Professional Documents
Culture Documents
Aubrey Williams
Aubrey Williams
Born in Georgetown in British Guiana (now Guyana), Williams Died 17 April 1990
began drawing and painting at an early age. He received informal art (aged 63)
tutoring from the age of three, and joined the Working Peoples' Art London, England
Class at the age of 12. After training as an agronomist he worked as Occupation Artist (painter)
an Agricultural Field Officer for eight years, initially on the sugar
Notable work Shostakovich, The
plantations of the East Coast and later in the North-West region of
the country—an area inhabited primarily by the indigenous Warao Olmec-Maya and
people. His time among the Warao had a dramatic impact on his Now, Cosmos
artistic approach, and initiated the complex obsession with pre- Awards Commonwealth
Columbian arts and cultures that ran throughout his artistic career. Prize for Painting
(1964), The Golden
Williams left Guyana at the height of the Independence Movement
in 1952, and moved to the United Kingdom. Following his first Arrow of
exhibition in London in 1954, he became an increasingly significant Achievement (1970),
figure in the post-war British avant-garde art scene, particularly The Cacique's
through his association with Denis Bowen's New Vision Centre Crown of Honour
Gallery. In 1966, he came together with a group of London-based (1986)
Caribbean artists and intellectuals to found the Caribbean Artists
Movement, which served as a dynamic hub of cultural events and activity until its dissolution in 1972. From
1970 onwards, Williams worked in studios in Jamaica and Florida as well as the UK, and it was during this
period that he produced three of his best-known series of paintings: Shostakovich, The Olmec Maya and
Now and Cosmos.
Contents
Life
Early years
Adult life in British Guiana
Agricultural Officer on the East Coast
The Working People's Art Class
Time among the Warao in the North-West
Return to Georgetown
England
The first few years
Recognition: from New Vision to the Commonwealth Prize
The Caribbean Artists Movement
Later years: between London, Jamaica, Florida and Guyana
Legacy
Style
Exhibitions
Awards
See also
References
Notes
Sources
External links
Life
Early years
Aubrey Williams was born on 8 May 1926 in Georgetown in British Guiana.[1][2] His parents were middle-
class Guyanese with mixed African, Carib, and possibly other, ancestry.[3][4][5] He was raised in accordance
with Christian, English values, and his parents strongly discouraged his childhood interest in populist,
African-derived, art forms such as Anancy stories and the masquerade bands (locally known as "Santapee
bands") that performed in the streets of Georgetown at Christmas.[3]
Williams' artistic tendencies emerged early on in his youth. When he was three years old, and living on
Bourda Street in central Georgetown, he produced an observational sketch of a Turkey Vulture eating a dead
rat in Bourda Cemetery. On seeing the drawing, his father (who was working as a postman at that time) took
it to a local Dutch art restorer, named Mr De Wynter, who worked in the churches of British Guiana. De
Wynter instantly recognised Williams artistic talent, and decided to offer him informal art training. They
worked together for five years. Reflecting on this early art training years later, Williams noted that it was
very different from conventional methods of teaching art in the UK: "He would give me a task to perform,
say, ask me to draw some animals or some fruits. He would then take the drawing and see if it was good. He
would never correct the drawing. He would instead make another drawing." It was, Williams said, the "best
method" he had ever come across, and one that profoundly influenced him in his own career as an art
teacher.[6][7]
Between the ages of 12 and 15, while he was still at school, Williams attended the Working People's Art
Class (WPAC) in Georgetown, which was led by the artist E. R. Burrowes.[8][9][10] At the age of 15,
Williams enrolled on a four-year agricultural apprenticeship scheme that was run in affiliation with
University College, London. His training included a special focus on sugar production. He was appointed as
an Agricultural Field Officer in 1944.[11][12]
In the early years of his employment with the Department of Agriculture in British Guiana, Williams
occupied three positions simultaneously: Field Officer, Agricultural Superintendent for the East Coast, and
Cane-Farming Officer. Williams was appointed to the latter position following his efforts to negotiate with
the government on behalf of the cane-farmers. As Cane-Farming Officer, he was expected to "smooth out
relations" between the owners and managers of the sugar plantations and the workers, without "rocking the
boat". Williams, however, had other plans. He worked hard to defend the rights of the cane-farmers, and in
doing so was brought into regular confrontation with the plantation managers. Indeed, in his words, he
became "a bloody thorn in their side, demanding correct figures, fair play, and that sort of thing". Although
