On the eve of the first showing in Dublin of Landscape II, the wilfully singular writer and performer's latest solo show, which tours to Tramway in Glasgow for tonight only, Wilson is wandering an echoey corridor looking for a place where she can be heard. Given how key sound has become to Wilson's work ever since she brought her first solo piece, Simple Girl, to the Edinburgh Festival Fringe back in 2007, such attention to detail is fitting.
Wilson operates her own soundscapes using a console situated on a desk in front of her as she performs her work, lending a mysteriously hypnotic depth to her stories. Following Simple Girl and 2009's Iris Brunette, as well as a larger work, Autobiographer in 2012, Landscape II is Wilson's most ambitious work to date, and incorporates a panoramic film and video backdrop into her increasingly multi-media mix. As applied to a story of three women separated by 100 years that moves between Afghanistan and the Devon hills, Wilson's ever-expansive palette should make for a tantalising experience.
"I was interested in women's experiences," says Wilson, having at last found somewhere acoustically compatible to conversation, "and how things are passed down from generation to generation, not just through our own families, but by other women in other places. Then I started to think about different types of isolation and solitude, first of all from walking the hills in North Devon, then about women in Afghanistan, and how in some ways they are cut off from each other by wearing the burka, and how they live in their own world. That is a very different experience to ours, and we will never know that sense of isolation, but I also wanted to look at solitude as a good thing, and how being alone and separate from the world can be quite empowering."
Given her predilection for solo work, such parallels with Wilson's own experience are plain to see. Paradoxically, however, her work is becoming increasingly collaborative. While she has been looked after by maverick producers Fuel for some time now, for Landscapes II, Wilson has been working closely with film-maker Will Duke.
"The way sound operates in my work is very location-based," Wilson says, "and I have thought about using images for a while, but not just for the sake of it, which could ruin the purity of the sound and theatre. Because this piece is very location-based, it felt like a good place to start working with images in quite an expansive way."
An even bigger change for Wilson over the last couple of years has been the development of her sound design work. Her work on Autobiographer won her the Best Sound Design Award in the 2012 Off West End Awards and she has collaborated with theatre director Katie Mitchell on two major large-scale productions, alongside Gareth Fry on an adaptation of Austrian writer Friederike Mayrocker's novel, Night Train In Cologne, and on a version of Charlotte Perkins Gilman's novella, The Yellow Wallpaper.
"These are by far the most radical things that have happened to me over the last couple of years," Wilson says. "It was a huge jump for me, because technically these shows are on a massive scale, and working on them has really helped me develop. The really admirable thing about Katie is she is really interested in artists. When we met she did not know a thing about me, but we hit it off, and she is interested in what you think about things. She gives you a lot of freedom but is also rigorous and demands a lot.
"I am not a normal sound designer. The feelings and sensations of how sound can tell a story are a passion for me, so to go into those two shows was really terrifying for me at first, but I think I blossomed. It was really affirming, and gave me a lot of confidence."
So much so, it seems, that, as well as possible future collaborations with Mitchell, Wilson has big plans of her own.
"My big new project for next year is an opera," she says. "I have thought about it a lot, and spoke to Katie about it. After working with her I think I now have the confidence to work on that large scale."
Those intrigued by such a prospect perhaps should not hold their breath, however.
"I am so much at the beginning of it," says Wilson. "It's the beginning of a very long journey."
Landscape II, Tramway, Glasgow, tonight. lwww.tramway.org