I’ve always been fascinated with works of realism in which the representational image, which presents an illusion of reality, transitions to obvious marks on paper or paint strokes on canvas at the edges, allowing us to see both the drawn or painted illusion and the reality of marks on a surface in the same image.
In many of the paintings of Charles E. Williams II, this effect is pronounced and takes the form of dripped paint marks at the bottom edges of his compositions, which are often of scenes involving creeks, streams or other bodies of water.
The effect is striking, highlighting both our perceptions of three dimensional scenes on a two dimensional surface, and Williams’ skills as a realist painter, without which the effect would be negligible.
Williams was born and is based in South Carolina; he studied fine art at the Savannah College of At and Design in Georgia.
In addition to his website, Williams posts his work to a blog, and you can also find galleries of his work on Bluecanvas and Robert Lange Studios.
[Via Escape Into Life]
3 Replies to “Charles E. Williams II”
Charle’s has an interesting technigue there, but I’m not sold by it at the moment
It was his obvious abilities as a realist painter that grabbed my eye… the way he brings us back out of the painting into the real reality is very conflicting…
It works on some of the paintings, but on others it just trips me up and I’m just not sure how to react to the work as a whole.
I think mostly I just want to hop into the paintings and go looking for frogs and dragon flies…
As always, Thanks Charley for doing what you do with Lines and Colors… Mike
I agree with mike. What I would have enjoyed as a very well
crafted landscape becomes precious and gimmicky.
An interesting tension between a craftsman’s control and creative abandon is created when a very capable artist allows the paint to drip and drift down the bottom of the canvas. Interesting, that is, the first time you see it. But repeated by the same artist again and again, it very quickly it becomes a tiresome distraction produced by someone who could, if he wanted to, easily hold my attention with more convential depictions.
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