Tag Archives: African American Artist

MAYA FREELON ASANTE’s solo show “IMPERMANENCE” at Morton Fine Art

17 Dec


A solo exhibition of new artwork by MAYA FREELON ASANTE

Saturday, December 12th, 2015 – January 5th, 2016

About Impermanence

Impermance is Maya Freelon Asante’s first solo exhibition following a deeply personal loss.  Deborah Willis, Ph.D. writes “Maya  Freelon Asante  explores  memory, memorial  and  family  in her  art  practice. She   also  examines  the social  and  artistic  space  within  the experience  of motherhood and   grieving.    Maya’s  artwork  looks at the  fragility  of  life  and provides  the viewer  with  a   way  of retelling  a  story  about  life–joy and pain. Her current body of work draws on the temporal and is inspired by love of family specifically of her grandmother’s art practice as inspiration. ”

About MAYA FREELON ASANTE’S process & inspiration
“In 2005 I discovered a beautiful accident; a stack of water damaged tissue paper tucked away in my grandmother’s basement was left with a brilliant and intricate stain. Since then I’ve submerged myself in the medium of bleeding tissue paper sculpture and tissue ink monoprints, which exist as simultaneously transient and steadfast. This dichotomy continues to intrigue and surprise me as I wrestle with sharing the unique beauty, fragility, and strength of my art with the world.
Much like my grandmother, who never wasted a single grain of rice on her plate, I find a way to utilize tissue paper at every stage of creation – including the rich and colorful ink released when the paper is wet, the sculptural mounds formed when creating monoprints, and even the tiny ripped pieces no larger than a fingernail which are collected and wound into spiral sculptures. Improvisation and discovery play a big role in my creative process; by incorporating archival photographs I’m able to reappropriate images, bridging a gap between the past and future.
My grandmother always said she “made a way out of no way” and her personal endurance opened a path for my own creative discovery. Art for me is about finding the message in the medium and honoring what fuels our desire to preserve and protect it. Bringing more peace, joy and light into the world is my primary objective, while simultaneously appreciating the beauty of now and creating everlasting memories.”

Maya Freelon Asante is an award-winning artist whose artwork was described by poet Maya Angelou as “visualizing the truth about the vulnerability and power of the human being,” and her unique tissue paper work was also praised by the International Review of African American Art as a “vibrant, beating assemblage of color.” She was selected by Modern Luxury Magazine as Best of the City 2013, by the Huffington Post’s “Black Artists: 30 Contemporary Art Makers Under 40 You Should Know”, and Cosmopolitan Magazine’s “Art Stars” as “the most badass female artists in the biz.”
Maya has exhibited her work nationally and internationally including Paris, Ghana, and US Embassies in Madagascar, Italy, Jamaica and Swaziland. She has been a professor of art at Towson University and Morgan State University. Maya has attended numerous residencies including Skowhegan School of Painting and Sculpture, the Korobitey Institute and Brandywine Workshop. She earned a BA from Lafayette College and an MFA from the School of Museum of Fine Arts, Boston. She is currently represented by Morton Fine Art in Washington, DC.

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Images of CHARLES WILLIAMS opening reception for “Swim”

8 Oct
A solo exhibition of oil paintings by CHARLES WILLIAMS
Friday, September 25th – October 13th, 2015


Morton Fine Art (MFA)
1781 Florida Ave NW (at 18th & U Sts)

Washington, DC 20009


Tuesday – Saturday 11am – 6pm
Sunday 12pm-5pm


In Swim, his debut solo exhibition at Morton Fine Art, North Carolina based painter, CHARLES WILLIAMS explores deeply personal themes of aquaphobia and stereotypes of swimming and African Americans in the South. Swim expands on his solo Swim : An Artist’s Journey recently on view at The Franklin G. Burroughs-Simeon B. Chaplin Art Museum.



Click here for available artwork by CHARLES WILLIAMS.

