Nee Naw 3: Out To Pasture (2018, mixed media)

This poignant closing tryptich in the ‘Nee Naw’ series explores different directions that have been taken by the gradual decline of our public service ethos from its twentieth-century apogee. Whether a kind of resigned, angry collapse, an escape into hedonism or simply abandonment – an ethic, a mindset ‘put out to pasture’, Nee Naw 3…

Landscapes 3: Home Counties (2018, mixed media)

In this dynamic addition to the ‘Landscapes’ series the artist departs from her usual thickly-textured ‘impasto’ technique to develop her watercolour work in a softer and more light-filled direction. The work retains Williams’ characteristic energy and movement, though, through the addition of powerful lines toward the lower part of the work, in a deep crayon…

Landscapes 2: Winter Rooftops (2018, watercolour)

In a lyrical break from her more political sculptural and performance work, the artist’s ‘Landscapes’ series combines bold brushwork, highly tactile layering and an ‘impasto’ technique unusual in watercolour painting to produce vivid evocations of local landscapes. This rich and mysterious addition to the ‘Landscapes’ series uses the artist’s distinctive watercolour impasto technique to capture…

Landscapes 1: August (2018, watercolour)

In a lyrical break from her more political sculptural and performance work, the artist’s ‘Landscapes’ series combines bold brushwork, highly tactile layering and an ‘impasto’ technique unusual in watercolour painting to produce vivid evocations of local landscapes. ‘August’ is redolent of the heat haze and harvest-time languor of the latter days of summer.

Nee Naw 2: ‘Glitter Nee Naw’ (2018; mixed media)

In contrast to the grittier and more urban themes of ‘Nee Naw 1‘, ‘Glitter Nee Naw’ brings a note of playfulness to this series exploring our constructions of public service. The cat on the roof of the ‘vehicle’ suggests a rescue has already taken place, while the sparkling objects that fill its body gesture towards…

[VISITING ARTIST] Trousseau (2018); Installation

Artist in residence ‘Pipsinella’ explores reusable technologies, revisiting The Grand Tour with a wry look at global fluidity and aspirational travel in the context of climate crisis and sustainability. Themes of appearance vs essence and post-racial tropes also make their presence.

Half Moon Farm (2018; installation)

Created as part of the August 2018 Nana Visits sculpture programme, this installation interrogates notions of ‘naturalness’ in relation to the modern food chain. The bright semi-circles evoke the cheerful, ‘wholesome’ packaging of premium organic and health foodstuffs while the dense placement of the miniature animals, artificiality of the installtion’s carpet backdrop and sense of…

Nee Naw 1 (2018, mixed media)

  Energetic cross-hatchings in blue and green crayon give a sense of urban energy and chaos to an otherwise structured collage suggesting a schematic fire engine. The tragedy of Grenfell Tower resonate through this piece, along with a critique of the country’s crumbling support for the public service ethos. And yet a playful sense of…

Oh No, Tiny Ellie (2018; performance, knitted toy, flannel)

In this powerful performance piece, the artist’s repeated, unsuccessful attempts to tuck a small toy under its ‘blanket’ poignantly evoke our ever-present yearning for an always-already-lost place of merging with the caretaking mother, while providing a searing commentary on the contemporary housing crisis.