Margaux Williamson

“Margaux Williamson at the Thunder Bay Art Gallery” by Tyler Muzzin, Akimbo, 2022

“Writing about painting through the lens of time seems like a readymade critical methodology that could be applied to almost anything. What’s worth addressing, though, is why an artist with an adept facility for filmmaking, performance, and ephemera would use static media to tackle the most quotidian, yet most elusive subject of all.” - Tyler Muzzin

“The homes of others: Margaux Williamson’s brilliantly disordered ‘Interiors’ at McMichael are a rare glimpse into people’s inner lives” by Ruth Jones, Toronto Star, April 3, 2022

“You can stand between a painting of a pine tree and one of a storm and feel for a moment suspended, like the waves of both are holding you up, alive in the world and alive inside, moving through all your own interiors in a way that leaves a wake.” - Ruth Jones

“Margaux Williamson & Sheila Heti” Interview as part of Catalog for “Interiors” Retrospective, McMichael Canadian Art Collection, 2021

“Ben Lerner on Margaux Williamson’s Hard-Earned Magic” Frieze Magazine, Issue 213, September 2020

“There is a certain kind of genius that doesn’t ask you to congratulate it for the tortuousness of its process, that communicates its vision openly, that shares its code.” - Ben Lerner

“How One Painter Captures the Wonder of Ordinary Spaces; Margaux Williamson’s portraits of interiors pay homage to what’s right in front of us,” by Sophie Weiler, the Walrus, Toronto, June 2020

“Through her art, living spaces offer the potential for us to indulge in the present.” -Sophie Weiler

“Episode 16: “What Makes Great Art?” with Margaux Williamson,” with Sky Goodden, Momus Podcast, Toronto, 2020

&“10 Binge-Worthy Art Podcasts in the Age of Coronavirus,” by Jori Finkel, New York Times, March 20 2020

"I COULD SEE EVERYTHING; An Interview with Margaux Williamson," by Laura Horne-Gaul, Tussle Art Magazine, New York, 2015

"I recommend that you watch her film Teenager Hamlet, read her manifestos, How To Dress In Our New World, How To See In The Dark, and How To Act In Real Life, and be deeply moved by her paintings… Margaux Williamson presents an incredible oeuvre of brutally honest, beautiful, seemingly grimy painting. I Could See Everything, perhaps was a momentary or lengthy gift of sight, providing Williamson with the insight to life/art." - Laura Horne-Gaul

"Margaux Williamson’s Welcome Confusion," by  Ana Cecilia Alvarez, Adult magazine, New York, 2015

"This flat-screen world" by Kenneth Goldsmith, The Believer magazine, New York, 2014

"I was taken aback when I was so taken aback by Margaux Williamson’s paintings." - Kenneth Goldsmith

“Margaux Williamson’s Paintings for an Imaginary Museum” by Erica Schwiegershausen, New York Magazine, 2014

"Williamson's paintings are both playful in approach and ambitious in scope, grappling with the existential questions that consume her: whether painting can be meaningful and what it might mean to be able to see "everything"." - Erica Schwiegershausen

"Margaux Williamson Imagines Her Paintings in a Museum at the Top of the World," by Thessaly La Force, Vogue, New York, 2014

"Williamson began to imagine a place where these paintings could belong together, without the pressure of being shown in a commercial gallery. What appeared in her mind was The Road at the Top of the World Museum, another fiction of sorts." - Thessaly LaForce

"Joking/ Not Joking At All," Interview with Craig Taylor, Five Dials, London, 2014.

"Talking to all the smartest people in the world," by Joanna Pocock, 3:am magazine, London, 2014.

"Margaux Williamson: Meet the artist whose life has been the stuff of fiction," by James Adams, The Globe and Mail, Toronto, 2014.

"I Could See Everything: Margaux Williamson," by Hilary Harkness, The Huffington Post, New York, 2014.

“Review of Margaux Williamson’s I Could See Everything,” by Chelsea Rooney, the Capilano Review, Vancouver, 2014

“Perhaps Nietzsche, in the late nineteenth century, could maintain the privileged fallacy that we cannot know the consequences of our actions. Williamson, of the twenty-first century, can, and does, see everything.” - Chelsea Rooney

"I will speak daggers," by Megan McDonald Walsh, Bomb Magazine, New York, 2012

"Polymath only begins to describe Margaux Williamson, a Toronto-based painter, screenwriter, director, playwright, movie critic, and book character. When I imagine her, she seems to alight on genres as a butterfly might on flowers, pollinating each next one with the dust of the previous one." - Megan McDonald Walsh

“Rewind: Margaux Williamson,” by Davie Balzer, Spring 2009

"Such feelings become everyone's invitation into Williamson's vision; we may not recognize the story (that is, if one is even being told), but we get the sense, and know there is magic in it. Somehow, by lurking in her secret world long enough, Williamson has learned to speak broadly, to master the delicate art of magnanimity." - David Balzer, Canadian Art Magazine