Morton Fine Art, 1781 Florida Ave NW, Washington, DC 20009

(202) 628-2787, mortonfineart@gmail.com


CHARLES WILLIAMS : Banishing Fear, Stereotypes through Waves of Paint in Charlotte Viewpoint

7 Jul

charlotte viewpoint



Banishing Fear, Stereotypes Through Waves of Paint

byJoshua Peters

June 7, 2015

Caption: Two paintings from Charles Williams’ Swim series.

There is a moment, a second before a frosty blue-green wall of Atlantic Ocean wave crashes over you, where your body braces — you close your eyes, pull your arms into yourself and take a deep breath. Then comes a crash, muffled turbulence and silence… followed by the re-emergence of warm sun and the slowly recognizable sounds of gulls, waves and beach.

For McColl Center Artist-In-Residence Charles Williams, these moments are the most sacred. When Williams was 11 years old, he joined his cousins for a family reunion in Myrtle Beach to play in the surf. His father forbid him to go, but he went anyway despite his sub-par swimming ability. Williams remembers the crash, muffled turbulence, and silence but not the warm sun, nor the familiar sounds of his cousins playing. A torrential rip current pulled him out to sea, and — unable to swim free — a helpless Williams would have drowned if his uncle and father had not arrived in time to rescue him.

Williams would go on to great things, including a stint at Savannah College of Art and Design and a successful career as a brand manager, designer and marketer.  Two things remained constant for him though: uneasiness around water, and dissatisfaction with his career path. In one bold stroke, though, Williams decided to confront both and recapture both his desire to be a painter and a deeply personal understanding of his own struggle with water, as well as the psychological barriers and bigotry associated with swimming and black youth.

“How we handle traumatic experiences,” says Williams, “both shapes and molds our identities.”

But his step away from the corporate creative world and into his own studio to confront these feelings has not impeded his success. His more recent achievements include participation in the Hudson River Landscape Fellowship, selection as a keynote speaker at CPCC’s Sensoria 2016, featured work in the Artists Magazines 28th Annual Art Competition, and honorable mention fromSouthwest Art magazine’s “21 Emerging Under 31” competition. Williams’ works have been shown inAmerican Art Collector, Empty Magazine, Charleston Magazine, Grand Strand, Studio Visit, Bluecanvas and other national publications. He was recently interviewed on an NPR segment entitled “Nature through the Eyes of an Artist.” His contemporary landscapes have been exhibited in group and solo exhibitions in galleries in New York, Vermont, California, Georgia, South Carolina and other southeastern states, with more planned, including a featured place at Miami’s Art Basel 2015. His stay in Charlotte has brought him to a residency at the McColl Center for Arts + Innovation through August, with a show in the McColl’s galleries planned at some point during his stay.

The process of personal change is the primary focus of the summation of Williams work, his Swim series. Previously featured (all too appropriately) at the Myrtle Beach Art Museum, Swim consists of eight (and counting) large oil paintings. These canvases are home to incredibly detailed, hyper-realistic seascapes. Painted from reference photographs taken by Williams himself, Swim represents the ocean at its most imposing or forbidding moments — before the crash of a wave, or at night, swallowed by darkness. Others capture the sea at its most beautiful, lightly foaming in shades of bronze and teal and washed in sunlight. Each composition is stunning in the most physical sense of the word. Williams’ compositions force the audience to stop, imparting the weight of the chest-deep ocean onto onlookers.

The sub-series Lost and Found features familiar South Carolina coastline at night. The first additions in this series are painted entirely in black. The waves are carved in striking ebony with a palette knife. Natural light plays off the raised texture imparted by the wet-on-wet process and the strokes of the palette knife, creating incredible visual depth and movement along the contours of the water’s surface. As the series continues, light breaks through into the compositions, seemingly lit only by Williams’ lone flashlight and the flash from his camera. The yellow aura from the flashlight bleeds through the bristling water and out into complete darkness. Williams’ use of compositional whitespace highlights the simple, powerful beauty of the ocean but encloses it in a suffocating field of darkness. Every canvas is a confrontation between the artist and his fear on a grand scale, the light pushing back terrible dread.