this period of Williams' life was a very stressful one, he continued painting throughout.[13]
Shortly after he qualified as an Agricultural Officer, Williams contacted E. R. Burrowes and returned to the
Working People's Art Class, but this time as a teacher and organiser. Together they extended the WPAC
beyond central Georgetown by setting up auxiliary classes throughout the East Coast. Williams himself
established new classes in the agricultural regions in which he was working, and would often lead classes
when Burrowes was unavailable. The classes were held at least twice weekly.[8]
After a number of years working on the East Coast, Williams was sent to work among the Warao (or
Warrau) people in the North-West of the country (now the Barima-Waini region, or Region 1). He was put in
charge of the Agricultural Station in the area.[14][15] Although he had technically been promoted, Williams
initially viewed his redeployment as a form of punishment for his activism on behalf of the sugar-cane
farmers. "It was like sending someone to Siberia," he said.[16]
However, Williams' perspective on his time in the North-West region changed dramatically within the first
six months. He ultimately stayed in the area for two years, and the interaction he had with Warao people
during this period had a profound effect on his artistic development. Listening to the Warao talk about
colour and form totally transformed his understanding of art; and his experiences in this region instigated an
interest in pre-Columbian culture and artefacts which subsequently became "the core of [his] artistic
activity".[7][17] Indeed, in 1987 Williams reflected: "[I]t was there that for the first time I discovered myself
as an artist. Before that it was all amateur activity. [...] I have to thank the Warrau people now for my work
as an artist".[16] Williams created many paintings while working in the North-West region, but he destroyed
most of his work soon after it was created.[7]
Return to Georgetown
After two years living with the Warao, Williams returned to Georgetown, where he resumed his work with
the Working People's Art Class.[7] The moment of his return, however, was a time of great political upheaval
in the city. The Independence Movement in British Guiana was gaining strength, and most of his friends had
joined the People's Progressive Party (PPP), which was at the forefront of the struggle. Although Williams
was never a member of the PPP, and did not attend any of their meetings, he was close to the party's leader,
Cheddi Jagan. This association alone raised suspicion among British colonists, prompting an investigation
into Williams' early work for the Department of Agriculture, and he was ultimately accused of having
founded "farmer's communes" on the East Coast. Around this time, one of his friends in the PPP – who he
would later claim "saved his life" – advised him to leave the country. Three months later Williams took this
advice and departed for the UK.[7][18]
England
On returning from his travels in 1954, Williams enrolled as a student at St Martin's School of Art. He
studied at St. Martin's for more than two and a half years. In his second year, however, he decided that he
wanted to use the school's facilities and resources but did not want their diploma and thus did not register
after this time. In 1954 he held his first exhibition at the little-known Archer Gallery in Westbourne Grove in
London. During these early years in London, Williams married his partner, Eve Lafargue, who had travelled
with him from British Guiana.[19][22][23]
Sometime in the late 1950s Williams met Denis Bowen—founder of the New Vision Group and director of
the New Vision Gallery in London from 1951 to 1966.[24] Though under-recognized at the time, the New
Vision Centre Gallery (NVCG) played an important role in the post-war British art scene through its
promotion of abstract art and its unusual openness to, and interest in, artists from all around the
world.[24][25] Williams' involvement with the NVCG marked an important turning-point in his
career.[12][26][27] A number of his paintings were included in the New Vision Open Exhibition in early 1958,
and the Gallery put on two solo exhibitions of his work in August 1959 and November 1960.[28] These
exhibitions were a great success for Williams: his work received positive reviews from numerous art critics
and sold well, and he subsequently obtained further invitations to exhibit in Paris, Milan and
Chicago.[26][28][29]
At the time of this success, Williams felt that he had "made it" as an artist. However, after two years the
interest in his work subsided and his exhibitions started to be ignored. For Williams, this precipitated a five-
year period of self-doubt and "confusion".[30]
Another breakthrough in his career came in 1963 when 40 of his paintings were exhibited in the
Commonwealth Biennale of Abstract Art at the Commonwealth Institute in London.[31] Williams was
awarded the only prize of the exhibition for his painting Roraima (the £50 prize was donated by the British
