让我们开启一场对话，探讨文化传统所塑造的复杂体、个人与政治的关联性，挖掘根源，理解时间、过去与当下的重要性。我所使用的材料具有多重属性，既是作品的表面，又涉及多个维度：形式、线条和形状。它们还是从不同环境生长出来的故事：有关身份、爱、同情、愤怒、情感与人性的故事。

我在每一个层面，打开并温柔地剥去我们的共同经验，展现大众视野之外的人群的心灵与决心。我希望在超现实主义的光芒下，将大相径庭的事物并置起来，构成第三种现实，让看不见的东西显现出来，为这些主人公赋予名字。

我从经验的角度思考时间，也就是从我个人的角度思考时间。通过直接的图像，向观众提供一把解锁自己潜意识的钥匙，打开他们头脑中的摄像机。回忆在我们的记忆中消退，在我们想要记忆的事物中被唤醒。

我把画布看作一面破旧的石膏墙，层层叠叠的公告纸在日晒风吹中被撕裂消磨。观众是看不到这面墙的，它被隐藏起来了。用月亮的形状让它黯然失色，呈逆时针旋转，与磨损的、字迹潦草的信息交织在一起，眼睛不断地扫视着这些信息。

我们不要停留在时间上，而要努力捕捉人类的进步。我们与时间的关系充其量是不完整、不完美的。我的艺术捕捉到散落的时间，将它们展现出来——我们曾经擦肩而过的安宁之地。

我用艺术讲述共通的人性，它每天都存在于我们的身边。

《分离》纸和乙烯基颜料 102x102cm 2017

A Separation, paper and vinyl, 102x102cm, 2017

《绕行》 丙烯、纸和乙烯基颜料 122x152cm 2019

Detour, acrylic, paper and vinyl, 122x152cm, 2019

《无尽》丙烯、纸、水粉和乙烯基颜料 61x61cm 2018

Endlessly, acrylic, paper, pastels and vinyl, 61x61cm, 2018

《短暂》丙烯、纸、水粉和乙烯基颜料 61x61cm 2019

Ephemeral, acrylic, paper, pastels and vinyl, 61x61cm, 2019

《出口》丙烯和乙烯基颜料 91x152cm 2017

Exit, acrylic and vinyl, 91x152cm, 2017

《在哪里》 丙烯、金属粉和乙烯基颜料，61x91cm，2017

Where ... Is, acrylic, metallic powders and vinyl, 61x91cm, 2017

阿奎塔·威廉姆斯的艺术经历是从玻璃吹造者到雕塑家，再到画家的人生旅程。她的灵感来自对非洲图像的研究，以一种身处其中的感受讲述非洲裔女性的故事，讲述她复杂的感觉、思想和记忆。威廉姆斯对自己的过去进行反思，认清自己的身份。她在《长颈鹿脖子的女人》《携带的女人》《计时员》《结构时间》作品中运用多种材料讲述故事。威廉姆斯对艺术的热爱在威斯康星大学讲师、著名艺术家哈维·利特尔顿的指导下得到巩固，并获得硕士学位。她还取得国际艺术资助，旅行穿越西非贝宁。威廉姆斯曾在美国多地展出她的艺术创作，包括《常见物品中的罕见之处：非裔美国人手工艺的遗产》及其在美国五大博物馆的巡展。她的作品还在日本金泽市举办的国际玻璃展和韩国京畿宗宗当代艺术研究所的《色彩2018》上展出。

Artist statement

Let’s open a dialogue to investigate the aspects of the complexity shaped by culture and traditions, a personal and political sense of relevance, unearthing the roots and comprehending the importance of time, past and present. My materials are of a diverse nature; they are the surfaces as well as depths of renderings forms, lines and shapes. They are also the stories that emerge from these environments stories about identity, love, compassion, anger, sensitivity and humanity. 

Through a layer of surfaces, I have unzipped and gently peeled away our shared experiences, exposing the heart and determination of individuals who have become invisible. I want to create, in the shadows of surrealism, a juxtaposition of wildly dissimilar things, a third reality to make what is invisible visible and to bring a name to these protagonists. 

I am rethinking time in terms of our experience and thereby rethinking time in terms of ourselves. By using straightforward images. I present the viewers with keys to unlock their unconscious minds, revealing their own personal mind-held cameras. Memories fade and awaken in what we remember and what we want to remember. 

I approach my canvas like that of a worn plaster wall, layers of papers of repeatedly glued announcements that are torn and weathered from sun, wind and rain. This wall is obscured and hidden from the viewer. Moon-shaped eclipses rotate counter-clockwise, woven together with worn, scribbled messages that keep the eye constantly moving. 

Let’s not remain suspended in time but instead strive to capture humanity’s progress. 

At best, our relationship to time, is incomplete and imperfect. My art recaptures the fragmented bits of time, exposing them for what they are — a resting place we once passed through. 

My art speaks of a shared humanity that passes us by every day.

Short biography

Acquaetta Williams’s art has been a life journey from glassblower to sculpture and now painter. Her inspiration evolved from vision of African Images to tell the story of African American Women in a sense of relevance in a complexity of her feelings, thoughts and memories. Williams reflects on her past to form an identity. She tells a story in assemblages of materials contained in Giraffe Neck Women, Women Who Carry and then into Timekeepers and Deconstructing Time Memories. and now Faceless Melodies. Her love for art was cemented under instructor and well-known artist Harvey Littleton at the University of Wisconsin where she received a MFA degree. An Arts International Travel Grant that was awarded to her included travels through Benin in West Africa. She has exhibited her art Nationally, in Uncommon Beauty in Common Objects The Legacy of African American Craft Art which included a tour throughout the United States, visiting 5 major museums, as well as International the International Glass Exhibition, Kanazawa, Japan and “Color 2018”, Czong Institute for Contemporary Art, Gyeonggi, Korea.