Shaun Wilson PhD, FRSA is an Australian artist, film maker, writer, and educator who for the past 25 years has made socio-political work about memory and places. He has exhibited and screened in over 200 venues including the 72nd Cannes Film Festival, 76th Venice International Film Festival, 11th Venice International Art Fair, 41st Art Cologne, 1st Athens Biennial, Australian Centre for Contemporary Art, the Australian Centre for the Moving Image, Museum of Contemporary Art Fenosa Union, Institute of Modern Art Brisbane, Seattle Centre on Contemporary Art, Moscow Museum of Fine Arts, Centre for Contemporary Culture Barcelona, and filmed collaborative work screened at the TATE Modern, Dundee Arts Centre Scotland, FACT Liverpool, and the Gallery of Modern Art Brisbane. He holds a Bachelor of Fine Arts with distinction from RMIT University (1995), a Bachelor of Fine Arts (hons) with distinction from Monash University (1996), and a PhD from the University of Tasmania (2005) where he was awarded a prestigious Australian Postgraduate Award (APA) scholarship. His projects and research have received funding from the National Association of Visual Arts (NAVA), Arts Victoria, the Australia Council for the Arts, the Department of Sustainability and Environment, Victorian State Government, RMIT University, University of Tasmania, the ERGAS Collection at the Museum of Contemporary Art, Sydney and private philanthropic funding. He has filmed and directed the slow cinema pentalogy The 51 Paintings Suite and has produced and directed two narrative-based feature films The Last Man in Vegas and Black Garden.
He is currently a Fellow of the Royal Society of Arts ANZ, a full member of the Australian Director's Guild, a film distributor with Bakers Road Entertainment and a Senior Lecturer in Digital Media in the School of Design, RMIT University.
In 2021, Shaun is a research resident with the School of Design, RMIT University at ACMI-X (Australian Centre for the Moving Image) investigating vintage 8mm home movies.
Image copyright Cara Culligan, 2017