Aesthetically, his work is impossibly beautiful — individual bubbles rise from fields of foam sitting atop murky ocean. It’s easy to mistake his canvases for the photographs they reference. There is a captivating spectrum present across Swim, between complete darkness and stark daylight. Sky gracefully frames an ocean depicted with great reverence and respect, and at the same time an immutable uncertainty — a fear that can’t help but make its way through Williams’s brush strokes to the onlooker.

But Williams, has more planned for his audience than a glimpse into his phobia and striking waves. “These paintings serve as a personal testimony of my decision to begin a journey toward freedom,” he says. He stresses the importance of his paintings going beyond just inspiring awe, but moreover an understanding of embedded social racism surrounding aquaphobia and the inability to swim. Williams hopes that Swim marks not only a pivotal point in his own life — a step closer to defeating a fear that has robbed him of his own freedom — but a step closer to stemming the tide of institutionalized racism.

Link to the article: http://www.charlotteviewpoint.org/article/3403/CharlesWilliamsSwimSeries

Please contact Morton Fine Art for available work by CHARLES WILLIAMS.

Morton Fine Art, 1781 Florida Ave NW, Washington, DC 20009

(202) 628-2787, mortonfineart@gmail.com, http://www.mortonfineart.com

VICTOR EKPUK’s “Hip Sistas in Flux : The Visual-Lingual Braid” reviewed by ArtCentron

27 May


May 25, 2015 

Hairstyles, Tattoos and Body Markings Signifier Women’s Pride

posted by ARTCENTRON

Hairstyles, Tattoos and Body Markings Signifier Women’s Pride

Victor Ekpuk, Asian Uboikpa (Hip Sista) Series #.11, 2015 . acrylic on canvas 60′ x 48′. Image courtesy of Morton Fine Art


Victor Ekpuk’s new drawings and paintings investigate hairstyles and body markings as forms of self-expression and pride among women


Victor Ekpuk, Asian Uboikpa (Hip Sista) #10, 2014, one of the paintings investigating the importance of hairstyles and body markings of women in Diaspora

WASHINGTON DC.- Several years ago, Victor Ekpuk began exploring the art of hairstyles and body markings among young women of southeastern Nigeria. His objective was not just aesthetics but also the need to reveal the importance of hairstyles and body markings as forms of self-expression and pride among African women. The result of that exploration is a collection of paintings Ekpuk titled Mbobo or Maiden Series.

The paintings and drawings that emerged from Ekpuk’s investigation of the art of hairstyles and body markings among young women of southeastern Nigeria are very instructive. They illuminate how effective hairstyles and body markings are efficient means of accentuating pride and self-actualization among African women. The Mbobo(maiden) Series go from series 1 to 10. The oil on canvas paintings emphasis the importance of hair to black/African women and why it is often described as the crown of her glory.

While many of the paintings and drawings from the Mbobo (maiden) Series address the importance of women’s hairstyles among African women, they also bring to focus the creativity of the hairstylists who create the amazing hair designs. Many of the hairstylists and designers learned their crafts through apprenticeship, from relatives, and friends. Although many of the hairstyles continue to conform to traditions, others have evolved to accommodate modern ideas.

Historically, hairstyles and body markings have been integral to African societies. Hairstyles, body markings, and tattoos are not just a source of pride and self-expression but also signifier of status and aesthetics. In some Nigerian societies, hairstyles and body markings indicate the position and status of women. Among the Yoruba, Igbo, and Hausa, for instance, hairstyles, body markings, and tattoos are effective means of establishing the authorities of woman.

Since that first exploration about 2008, Ekpuk has continued to explore the theme of hairstyle designs in his works, expanding his oeuvres to include body markings, tattoos and body scarifications. Presently at the Morton Fine Art in Washington DC is an exhibition that illustrates Ekpuk’s expansion of the art of hairstyle design from the Nigerian context to the Diaspora.

