposed white plastic church cassette tapes, Gentle Touch will reach you in unexpected ways.” -PH

Gentle Touch is a must see and hear” -Robert Englund

Listen to and download Gentle Touch or buy the cassette tape while supplies last.


Discipline, 2015, is a collaboration between Peter Hoffman and Ryn Wilson. An installation primarily of works on paper including drawing, collage, sewing, gouache, watercolor, and ink.  The artists gave themselves the task to each make one work per week for twenty- two weeks, alternating on presenting a theme for each drawing.  The results are two separate takes on a challenge, usually meant to amuse the other in the title or phrasing of the theme.  Subjects range from porcupines, comic books, crop circles, eunuchs, and stowaways, to an increasing focus on mythology, mysticism, and outdated belief systems.  As much as the drawings are an exercise in exercising, they are also a display of simultaneous critique and belief in the images; a large and intentionally convoluted range of depictions, dutifully rendered.


Carry On is a collaborative video project created by members of The Front for an exhibition held in Mexico City at Galeria Feral in January 2016. 



Each member also created an 11x17in “Altar drawing” on paper for this exhibition.



Lost Archives, 2015, is the collection of a fictional museum display, an alternate system for categorizing and exploring the natural world. The work in this show utilizes a variety of collage approaches as a way of creating order from seemingly random elements. Clips from various nature videos are layered together in a similar fashion to the shelves of collaged cards created from found and generated components. Landscapes are altered in an attempt to cull patterns from the shapes within. Natural elements are magnified, mirrored, multiplied and put on display.

Lost Archives began its formation after a visit to the Natural History Museum in New York City. The endless halls of carefully crafted displays showcasing the mysteries of the universe peaked my interest into the connection between geometry and nature. The push and pull of order vs. chaos is apparent in the constant human struggle to control nature and it’s inevitable destructive forces. The museum displays elements of this planet in a perfection that is antithetical to its subject matter. Taxonomy’s, charts, graphs, labels and other systems are put upon these wild elements in a manner which fringes on absurdity. It is both proof of the incredible achievements of the human mind and a humbling reminder that nature will never be tamed.

Ryn Wilson is a multi-media artist in New Orleans. She works in photography and video, often incorporating other techniques such as collage, sewing, painting, drawing and installation. Her themes revolve around human/nature in conflict with social constructs, with an emphasis on feminism, the environment and identity. She received her BFA from the University of Wisconsin-Milwaukee and her MFA from the University of New Orleans. Ryn works as a costume designer and has been a member of the artist run gallery, The Front, since 2014 where she exhibits, curates and co-founded an annual shorts film festival.


EXHIBITIONS (*solo and two person exhibitions):


I’m your Cannibal, The Front, New Orleans, LA

I [Love] America and America [Loves] Me., Box 13, Houston, TX


Photos from the Flat File: A benefit for Antenna, Foundation Gallery, New Orleans, LA

*HEKS/SMUK, The Front, New Orleans, LA

Artscape: Artist-run art fair, Baltimore, MD

Intimate Distance, The Great Wall of Oakland film series, Oakland, CA

I AM AN IMPORTANT GIANT, Antenna Gallery, New Orleans, LA

Shift Change, The Front, New Orleans, LA

Carry On, Feral Gallery + Breve Gallery, Mexico City, Mexico


Means, Motive, Opportunity, The Front, New Orleans, LA

*Lost Archives, The Front, New Orleans, LA

Straight Shot, Mass Gallery, Austin, TX

*Discipline, The Front, New Orleans, LA



Oppositions & Parallels, The Front, New Orleans, LA

Videoextravaganza #3 – Translocations, or on how presence in space can change (you), Digital Interactive Art Space, Vallensbaek, Denmark

Videoscape: A screening inspired by Nicolas Party’s exhibition Landscape, Kunsthall Stavanger, Stavanger, Norway

