'Williams works with an amazing energy,
enthusiasm and intelligence. She explores pertinent social issues'.....'and
show that all humans have universal needs despite being located in
different geographical settings on earth.'
The Daily Mirror (Zimbabwe) 02 March 07
'She creates dialogues between the genders. Men are not necessarily
accused of causing the sexual exploitation of women, rather she questions
the female stereotypes that have been created by both genders, and
how these stereotypes reinforced in the glamorous worlds of the advertising,
music and high fashion have been readily accepted, especially by
women.'.. 'Williams's work will add to our understanding of humanity
but during the journey be prepared for a bumpy ride.'
Western Mail 04 April 06
"...small talk, high heels...They examine the complexities
of our human relationships, communications and misunderstandings
- whether between siblings, strangers or soul mates - laying bare
our need to understand others and ourselves ...a pertinent, savvy
and extraordinary exhibition".
Susie Wild - Metro 18-05-06
'Sue Williams makes gutsy oil paintings, with dripping paint and
lots of sex. Think female Basquiat. It's the sort of painting where
the artist calculatedly combines nimble draughtmanship with sloppy
brushwork.'
Review of Artes Mundi 2
Ben Lewis - The Sunday Telegraph
12 March 2006
"We will become 'cyborgs', beings whose bodies and minds have
become so technologically extended that traditional sexual relations
and identities will have broken down. This is not a dystopic vision,
but rather an inevitable fact, which we may well embrace since it
is going to happen anyway. If technological advancement really has
shifted us from the 'tactile' to the 'digital' age, this apparent
fact is belied by Sue Williams' art, the physical and psychological
nature of which is absolutely reliant on a human life lived, and
continuously redefined. This is art in a conversation with the self,
as an extension of existing - it is human life as vibrant and discontented,
real and imaginative, connected and about disconnection, personal
and all too worryingly public. Sue Williams is not ready to be a
cyborg. ......... Sexual difference is still much in evidence in
Williams' work, as it certainly still is in life, the locus of a
contested zone where we are doomed to play out powerful oedipal dramas
again and again."
"
what's up?"
the work of sue williams by sue griffith
"
small talk,high heels" a Glynn Vivian touring exhibition catalogue
2006
"I find myself writing this piece for the simplest and the
best of reasons: Sue Williams work grabbed me, touched me, struck
me as something potent and important when I first saw it. Its rawness,
its energy, and its sheer scale made me curious to see and know more.
And what I have discovered is a body of work which speaks to my interests
in communication and sexuality as well as exerting a visceral, emotional
appeal. I enjoy the complexities of its collages, its disruptions
of the canvas, and the simplicity of its points and lines; and I
also respond to the contrasts Williams' images deploy: her lines
are both fine and smudged, clear and blurred, hazy and precise; her
subjects are both beautiful and ugly, bold and coy, their gazes sometimes
reticent, often alarmingly direct.""spunk and punk"
Sadie
Plant is a writer and cultural theorist based in Birmingham
"
small talk, high heels" catalogue.
"Provocative, vulnerable, and sometimes playful, the female
that fills and flaunts the paper and canvas packs a powerful visual
punch. Savage in their honesty, the sublime is not the visual vocabulary
of a Sue Williams piece of work. Williams's work will add to our
understanding of humanity but during that journey be prepared for
a bumpy ride".
Western Mail 04-11-05
"
Eight artists from across the globe have made the shortlist of the
world's largest visual arts award. And the only British artist in
the running for the second Artes Mundi, Wales International Visual
Art Prize is Cardiff - based Sue Williams".
Western Mail 28-09-05
"As a group these paintings and drawings form a powerful prescence...an
artist with a powerful and haunting view of both her own condition,
and ours".
Review 'HERS' Sarah Griffiths Western Mail 10-05-99
"
Savage expressionism characterises these paintings, angry stuff".
Jonathan Jones The Guardian (G2) 29-09-99
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