Titled Asian Uboikpa (Hip Sistas) in Flux: The Visual-Lingual Braid, the exhibition uses the exploration of hairstyles and body markings in southeastern Nigeria as the pedestal for investigating the culture of hairstyles and body markings in the Diaspora. Asian Uboikpa, an Ibibio expression, references proud young women and virgins, while Hip Sista is an African American term used to describe highly fashionable women.

In his recent paintings examining hairstyles and body markings, Ekpuk continues to expand his use of Nsibidi, the West African ideographic, to create a visual language that has situated him at the center of contemporary African art discourse in the West. Unlike in the past when his use of and interpretation of Nsibidi was limited to Nigeria and Africa, in his recent paintings, the West African ideographic system bridges the contemporary mode and cultural heritage.

The motifs inherent in Ekpuk’s recent paintings emulate designs of African fabrics design, jewelry, piecing, tattoos and scarification in such a way that dispenses with a singular cultural identity. There is a hybridization of forms and ideas from multiple sources and cultures. For a Nigerian artist who has travelled the globe presenting his works in museums and galleries, the confluence of ideas is not unusual.

The focus of many of the paintings and drawings on exhibition in Asian Uboikpa (Hip Sistas) in Flux: The Visual-Lingual Braid is content over form. There is a deliberate attempt to elevate substance over form in many of the paintings that are characterized by backgrounds with heavy motifs.

Please contact Morton Fine Art for available artworks by VICTOR EKPUK. 

Morton Fine Art, 1781 Florida Ave NW, Washington, DC 20009, (202) 628-2787, http://www.mortonfineart.com , mortonfineart@gmail.com

To read this article in full please visit the following link: http://artcentron.com/2015/05/25/hairstyles-signifier-pride/#prettyPhoto

CHARLES WILLIAMS “Swim” in South Strand News

30 Jan

Sink or swim: Georgetonian conquers fears through his artwork

  • Wednesday, January 28, 2015

Show More

“In Seconds No. 4” by Charles E. Williams


Charles Williams is getting nervous. He grips his hands tighter together while he talks, causing his knuckles to whiten. His voice lowers and his speech slows. If one were to look closely, they may see a bead of sweat or two appear on his brow.

He’s talking about swimming, or rather his inability to swim, as he stands amongst four huge six-foot-by-six-foot paintings of the ocean.

The works are his, on display at the Franklin G. Burroughs — Simeon B. Chapin Art Museum in Myrtle Beach in an exhibition titled “Swim: An Artist’s Journey.”

“This is me trying to look at what’s causing my fear. The water is alluring but deadly, and it has these human characteristics. Water has always been an intricate part of my pieces,” Williams said. “…For viewers, I’m just using swimming to represent me, but this is also for others to look at their fears and make steps toward becoming better individuals.”

For Williams, that journey, and his fear of water, started when the Georgetown native was 11 years old.

“When I was 11, I was taken under. I was jumping the waves with my cousin at the state park in Myrtle Beach,” he remembers.

From that point forward, the fear of water had a tight grip on Williams, causing him to have what he calls “accidents” every time he ventured into the water in the future.

The accidents – near drownings and panic attacks in the water – have continued all of Williams’ life, since the incident when he was 11 years old, to the swimming lessons he failed in high school, up to three years ago, the most recent event, when he had a panic attack after finding he couldn’t touch the bottom of a swimming pool.

“Swim” is an attempt to tackle his fears, and his next step in finally learning to swim.

His original idea for an exhibition at the museum was a bit different, but it evolved after museum staff asked him to make the works more personal.

“I thought this would be a good time to be brave enough to do a few water paintings. It was therapeutic in a way,” Williams said. “I love a challenge, and this is a life challenge for me.”

The exhibition opened on Jan. 15 and will close at the museum on April 23.

