PROCESS & MEDIUMS
Self-taught, Williams blends color batches of acid-free alcohol ink; a relatively new pigmented alcohol-based paint medium. She can create an extraordinarily vivid or subtle color with intricate detail and delicate restraint and paints on non-porous surfaces, such as aluminum, Yupo paper, and on top of encaustic paintings. With the aid of compressed air, she manipulates the medium into her unique, colorful curvilinear forms.
Williams use of encaustic paint; an ancient medium, consisting of beeswax, tree resin, and pigment, came 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 with the use of a blowtorch fused between each layer while manipulating with her sculpting tools. The tactile luscious surface quality of the medium took over her studio for the following ten years before she transitioned to using alcohol ink.
In 2004 after moving to Asheville NC, a clay hub of sorts, Williams immersed her self back into sculptural clay hand building; it was a medium she had worked in as a teenager and was keen to resume. She experimented with different kinds of post-fired wax finishing, instead of traditional glazing, which led her to use encaustic wax paint on her sculpture. Williams began encaustic painting with great success, but it was a time-consuming medium. It became increasingly more difficult for her to carve out time in her sculpture studio. In 2015, Williams introduced alcohol ink to her repertoire of mediums to work with, which provides more time for sculpture. In 2018, Williams re-introduced sculpture in different mediums back into her schedule, which should be available late 2018 early 2019.