TIMOTHY TAYLOR GALLERY
All images Todd White Art Photography,copyright Timothy Taylor Gallery and artist
An image cannot convey the mystery of this startling and wondrous work. It is not a painting, but a mixed media collage. But even that label fails to prepare you for Williams' 3-dimensional hand-made artistry. At first you see the high ceiling, empty spaces and lofty 'platforms', where the specialists go, way above the heads of ordinary users. As you move nearer, the diving boards appear to extend until they seem to press against the glass of the conventional picture frame.I'm reminded of the first time I saw Bridget Riley's Movement in Squares in the 60s: and of some of Amish Kapoor's work where he teases the viewer as to what is a hollow - or a mound.
Below is Parkleys,part of Eric Lyon's Span Housing Scheme at Ham Common. In works like this Williams uses perspex for windows, cast jesmonite for tiny bricks, various veneers and acetates for wooden and glass structure. She even embroiders greenery and flowers and cross-stitch skies.
The emotional content of her work sharpens rather than diminishes her take on mid-century Modernist architecture. City Hall, unpopulated like the rest of her work, features patterning from mosaics, tessalations and modular structures. As with The Tiled Cathedral, you are aware of how the perspective changes as you move - now you see the underside of the stairs, now they've gone. But in the work's rhythm and control she has captured the essence of public buildings, which are places where time is experienced in slabs (called meetings), where words and numbers are laid out in agendas, schedules and timetables, and where a person's civic role trumps individuality. It echoes functional civic life: a solemn building pared down, shorn of ornamentaion and furnishing, silent but not melancholy The colours are bright and warm, the buildings unblemished, and her meticulous loving attention to detail makes every work intensely pleasurable to experience.