“It was a packed house,” Williams said of the opening. “I was really surprised and grateful.”

The crowd included friends, family, sponsors, collectors and even “people from high school when I was selling my work in Georgetown to raise money for college at SCAD (the Savannah College of Art and Design),” he said.

He first attended Georgetown High, but finished his degree at Carvers Bay High. In 2006 he graduated from SCAD and worked in graphic design briefly before becoming a fulltime painter in 2008.

Williams has had several solo exhibitions in Georgetown, Pawleys Island and Charleston; has been a part of 25 group exhibitions in cities across the U.S. including Atlanta, Sacramento and Washington, D.C.; and has won 11 awards and fellowships for his work.

“Swim” is a collection of 48 oil works – eight six-foot canvas paintings and 40 smaller studies, 30 of the daytime and 10 of nighttime. It took him eight months to complete them.

Standing next to the canvas works, Williams is almost as tall as they are.

“I even feel like these are too small,” he said. “I wanted to paint them as large as I could. It goes back to the person experiencing what I fear. I wanted the pieces to take over you.”

The exhibition is held in three rooms, which Williams described as a “cinematic spectrum from day to night.”

The first room is brightly lit and shows four canvas works titled “In Seconds.” Each shows a progression of the experience of drowning; from No. 1 to No. 4, the viewer is above the water, at the cusp of being under water, completely engulfed under water, and lastly drowning.

“In Seconds No. 4” depicts an 11-year-old Williams floating beneath the surface of the water.

“No. 4 is a significant piece. You know how people talk about dying and seeing the white light? Well I saw it,” Williams said. “I wanted this to reflect the idea of the white light. It’s warm, full of life, and this is me in a sort of ‘letting go’ pose.”

The center room features the study pieces, which are smaller works on paper and canvas.

The studies, which feature day and night images, lead into the final room that houses all four “Lost and Found” paintings.

Williams explains the works, which show portions of the ocean illuminated by light, surrounded by darkness: “Psychologically, I wanted to go back into my mind with a flashlight and find the monster. As a kid, I was also afraid of the dark, so this also helped me show, ‘Hey, I can tackle this fear.’”

Ocean sounds are playing in all of the rooms, which only adds to the feeling of becoming Williams, and he said the effect is particularly important in the “Lost and Found” room.

“I wanted to mimic what you can’t see,” he said, “and yet you can hear the sound of the water.”

To accomplish the effect, he used a flashlight and camera at the beach at night to gather images for inspiration. The lights in the room also mirror the experience, with dim lighting in the center and one spotlight aimed at each piece to mimic where the artist’s flashlight would have been.

Williams’ journey of exploration also took him beyond case studies and into research. It’s a stereotype that most blacks can’t swim, but the artist wanted to know more details. His research revealed that each year, for every one white child who dies from drowning, two to three black children die from it.

“In a way, I would like ‘Swim’ to be an awareness too. … I think it comes down to parents, and how they view the importance of swimming as a survival mechanism,” he said.

Williams called the experience “surreal” to have his first museum show at home along the Atlantic Ocean, a sentiment similar to making money from conquering his fears. Each of the larger canvases has a $10,000 price tag attached.

“As an artist, we already make a living off of putting ourselves out there,” Williams said. “I would encourage all artists to explore learning about themselves and illustrating that. It lets everyone see them innocently.”

Does the 31-year-old consider himself brave for conquering the project?

“Hell yeah, brave in many ways. I took a year off of working for commercial galleries to invest the time, research and process to create these,” Williams said, “but it was all worth it and I would do it again. And I will do it again.”

With a little less enthusiasm, but the same determination, he said the same of swimming: “I still fear the water, but this is my first step toward learning how to swim.”

CHARLES WILLIAMS Museum Exhibition “Swim” Dispels Stereotypes

29 Jan


weekly surge logo

Myrtle Beach art museum offering aims to dispel stereotypes about African-Americans and swimming

For Weekly SurgeJanuary 15, 2015

Charles Williams. Courtesy photo.

