How Gene Wilder Created a ‘Suburban House’ as a ‘Living Art’
It’s a bit hard to imagine what Gene Wilders’ signature style is today, but it’s the one that most defines the New York City neighborhood of Midtown, a place that is home to many of his most iconic works, including the house he built in 1976, the one with a huge gazebo and the one he once called home.
It’s the “suburban” house that has been dubbed the “House Clipart” by its creator, and the title of his book, The Suburban House: A Living Art,” is a nod to the fact that it is, as he put it, “a house clipart.”
What makes the house clip, and Wilders own other pieces of art and other objects, so important to the artist is that they are so simple.
In this image from The House Clipart, a family of five sits in a large white, windowless room, in the same location that Wilders once lived in.
The house clip is a “house” in Wilders sense, a home that can be used as a canvas or as a base for the work of art that it houses.
While the house is a piece of furniture, it’s not a piece made of plaster, wood, or any other material.
(Image via The House Clip) Wilders also often uses small, simple objects, like pencils or pens, to illustrate and embellish his works, and these elements are usually painted in an artistic manner.
A few examples of the house clips are a collection of pencils and markers that he painted in the mid-’70s, a pencil and paper sketch from 1971, and a small drawing that he wrote with a handkerchief.
“The house I built is the most important house clip in the world. “
The houseclip was the first house clip I ever used,” he says.
“The house I built is the most important house clip in the world.
I can’t say it’s a painting, but a piece that I used to capture the moment.
It was the moment that really created me as a human being.”
(This image from The House Clips was taken in 1972.
Wilders has a son at the time, and he also lived in a similar house with his parents.
The caption reads: “I wanted to create a home for my son.”)
As the years passed, Wilders grew to enjoy using the house as a backdrop to other works.
One of his favorite subjects is the house that is now the home of his youngest son, Dylan, who grew up in Midtown.
When Dylan was younger, he often visited Wilders and his wife, Lillian, who lived in the house and took them on walks there, often stopping to take pictures.
Dylan was often fascinated by the home, and when he moved to the neighborhood to attend college in the ’80s, he found a collection of artworks that he was excited about, including a house clip that he wanted to paint.
Lillian Wilders was a talented painter, and Dylan wanted to take a shot at painting it.
Wilder thought he had the right tools to do so, but the house, which was not quite finished, was still a bit of a work in progress.
So, Wilder started making some sketches of it, using pencils, paper, and paint to bring the house to life.
He painted it, and he began a process of sketching and painting over time, until he was able to get the house ready for a painting.
This image shows a drawing that Wilder made for his painting of the “New York City Suburban house clip art” with pencil and pencil pencil.
To illustrate the concept, Dyke Wilder has the house built over him in a sketch.
(Photo via The New York Times) The artwork was done, and by the time Dylan was a teenager, he was so into it that he would paint it himself, but that didn’t mean he didn’t want it to look good.
His mother, Lillian, was always a very visual person, so she was able help him create some really nice paintings of the home.
(Dylan Wilder) “She’s a very talented painter,” Dylan says.
She was very supportive of my idea to go back and paint the house.
I was in love with the idea.
I just didn’t know what the process was going to be, so I just started sketching.
It became a real obsession of mine, and I started sketchings on it, thinking about the house’s history, about what it looks like from the outside, about its history as a house, and