The majority of Williams work is nature inspired, often with a topographical view from above, exploring patterning, altering perspective, enriching color, and flattening while keeping it something familiar and anew.
Narratives of her series can be found under the Journal tab on this website.
The sole use of alcohol ink
Distillation series unveiled itself for a 2016 solo show and debuted the sole use of alcohol ink on aluminum panels instead of painting alcohol ink on encaustic paintings on wood panels. Williams extracted and refined elements from ten years of encaustic painting, which further propelled them into glorious color fields, creating edges full of interest and depth, and yet flattening the surface compared to her encaustic painting. Also, it demonstrated her drive to originate with mediums and substrates.
The fusion of encaustic and alcohol ink
Williams was able to exploit the practice of using a blowtorch for over ten years from her encaustic painting to full benefit. As she transitioned to using alcohol ink, the use of a blowtorch to fuse and manipulate her encaustic paint had the same feel as using compressed air to blend and maneuvers her alcohol ink into Williams signature curvilinear patterning. Williams used encaustic; a beeswax, tree resin, and pigment paint medium as a gesso primer for the wood to create a non-porous surface and to add texture for the alcohol ink, which she applied over the encaustic paint.
selected Sold works from 2006-2016
Painting with encaustic; a medium made up of beeswax, tree resin, and pigment, which needs to be heated to work with it, took over her studio for ten years before she transitioned to using alcohol ink. Williams came to encaustic after experimenting with waxes as a post-fired medium on her clay sculptures in 2005-6. In 2006, she began painting with encaustic, employing a multitude of electric skillets to melt and blend the medium into a fluid state and blowtorch to fuse between each layer while manipulating with sculpting tools.
Habitat Series Inspiration
Williams spends many weekends in the Appalachian mountain range of Linville NC USA, where Grandfather Mountain rises 5,946 feet above sea level, which is about 4000 feet higher than where her studio is in Asheville NC. Because of this considerable elevation, the mountain boasts sixteen ecological communities. The Habitat Series titles infer their inspiration: POLLINATION is her interpretation of magnified particulates of the powdered-pollen-veil on all surfaces as she traverses the different elevations. FORMATIONS relate to the distinct characteristics of the rock facades as Williams travels the Blue Ridge Parkway; sights like Table Rock, Mount Mitchell, and later Grandfather Mountain. CAVERNOUS & RARE EARTH MINERALS represents the splendor of what lies beneath in the wonders of the subterranean caverns of Linville Falls and the dripping minerals on the rock surface. TOPOGRAPHIA and SCAPES explore the glorious seasonal shifts from emerging spring foliage, summers dense lushness, autumn’s rustic foliage as it surrenders and reveals exquisite topography, and winters crispness and snowfall that blankets and brightens the grayed scenery. GEODE-NEBULA suggests the patterning of sliced crystals and what Williams perceives as celestial mimicking. FRESHWATER-LICHEN AND DIVE-IN portray the watersheds, ponds and ecological communities of Linville Gorge, which are the Catawba-Wateree River basin and the watershed around it. The water system stretches approximately 5,000 miles and provides some of the best drinking water on the east coast and recreation to roughly two million people and two states.