*Fathom (MCMLXXVI), The Front, New Orleans, LA

Back to the Front, The Front, New Orleans, LA

WET, UNO Gallery, New Orleans, LA

The Front @ Art Lab, Art Lab and Makii Masaru Fine Arts, Tokyo, Japan

Oslo Screen Festival – International Video Art Festival, Oslo, Norway

18 and Life, The Front, New Orleans, LA

Moviehouse NOLA, The Saratoga, New Orleans, LA


Works From Home, Ten Gallery, New Orleans, LA

Making It, UNO Gallery, New Orleans, LA

*KünstlerInnen aus New Orleans, Galerie im Andechschof, Innsbruck, Austria

POP UP SHOW, Martine Chaisson Gallery, New Orleans, LA

*CINEMATROPE, UNO St. Claude Gallery, New Orleans, LA

Bring Your Own Beamer, Antenna Gallery, New Orleans, LA

Continuum, Arts Center Gallery, Milwaukee, WI

This is How We Roll, Barrister’s Gallery, New Orleans, LA

Jahresausstellung, HAW Finkenau, Hamburg, Germany

NOLA NOW II: The Human Figure, Contemporary Arts Center, New Orleans, LA

C FEM ART, The Salon, New Orleans, LA

Salon de Refuses, Trouser House, New Orleans, LA

Papergirl SF, Incline Gallery, San Francisco, CA

Push Pin Show, Homespace Gallery, New Orleans, LA

Stitch In Time, Antenna Gallery, New Orleans, LA

2013    University of New Orleans, New Orleans, LA
Master of Fine Arts, Photography and Video

2012    Hamburg University of Applied Sciences, Hamburg, Germany
Semester in the Masters Photography and Film Program

2006    University of Wisconsin, Milwaukee
Bachelor of Fine Arts, Photography


Burnaway Staff, Burnaway’s Best of 2015: Exhibitions,, December 21, 2015

Naomi Shersty and Ryn Wilson, Artists in Conversation,, April 20, 2015

Sylvie Contigulglia, P.3, P.3+ at the Saint-Claude Art District,, November 26th, 2014

Eric Bookhardt, Review: New works at the Front, Gambit Weekly, May 27, 2014

Auf der Flucht mit Cary Grant, Tiroler Tageszeitung, July 4, 2013

Grenzenlose Kunst in der Andechs Galerie, Innsbruck Informiert, July 2013

Taylor Murrow, Review: ‘Pop Up Show’ at Martine Chaisson Gallery,, June 20, 2013

Eric Bookhardt, Review: Cinematrope, By Ryn Wilson, Gambit Weekly, March 26, 2013

Eric Bookhardt, Review: New works at St. Claude Avenue galleries, Gambit Weekly, Septermber 26, 2013

Beautiful/Decay: Future Perfect; Book 6, July 2011; edition of 1500 copies

Club Vanity, Tokion Magazine, V.12/No. 64, November 2007





There was a renaissance of artistic freedom in mainstream films during the 70s. At this time, the public began to embrace international, independent and alternative cinema, which encouraged filmmakers to redefine their craft in visual and narrative terms. This resulted in a strangeness and originality that could never make it into the big budget films of today.
Horror and sci-fi often express the zeitgeist or fears of an era. In this period, feminism translated into the new phenomenon of the female protagonist transitioning from victim to heroine, such as in classics like Halloween or Alien. The Satanic Panic of the religious right created an interest in occult subjects, which were the focus of so may filmmakers of the time like Roman Polanski and Dario Argento.

Fathom (MCMLXXVI), 2014, examines elements of horror and sci-fi from this period. Through digital photography, I create the outline of a narrative, giving the viewer stills from an imagined film. I give clues, such as a female lead being pursued by an invisible antagonist, which suggests the supernatural is at play. I project a video of a ghostly scene on loop behind a velvet movie curtain with a single red light bulb, suggesting a space where a medium would summon spirits. Style and subject matter take on the elements of the uncanny, the seductive and the enticing quality of our anxieties and curiosities.


Oppositions & Parallels, 2014, is a series of photographs exploring the relationship between environment, both man-made and natural, and the self. Having traveled abroad extensively, I have at points found myself to be the outsider, the newcomer, and the stranger. Viewing oneself in an alien environment can take on an out of body kind of experience, as if one was a voyeur to his or her own actions. To create these images I arranged mirrors and prisms within a small room of mirrors and used a camera, a tool that utilizes mirrors and reflection/refraction, to capture the images. The photographs were displayed on mirror shelves reflecting both the image as well as a pattern of light and shadow on the wall behind it. I ultimately constructed a distorted and fractured version of myself within my surrounding environment sometimes physically present, others not. The endless reflections also determine how I fit into and interact with my surroundings. These artworks explore associated feelings of confusion, loss, anxiety, desire, and loneliness, emotions which can arise from living an itinerant and malleable existence.