artist Frank Avray Wilson).[32][33] In 1965 Williams was awarded the Commonwealth Prize for Painting,
which was presented by Queen Elizabeth II.[32]
In the mid-1960s Williams joined forces with a small group of London-based Caribbean intellectuals and
artists to found the Caribbean Artists Movement (CAM). The other founding members of the movement
were: Kamau Brathwaite, Wilson Harris, Louis James, Evan Jones, John La Rose, Ronald Moody, Orlando
Patterson and Andrew Salkey.[34] Active for six years (from 1966 to 1972), CAM took the form of
meetings, readings, exhibitions, seminars and conferences, which sought to provide a forum for Caribbean
artists to exchange ideas, address particular artistic issues, and discuss each other's work. It began as a series
of small, private meetings held in members' homes but quickly expanded into larger, public events.[35]
Williams was a regular at CAM events and played an important pioneering role in the movement, "which
was to have an inestimable influence on the British art scene for the next fifteen years".[36] In April 1967 he
held an informal meeting at his studio in which he talked about his work, his creative process, his influences
and philosophy. The meeting was attended by Brathwaite, La Rose, Salkey and Harris.[37] At CAM's first
Symposium of West Indian Artists, which was held at the West Indian Students' Centre in Earl's Court on 2
June 1967, Williams gave a short speech about themes in Caribbean art.[38][39] He also attended the first
CAM conference in September 1967 at the University of Kent, and presented a paper entitled "The
Predicament of the Artist in the Caribbean". In this paper he argued against ideas that art should be
figurative or narrative, while also suggesting that Caribbean artists need not turn to contemporary European
artists for examples of more abstract or non-narrative forms; they could, instead, find precedents in the
"primitive" art of South America and the Caribbean.[40][41] In May 1960 he contributed a number of
paintings to CAM's first art exhibition.[42]
Williams described CAM as "very important" both for himself and for other Caribbean artists. "It helped
create an intellectual atmosphere for everyone to be creative and relate to each other", he said, and provided
an "international platform" through which individual members "came to know what was happening in the
rest of the Commonwealth" and through which he personally met other artists "from Africa, from India and
from many parts of the world".[43]
In 1972 he took part in the first Carifesta in Guyana, which ran from 25 August to 15 September.[52] In 1976
he completed two murals in Jamaica, at the School of Hope for Mentally Handicapped Children and at the
African Methodist Episcopal (AME) Church in Swallowfield Road.[53] In May 1978 he completed a mural
in Howe Hall at the University of Dalhousie, which was commissioned by the Prime Minister of Guyana at
that time, Forbes Burnham.[54]
In the 1980s Williams worked mainly in a studio in Florida. During these years he produced three of his
best-known series of paintings: Shostakovich, The Olmec-Maya and Now and Cosmos.[51]
In 1986 the Guyanese government awarded him The Cacique's Crown of Honour,[44] and that year he was
the subject of a documentary film directed by Imruh Caesar entitled The Mark of the Hand, which was first
screened at the British Academy of Film and Television Arts in London on 16 December 1986.[55][56]
In 1989 paintings by Williams were included in an exhibition at the Hayward Gallery entitled The Other
Story, which focused on the work of African and Asian artists in post-World War II Britain. This was the
first time that his work was exhibited in a mainstream public art gallery in the UK.[57] and featured his
Cosmos series. In the words of Geoffrey MacLean, "It showed the vast span of Williams's spiritual and
intellectual development, from the birds of Guyana and the environment of his childhood, through the
memory of his Amerindian heritage, culminating in an appreciation of universal expression through music
and spiritual realisation through the cosmos."[58]
Legacy
The 1990 book by Anne Walmsley entitled Guyana Dreaming: The Art of Aubrey Williams, which the artist
saw in manuscript 10 days before his death, was the first significant publication devoted to his work.[59]
On 19 January 1996, a half-day seminar on Aubrey Williams was organised by InIVA to coincide with a
showing of The Cosmos Series at the October Gallery (where the last solo exhibition that took place during
his lifetime was held),[60][61] featuring contributions by Stuart Hall, Anne Walmsley, Rasheed Araeen and
Wilson Harris, plus a screening of Imruh Caesar's 1986 documentary on Williams, The Mark of the
Hand.[62] A major exhibition of work by Williams was mounted at the Whitechapel Art Gallery in summer
1998, and other significant posthumous exhibitions have also taken place, at the October Gallery (http://ww
w.octobergallery.co.uk/) and elsewhere. His work is also in important collections including the Arts Council
of England and The Tate.
