In many ways, painter Suzanne Williams is a more idiosyncratic artist than her celebrated —and reviled—husband, Robert. Emerging from the same milieus of the Ed “Big Daddy” Roth studio and 1960s counterculture, Williams’ precise, geometric oil paintings intersect with such late-modernist movements as op art, hard-edge abstraction, and the revival in the 1970s of interest in art deco design, but belong wholly in none of these specific camps. Instead, each of the artist’s meticulously rendered visions demands to be accepted at face value, whether it summons associations with the machine-fetishizing futurists and dadaists, such as Francis Picabia; architectural draftsmanship and Bauhaus design; Hopi pottery; or psychedelic art of the 1960s.
|Pierced Red Square
Oil on canvas, 1998
18 x 18 inches
From the Stuart and Judy Spence Collection, donated April 1999 by Judy and Stuart Spence