Charles Williams. Courtesy photo.

Known for his realism, especially in regard to ocean scenes, artist and Georgetown native Charles Williams, 30, will present 12 six-by-eight oil paintings and 40 painted studies for “Swim: An Artist’s Journey,” inspired by a near-drowning experience and his efforts to come to terms with water – its beauty and serenity versus the potential danger and the very real possibility of fatality – opening tonight at Myrtle Beach’s Franklin G. Burroughs-Simeon B. Chapin Art Museum.

Williams, who is African-American, said the original focus of “Swim” was on stereotypes associated with black males and swimming – like “black people don’t swim,” and his impressions of the percentage rate of accidental drowning, utilizing iconic sneakers as social context in his pieces. His work has since taken on a deeply personal tone. “I decided to put the sneaker social context aside and work on the psychology of this fear that I had of water,” he said. “This exhibition is an acknowledgement of my fear – and also the first step that I am making toward progressing – toward getting back into the water and being able to be comfortable and swim.”

The process has proven to be therapeutic for Williams.

Charles Williams. Courtesy photo.

Charles Williams. Courtesy photo.

“I am using swimming as a vehicle to say, ‘OK, this is who I am, and I am comfortable to say that this is my fear.’” In the past, he would tell people that he took lessons if the subject of swimming came up, but this was only part of the equation. He knew the techniques, but his fear overrode them. “But lately in doing these massive paintings for my show, I have gotten more comfortable about saying, ‘No – I can’t swim. If you put me in water, I can’t swim. I need a life vest.’”

His works promise to reveal a battle within himself over time. “It’s like the water and the ocean have these human characteristics. It could be serene and pretty, but it can also be overwhelming and intimidating,” he said. “The more you study it and the more you understand it, you have to respect it. In order to respect it, you have to learn the tactics to survive in it – and that encompasses swimming.”

The exhibition has been in the works for quite some time, according to Art Museum executive director Pat Goodwin.

“We first met and discussed an exhibition with Charles a few years ago,” she said. “Shortly after those initial conversations, he presented us with Swim: An Artist’s Journey – a very unique exhibition concept. We were immediately intrigued. Here was an opportunity to not only showcase Charles’ work but also to offer an exhibit that included an educational and didactic component, and that is something very important to the mission of our Art Museum.”

Over the summer, Goodwin said she and Museum curator Liz Miller visited Williams in his studio in downtown Charleston before his recent move to Charlotte, N.C. “We were able to see a few of the larger works as well as discuss the specifics for the exhibition as a whole,” she said. “Since that visit, Charles regularly sends us images of the paintings, and frequent phone calls, e-mails and text messages keep us connected to the project. During the summer studio visit, we were also able to discuss the design of the exhibition catalogue and happily our creative ideas meshed perfectly.”

Goodwin says Williams is a detail-oriented professional, “thinking about not just the individual works but also about how they work together to tell the story – and how the story will play out with the audience.”

Linda Ketron of ART WORKS in the Litchfield Exchange, says her history with the Williams family goes back more than 20 years, and she was one of his many early supporters in the local community. In fact, Ketron was one of a group that helped the young artist develop his portfolio and raise funds to use for tuition at Savannah College of Art and Design (SCAD).

“When Charles announced the upcoming show and the financial challenges he faced getting the pieces framed and transported for display, ART WORKS was planning its “Homecoming” show,” she said. “We dedicated the gallery’s commissions on sales toward the “Swim” exhibit and were able to send $500 to join the donations received from his private collectors, corporate sponsors and grant monies.”

Ketron is taken with the story behind this new exhibition.

“Charles has sent photos along with his moving story. His journey is one shared by many African Americans along the coastal communities. The Sandy Island boat tragedy of a few years back remains an open wound, though the local YMCA and other outreach efforts are making great strides in teaching swimming lessons to the young and old. I have imagined standing in one of the museum’s gallery rooms with these enormous paintings of unkind waters around me. The feelings of vulnerability and fear are palpable. I can hardly wait to see the exhibit in person.”

