To say that a williams makes books is like saying that an actor merely reads lines. a williams is a maker of artist's books. He stiches and binds, but he does much more than that. a williams 'performs' books - the narrative, or content is focused around the performance of making the book.
Thus his books are much more than just words on a page (in fact, they aren't 'words on a page' at all), they are sculptural objects. For instance, in his upcoming exhibition at Don't Look Gallery, we see a video of the artist at work.
In creating 'IncendDIARY', a williams (and co-collaborator Jordan Woods) fill the insides of books with sparklers, then blow the living daylights out of them. This destructive, but spectacular, act evokes the destruction of knowledge through the glorification of war, perhaps illustrating the old adage that, 'the first casualty of war is truth'. The charred remains of these books are exhibited like evidence at a murder trial.
Most of his books don't meet such violent ends, however, but all of them have 'lived' - they have all survived performance, and as a result, can be read as texts (despite having no printed words).
The 'Information Bomb' is the result of a performance of a character. This character believes that if he or she combines a book (a container for information) with some ink (the revealer of information), an aerial (the transmitter of information) and a switch (to make the thing work), that they will be able to make a successful book - perhaps a book that is more technologically advanced than others.
He describes this work as a 'prototype that never got through the patent office, made by an inbred savant who grew up in a caravan park on the Gold Coast' (a description that a williams thinks is a little too close to his own for comfort).
Another work, entitled 'Preservation', is comprised of a book that has been preserved in alcohol in the hope the book will 'last for future generations' - yet ironically it has been ruined in the process. The way it has been preserved denies access to that which it is trying to preserve. The object itself has been confused with the knowledge it contains and the book has been preserved at the cost of that which it holds.
To a williams it is the lived experience of a book that matters. In the words of the artist; "It's not what's in a book, who wrote it or what it's about; but what you DO TO IT that really counts..."
a williams wishes to thank the Haswell and Macleay Museums at the University of Sydney, Marrickville Council and Southern Cross University for their assistance and support of this project.
FOR MORE INFORMATION PLEASE CONTACT GREG SHAPLEY ON 0401 152 434 OR EMAIL firstname.lastname@example.org