Underpinning Cynthia Wild's work is a fascination with antiquity manifesting in works responding to ancient poetry and histories that grow into legend (18 Songs of a Nomad Flute); to the movements that slowly grew the earth and continue to change it (Mwnt, Escarpment, Rock, Steep Down); to the thin line between life and death (Fertile Eye - Fossiling); to the origins of homo sapiens and its connection with the past and the present (Eva).

18 Songs of a Nomad Flute - The Story of Wen Chi

Collages in response to the thirteenth century poems of Liu Shang are the basis for a series of small (45cm square)and large (76cm x 127cm) acrylic paintings on canvas. The transformation in scale and proportion from collage to the different sized paintings necessitates changes in composition that also initiate changes in the content of the paintings whilst retaining the integrity of the initial response to the individual poems. From the elements which constitute the collages, Derivations are made in sets of 18, referring to their origins in the poems.

Wen Chi was abducted in the third century AD by Mongolian soldiers and became wife to their general. For twelve years she lived the harsh life of her nomadic captors, always longing to return to China. At the end of this period, envoys from China negotiated a ransom with Wen Chi and her husband. She chose to return to China leaving behind the "enemy" husband who she had learned to "love and trust" and the children she had born, none of whom she would see ever again. The story demonstrates the importance of Homeland China and its civilisation, even to the exclusion of marriage and motherhood.

Mwnt, Escarpment, Rock, Steep Down

A variety of materials, graphite, oil and acrylic paints, collage and encaustic are used analogously to demonstrate the effects of weather and tectonic forces on the making of landforms and the environments they create.

Fertile Eye - Fossiling

Imagined "fossils" are depicted at a stage somewhere between their survival and petrification where of their re-awakening remains a possibility, reflecting on the arrow abyss that lies between life and the finality of death itself. The images are fish-shaped, the fish itself being a symbol of life and fertility in many cultures. They are also eye-shaped, and are therefore reflexive with the act of seeing and image-making. The ancient Roman technique of Encaustic (painting with pigments and hot wax) is used, not just for its aesthetic brilliance, but also for its association with antiquity.


The discovery of female hominoid remains in Africa in 1987 whose mitochondrial DNA is thought to be found in all the world's population, inspired a series of works where a Benin bronze is used to signify early woman and which is used as the source for a series of wood-cut-outs where images of "Eva" explore a number of political issues and cultural ideas.


Cynthia Wild has exhibited in galleries and public spaces in Britain and Australia. These include:


Mall Galleries, Brighton Museum, Festival Hall, Wandsworth Library


Chelsea College of Art, Addison Wesley Longman, Brixton Art Gallery, Haringey Arts Centre.


Battersea Arts Centre (London), Lyric Theatre (London), Bedford Hill Gallery (London Britain), The White House (Sydney, Australia)


Commissions: Balham Park Liaison Group, private commissions to individuals in UK
Private collections: Works are held in private collections in Europe, Australia and USA
Publications: Interview with artist Sally Smart in Meanjin Literary Magazine, Melbourne, Australia
Presentation: Photofusion on Photography and the Sublime
Teaches: Privately and at South Thames College London


Central School of Art and Design (Foundation); Wimbledon College of Art (BA Hons); Chelsea Collage of Art (MA). (All part of London University of the Arts)

Garnet College (Postgraduate Certificate in Education in Further and Higher Education)