MS01.01.03.B01.F13.014

tional role to form beyond the visual encounter that one gets(sees) when viewing a work of art. This deeply felt emotion can be found in all of the media that Williams uses. The best of two techniques in painting and ceramics can be found in his recent compositions in clay. One feels the extension oItf the painterly form into the plastic. Handsome images of children holding boquets of flowers adorn these new works and remind us of the print images that came earlier from the (his) woodblock.

Color has always been an important element in the chain of things that go toward making Williams' art unique and deeply personal. His color statements call to mind the interlacing ornamental qualities of a Byzantine icon. It always acts as a potent element in his art and helps familiar form echo the rhythms of life. The symbolic meaning that comes through in the iconography of his art is often a strong statement about the Black Experience as he has lived it. But beyond the physical content of color lies the larger meaning of life which is the human experience that transcends all boundaries of race and ethnic orientation. A boy chases after a butterfly. He is a black boy but the color of his skin does not hinder him from being every boy in the world who seeks to know the mystery of the free movement called flight. A girl picks flowers and she witnesses the sumptuous smell of a thousand perfumes and colorful dreams. A feather floats by one's eye in the same manner that a bird flies when its mate sends out a love call. In all of these visionary happenings, (William) he makes the joy of living unending, full of color and full of the agressiveness of life-styling associated with the Black Experience.

R. (W. Williams Roots)
L. (W. Williams Ceramics)

R. (W. Williams Butterflies)
L. (w. Williams Ceramics)

R. (W. Williams Butterflies)
L. (W. Williams Moon and Moth)