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Gerard Williams

Gerard Williams

The work of Gerard Williams often invites the audience to re-examine aspects of their own preconceptions, whether culturally or experientially founded. Sometimes the work therefore plays in various ways with socially and historically grounded concerns such as taste, value and redundancy.

 

The artwork often sets out to pursue concerns arising from the relationship of opposites: inside and outside, private and public, made and found, real and pretend. He thereby asks questions about aspects of the position, reception and role of the artwork relative to context.

 

Throughout his entire body of work Williams has used found objects including things that are both from and of ordinary contemporary life. His trademark meticulousness and attention to detail perhaps emerge most noticeably when timber and fabric are involved. Textiles as repositories of personal and cultural histories, freighted as they can be with values and associations, have long been a fascination and cornerstone to his practice.

 

Over the last three decades Williams’ work has been widely exhibited including appearances at international institutions and public galleries. He has also worked with a number of commercial galleries in the UK and abroad, including both Anthony d’Offay and Maureen Paley in London.

 

His work is held in a number private and public collections including: The Arts Council of England Collection; The Contemporary Art Society, London; Leeds City Art Gallery; Fondazione Sandretto Re Rebaudengo, Turin; Castello di Rivara, Contemporary Art Centre Turin; and The Progressive Art Collection, Cleveland, Ohio, USA, which owns three of his recent window pieces. Currently Gerard works with two itinerant galleries: Handel Street Projects, London and Parkers Box, New York City.