Affectionately known as 'Wiltz' among her peers, Wilson studied at the National Gallery Schools from 1901 to 1906 under Bernard Hall and Frederick McCubbin. She was particularly inspired by Anders Zorn’s etchings in the gallery collection. Alongside fellow artists Jessie Traill and Janie Wilkinson Whyte, she studied etching with John Mather. Their works, which appeared in The Lone Hand in 1907, were among the earliest efforts in etching by women. That same year, Wilson contributed to the Australian Exhibition of Women's Work in Melbourne.
Wilson was renowned for her expertise in pastels, much like her contemporary Janet Cumbrae Stewart. From 1910, her studio at Temple Court, Collins Street West—described as 'a picturesque and ancient rookery'—became the hub for 'The Waddy,' a group of former students who exhibited as 'The Twelve Melbourne Painters' in 1913-14.
Her reputation grew steadily over the years. Her works in etching, pastel, and oil—spanning still lifes, nudes, and particularly portraits of children—were praised for their fine draughtsmanship. Although some critics felt her themes were somewhat conventional or overly sentimental, her work was popular and sold well. In 1923, she participated in the Exhibition of Australian Art at Burlington House in London. Her painting 'Reve d'Or,' which was accepted at the Salon de la Société des Artistes Français in Paris, was featured on the cover of Woman's World, which highlighted her humor, 'quaint personality,' and 'shy, self-deprecating manner.'
In the mid-1920s, Wilson shifted her focus to street scenes, which became her signature. Her paintings of these scenes, characterized by atmospheric effects like dappled light through trees, garnered much acclaim. During her 1931 exhibition, 'The Lure of Melbourne' at the Fine Art Society Gallery, Sir William Brunton noted the unique sight of a woman painting the bustling city from a motor car with an easel in front of her.
Following a commission from Sir Baldwin Spencer to depict European landmarks, Wilson spent two and a half years abroad starting in 1927. Traveling through the Continent and Britain with photographer Peg Clarke, she often stayed in modest accommodations. She exhibited at the Beaux Arts Gallery in London in 1928 and at Australia House the following year. Her style, characterized by a bright palette and broad impasto brushwork, was lauded by Arthur Streeton in 1931 for its freshness and avoidance of 'the depressing appearance of black paint.' While her art did not fully embrace modernism, it did reflect its fundamental principles, as noted by critic Basil Burdett and artist Blamire Young. In the 1930s, Wilson created a series of historical paintings focused on the Victorian era, which were exhibited in Melbourne in 1935.
During World War II, Wilson was involved with the Women Painters' Service Group. She passed away from cancer on November 21, 1946, in East Melbourne and was cremated according to Presbyterian rites. Her estate was valued at £7,400. Wilson’s work is represented in major state galleries and the Castlemaine and Bendigo galleries in Victoria.