CHARLES WILLIAMS solo at The Franklin G. Burroughs‑Simeon B. Chapin Art Museum

13 Jan

A huge congratulations to MFA artist CHARLES WILLIAMS for his first museum solo exhibition!

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January 15th – April 23rd, 2015

“Swim: An Artist’s Journey” solo exhibition at The Franklin G. Burroughs‑Simeon B. Chapin Art Museum in Myrtle Beach, SC.

What was once hidden is now an open artistic diary of Charles Williams’ fearful journey.

 A native of Georgetown, SC, Charles Williams continues to explore the nuances of his emotional relationship with water — this time investigating thoughts, emotions and experiences from the past, so that what was once hidden has now become an artistic public journal for viewers to co-explore his ocean phobia. His solo exhibit Swim: An Artist’s Journey captures the essence of his ever-morphing aqua obsession with hauntingly personal and hyper-real 6’+ oil paintings placed strategically to surround and engulf, bringing the viewer face-to-face and into the ocean. Utilizing cinematic elements of sight and sound, the exhibit experience is intended to evoke the sensation of being in water.

Known for his contemporary landscapes, Williams shows his sensitivity by exposing his journey from fear to freedom through the visual poetry of these works. Personal sequential experiences imbued with the cultural influences of living on the southeastern coast and actualized on canvas will be offered as this artist’s diary of his fearful obsession with water.

Seen in the American Art Collector, and Professional Artist Magazine for his 2012 show entitled “In Thought,” as well as other various internet and art publications. Other publications follow the rising artist with features and previews in the Artist Magazine, Studio Visit, Charleston Magazine, Grand Strand Magazine, Empty Magazine, Escape into Life, the Oxford, Southwest Art and more.

Swim: An Artist’s Journey will be presented in January 2015 at the Franklin G. Burroughs-Simeon B. Chapin Art Museum in Myrtle Beach, SC.


About Charles Williams 

Charles Williams is a professional contemporary realist painter from Georgetown, South Carolina and a graduate of the Savannah College of Art and Design (SCAD) in Savannah, Georgia with a Bachelors Degree in Fine Art. Utilizing oils for the basis of landscapes, each painting captures his reflection of human emotions in response to and in sync with the natural environment. Recent achievements and awards include a Hudson River Landscape Fellowship, featured work in the Artist’s Magazine’s 28th Annual Art Competition, honorable mention from Southwest Art Magazine’s 21 Emerging Under 31 competition, 2012 Winner of the Fine Art Category from Creative Quarterly, 2013 selected artist for 28th Positive Negative juried art exhibition at East Tennessee State University, juror/curated by Michael Ray Charles from PBS Art 21, one of 25 selected artists for the 2012 Dave Bown Project in Chicago, juried/curated by Karl Hecksher, owner K5 Editions, New York, Andrea Karnes, curator at Modern Art Museum, Fort Worth, Mary Kate O’Hare, curator at American Art, Newark Museum, 2ndBluecanvas Publication international competition, “Environments” and featured cover artist of Composite and Professional Artist Magazine. Williams’ works has been shown in American Art Collector, Empty Magazine, Charleston Magazine, Grand Strand, Studio Visit, Bluecanvas and other national publications. He was interviewed and broadcast on ETV/ NPR station on September 3, 2012, entitled: Nature Through the Eyes of an Artist. He recently received the 2014 Riley Institute Diversity Leadership Award from the State of South Carolina for development of enriching art programs within local communities.

His contemporary landscapes have been exhibited in group and solo exhibitions in galleries in New York, Vermont, California, and several other southeastern states and now are represented by Robert Lange Studios and Morton Fine Art.

Please contact Morton Fine Art for artwork availability.



(202) 628-2787