PROCESS & MEDIUMS
Self-taught, Williams blends color batches of acid-free alcohol ink; a relatively new pigmented alcohol-based paint medium. She can formulate extraordinarily vivid or subtle colors with intricate detail and delicate restraint. Williams paints on non-porous surfaces, such as aluminum, Yupo paper, and on top of encaustic paintings.
Williams's use of encaustic paint; an ancient medium, consisting of beeswax, tree resin, and pigment, evolved after experimenting with different formulations of waxes as a post-fired medium, which she employed on her clay sculptures in 2005-6. In 2006, she began painting with encaustic, employing a multitude of electric skillets as palettes to melt and blend the medium into a fluid state and apply to wood substrates with brushes and trowels. With the aid of a blowtorch, she fused between each layer while manipulating with her sculpting tools. This medium took over her studio for the following ten years before she transitioned to entirely using alcohol ink in 2016.
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, which is less laborious than encaustic. In 2018, Williams re-introduced sculpture in different mediums back into her schedule, which should be available late 2018 early 2019.