CV

Awards/Grants/Fellowships

2019

. Red Hook Labs , New Artists III, Red Hook, NYC

. Artist Fellowship, Mass Cultural Council, Boston, MA

. FotoFilmic, MESH, finalist (winner tba in June)

. CENTER 2019 Project Launch Grant Honorable Mention Recipient, for Sleep Creek

2018

. Aperture Portfolio Award Finalist, Aperture Foundation, New York NY

. Shortlisted for Gomma Grant, Gomma Books, London

2017 

.The Kindling Fund, Andy Warhol Foundation (courtesy of Space Gallery),  Portland, ME

Published Titles 

2020

. TBA, Sleep Creek, Void, Athens, Greece ( first major monograph)

2019

. Holy Water, Self-Published, edition of 100

. Dripping Day, Self-Published, edition of 1

2018

. Marvelous Personas of Sick Flowers, two editions, Wilt Press (selected as a book of the year by Jesse Lenz)

. Transversals, Issue 4: Melancholy

. Hunger ; Issue 1, with Dylan Hausthor, Antoine D'Agata, Klavdij Sluban. Void Publishing, Athens, Greece

2017

. Wilt issue 2, Wilt Press

. God Left Me In The Hills, Wilt Press

. Source’ry, self-published

2016

. God’s Mirror 2, Wilt Press

. God’s Mirror 1, Wilt Press

. Found In the Flooded School, collaboration with Dylan Hausthor, Wilt Press

. Mary and Trula, Wilt Press

. Down Mount Hope, Wilt Press

. Chapel in the Pines, Wilt Press

2015

. Gonna’ Die Here, Sad Hair Press

2014

. Camera Roll, collaboration with Dylan Hausthor, Sad Hair Press

.  Mirror 1, Sad Hair Press

.  Mirror 2, Sad Hair Press

. God’s Mirror, Sad Hair Press

2013

. excavation behind my home, Sad Hair Press

. History of Tangled Wires, Sad Hair Press

. Scenes 01-72, Sad Hair Press

. First, Sad Hair Press

Select Exhibitions (solo, 2-person & group)

2020

. TBA, Sleep Creek, Void Gallery, Athens, Greece

. TBA, Brick City galleries - Missouri State University, Springfield, MO (curated by Zora J Murff and Rana Young) 

2019

. CENTER Winners Exhibition, Pictura Gallery, Bloomington, IN

. Labs New Artists III, Red Hook Labs, Oslo, Norway

. Labs New Artists III, Red Hook Labs, Milan, Italy

. Labs New Artists III, Red Hook Labs, NYC

. New Poetics, Aviary Gallery, Boston, MA

. The Big Reveal: Telling Truth in an Age of Fiction, El Museo Cultural de Santa Fe, Sante Fe, NM

. Too Tired Projects Vermont, VCP,  Brattleboro, VT

. CENTER, Santa Fe Portfolio Review, CENTER Project Launch Grant finalist presentation, Santa Fe, NM

. Context 2019, Filter Photo, Chicago, IL

. Loose Leafs and Bindings, Cummings Art Gallery, New London, CT

. 2018

.  PH Museum, Hunger, Void 

.  Istanbul Photobook Festival, Hunger ,Void Publishing, print exhibition, Istanbul

.  Photo-Go-Go, Portland, ME

2017

. The Protecting Cloak., Munjoy Hill, Portland ME

. Photo Go-Go, Speedwell gallery, Portland ME

. D.O.C.H.E, cyber museum with Andy Heck Boyd & Dylan Hausthor, Porland ME

. Greef, U Used To Be So Good To Us, release show, The Aphodian Theater, Portland ME

2016

. Chapel in the Pines, 2 person,  with Dylan Hausthor, Fuzz Hut, Manchester NH

. Into a Shimmer, with Dylan Hausthor, Institute For American Art, Portland ME

2015

. Aggregate, Maine College of art, Portland ME

. There’s No Shade in the Valley, Curated show at Maine College of Art, Portland ME

2013

. Paul Guilmoth and Dylan Hausthor, A Show In The Woods,  Portland Trails, Portland ME


Education

2015

. BFA Photography, Maine College of Art, Portland ME




 

  

 Paul Guilmoth

 Photographer / Bookmaker / co-founder of Wilt Press

Leeds, MA

email: paulguilmoth@gmail.com

info@wilt.press


 

Paul Guilmoth is an artist currently based out of Western Mass. Paul’s practice is primarily focused on photographic and bookmaking art;. He co-founded the publication studio Wilt Press in the winter of 2015.

Paul is a 2019 Mass Cultural Council Artist Fellow and a 2019 Red Hook Labs New Artist

Paul’s work investigates a place that is simultaneously autobiographical, documentary, and fictional. Weaving together staged portraits, manipulated natural and man-made environments, and traditional photographic documentation, he seeks to both manipulate and investigate the area in which he resides. Neighbors, family members, the river and the woods behind his home; the subjects in which he has become very familiar with and turns his camera to. In an act of preservation and escapism, his black and white photographs utilize experimental methods such as multiple exposures, artificial lighting, and splicing of film negatives: achieving subtle levels of manipulation that reference uncertainty rather than a strict adherence to truth.