LIVERPOOL.- The Walker Art Gallery
launches its 2010 exhibition programme with a fresh look at the powerful work of international artist Aubrey Williams (1926 1990).
'Aubrey Williams: Atlantic Fire' runs from 15 January to 11 April 2010 and seeks a new appraisal on the important works of the Guyanese-born artist. The exhibition comprises of 14 paintings that demonstrate the strength of Williams work and the coherence and consistency of his approach to painting.
The exhibition has been produced in partnership with the October Gallery, London and runs parallel with their exhibition, 'Aubrey Williams: Now and Coming Time' from 4 February to 3 April 2010.
Williams global outlook and his readiness to question an assumed dichotomy of figurative and abstract art put him ahead of his time. Often featuring fragmented objects, intense natural colours, hints at musical counterpoint and dramatic spatial effects, Williams art resists definition.
There were a range of influences on his work such as the Russian composer Dmitri Shostakovich (Williams worked on his acclaimed Shostakovich series for over a decade); abstract expressionists such as Jackson Pollock and Arshile Gorky, and most importantly, the ancient indigenous cultures of Central and South America.
A defining part of Williams work, his interest in these cultures enabled him to assert an authentic Caribbean identity within a modern mainstream art world. As he put it:
The act of painting, the act of daring to make art, the Arawak had a word for it and they called it Timehri
Now, Timehri to the Arawak means the mark of the hand of man...That is the word for art for me.
'Aubrey Williams: Atlantic Fire' is the Walker Art Gallerys contribution to Liverpool and the 'Black Atlantic', a city-wide season of exhibitions and events. The title of the season is taken from Paul Gilroys seminal book 'The Black Atlantic: Modernity and Double Consciousness' (1993), which describes black identity in Europe and America as an ongoing process of travel and exchange, and rails against nationalist cultural histories.
As an individual Williams life and interests spanned the Black Atlantic and its universal themes, ideas and ideals. He was an early member of the Caribbean Artists Movement (1966-1972), concerned with forging independent cultural identities for new nations and for black British people.
'Aubrey Williams: Atlantic Fire' highlights the work of an artist who ignored definitions, even when this resulted in his work being misunderstood by art critics looking for pure abstract painting from a strongly European and American standpoint. The exhibition selection contributes to a reassessment of Williams as an important international artist who transcends the expectations of a nationalist, even chauvinist, art world.
Born in Georgetown, Guyana in 1926, Williams took up art early, painting and drawing from the age of five and a member of the Working Peoples Art Class whilst still at school.
Later, as a trained agronomist, his work took him to the north-west rainforests of Guyana, where he lived for two years amongst the indigenous Warrau people, a period which proved to be highly significant to his work.
In 1952, at 26, Williams sailed to the UK, initially on six months paid leave, but after travelling extensively around Europe, he settled in London and began studying at St Martins School of Art.
From the early 1960s, Williams exhibited widely, winning awards and garnering high acclaim from the London art circuit. He won the only prize at the First Commonwealth Biennale of Abstract Art (1963) and the Commonwealth Prize for Painting (1965).
He exhibited and lectured extensively maintaining studios in London, Jamaica and Florida.
Williams is represented in many national collections including Tate, V&A, Arts Council and the Natural History Museum.