The Bank Street Arts activity booklet aims to highlight the history of the centre and it's permanent works collection.
Since opening in 2008, many artists have been invited to install permanent works that have become integral parts of the centre's aesthetic and rich history.
Williams was asked to create an interactive 'scavenger hunt' that would encourage visitors to BSA to explore and discover more of the centre.
The booklet was launched at a one-off event in August 2016. Williams gave guests a guided tour of the centre, giving an overview of the project and insight into the history of each work. The activity booklet has now become part of the permanent works collection that it illustrates and is available to all visitors to BSA.
War Music Exhibition, Lichfield Cathedral. 2016.
As part of Lichfield Festival, Williams was invited to curate an exhibition of archival material from the Royal Academy of Music. Marking the centenary of World War One, and in line with the festival's theme, this exhibition brings together original instruments, images and manuscripts that highlight the radical changes in music from the period before and during WW1.
Growing up in Tamworth, Staffordshire, many of Williams' relatives worked in various capacities at a local theme park, her mother having worked there for more than a decade during the artist's childhood. Many years later, Williams also spent several summers working there as a Games Operator.
'Capital World' appropriates the easily accessible narrative of a theme park to explore unwritten and often insidious rules of Capitalist systems. Williams' theme park is made up of 3 interactive 'games', a gift shop and a photo 'booth' that gives you the opportunity to have your photo taken with the artist.
Drawing from her experience as a theme park worker, having being exposed both to the 'dream-like' world that theme parks offer and the manipulative tactics employed by 'amusement games' to get customers to part with their money, Williams invites participants to enjoy her own dystopian 'dream-world' system, presenting questions about Education, Feminine roles, The Minimum Wage, Fame, Commodity and Leisure time.
One of the 5 elements that made up 'Capital World', '15 Minutes' offers participants the opportunity to have their photo taken with a cardboard cut-out of the artist, who also made 2 guest appearances during the Private View of the show.
'15 Minutes' is a tongue-in-cheek critique of how value is attributed to people in the public eye, our obsession with celebrity status and hunger for fame. Williams purposefully brandishes herself as the face of 'Capital World' in order to subvert the anonymity that usually detaches an audience from an artist.
'Original Smiginal, New Who?' uses iconic works of painting and sculpture to explore wide spread pre-conceptions of the art world, and what an audience expects when entering a gallery space.
Re-created by Williams as costumes for performers, the pieces of art selected exist on the periphery of peoples minds the world over - as an unspoken expectation of the work an artist makes. These works are infamous not only through their elevation as significant pieces from history, but also through their mass proliferation and reproduction in modern media.
By reproducing the works as 'static performances', influenced by the original context of each work, Williams explores notions of artistic intention, language and perception, whilst playfully questioning the relationship an audience has with performance over inert objects.
This project began as an exploration of 'alternative life choices' vs wide pre-conceptions of 'life-success'. In particular the obstacles one faces when trying to challenge the status quo.
'Human Buckeroo' appropriates the easily penetrable platform of Childhood Board games and Reality TV shows, allowing an audience to participate in a familiar narrative. Simply put, the balance beam is a literal representation of the path a person tries to take in life, and the objects placed on the performer are representative of obstacles that we all face, with a particular significance given to the audience members who become 'obstructors' during the life of the game.
'Human Buckeroo' brings to life our fascination with voyeuristic devices; TV game shows designed to humiliate contestants, Reality TV that forces behaviour within manipulated narratives, Social media sites that allow us to pass silent judgement on the lives and trials of our peers.
It satiates our morbid curiosity, and questions our deep-seated desire to see others fail.
'Observation Point 04' masquerades as a viewing point for an audience to take an elevated view of a gallery space, once inside however, they are met with 3 CCTV screens showing a live feed video stream of themselves from disconcerting angles.
The body of work that led to the creation of ‘Observation Point 04’ was initiated from a tongue-in-cheek exploration of how ‘observation’ is instrumental to artistic work. The tower is intended to disrupt a viewers expectation of a gallery experience, allowing them to view themselves within a constructed narrative.
The 3 metre tall tower’s rough exterior and clinical interior, combined with the use of CCTV, take inspiration from dystopian novels, such as Orwell’s 1984, and historical icons, such as Checkpoint Charlie and the Berlin Wall observation points. Williams playfully forces the viewer to experience ‘close-up’ the kind of CCTV recording that they are subtly exposed to everyday, questioning the balance of state ‘protection’ vs state ‘monitoring’.