Style
In the early years of his artistic career, from the time he joined the WPAC up until the late 1950s, Williams
paintings were primarily figurative. According to Donald Locke, a fellow Guyanese artist who attended the
WPAC at the same time as Williams, his paintings during the WPAC were usually of pregnant female nudes,
and his colours of choice were typically "pale, whiteish, yellows and browns".[10] When he first moved to
London, Williams initially worked with pastels because he could not afford to buy paints. Locke described
his work in the mid to late 1950s as "tinged" with a "Cubistic-Naturalism" that was common to young artists
in the WPAC.[63]
While living in London and travelling in Europe in the mid-1950s, Williams was introduced to the most
recent trends in European and American art through exhibitions at The Tate in London and
elsewhere.[64][2][65] He was impressed and excited by an exhibition of German expressionist painting in
London, and by the work of American abstract expressionist artists such as Jackson Pollock, Franz Kline,
Barnett Newman, Willem de Kooning, Mark Rothko.[66] He found a particular affinity with Arshile Gorky –
whose work, he said, "fitted in some way with [his] own perception" – and with Roberto Matta.[67] He
traced his affinity with Matta to a shared experience of colonialism: "It's the smell of the presence of the
conquistadors. It's the smell of a loss, and a replacement of lesser than what was destroyed".[68] These
various influences had a significant impact on his artistic development in subsequent years.
From 1959 onward, Williams' work became increasingly abstract and his style was frequently described by
art critics as a form of abstract expressionism.[69] While economic factors had originally limited the size of
canvas he used, he gradually progressed onto ever-larger canvases, and from 1970 onward also painted a
number of large murals. He used glazes and scumbling to create effects with his oil paints.[70] Following a
period of self-questioning in the early 1970s, during which Williams worried that he was "only making
paintings [...] like making wall furniture", he began to re-introduce figurative elements into his paintings—a
stylistic change that is particularly visible in his The Olmec-Maya and Now series.[71][72]
Exhibitions
(G = Group shows)
Awards
1963 Prize at the Commonwealth Biennale of Abstract Art in London[32][33]
1965 Commonwealth Prize for Painting
1970 The Golden Arrow of Achievement, Guyana
1986 The Cacique's Crown of Honour, Guyana
See also
Culture of Guyana
References
Notes
1. Walmsley 1990, p. 5.
2. Brett 1999, p. 29.
3. Williams 1990c, pp. 24–25.
4. Carew 1990, p. 65.
5. Brathwaite 1990, p. 84.
6. Araeen 1987, p. 26.
7. Walmsley 1992, p. 15.
8. Araeen 1987, p. 27.
9. Wainwright 2009, p. 65.
10. Locke 1990, p. 69.
11. Araeen 1987, pp. 27–28.
12. Wainwright 2009, p. 67.
13. Araeen 1987, pp. 28–29.
14. Araeen 1987, pp. 29–30.
15. Walmsley 1996, p. 267.
16. Araeen 1987, p. 30.
17. Araeen 1987, p. 37.
18. Araeen 1987, pp. 30–31.
19. Walmsley 1992, pp. 15–16.
20. Araeen 1987, pp. 31–32.
21. Araeen 1987, p. 32.
22. Araeen 1987, pp. 32–33.
23. Anon 2010.
24. Walmsley 1992, p. 16.
25. Russell 2006.
26. Wainwright 2010, p. 46.
27. Walmsley 1992, pp. 16–17.
28. Walmsley 1992, p. 17.
29. Araeen 1987, pp. 33–34.
30. Araeen 1987, p. 34.
31. "1st Commonwealth Biennale of Abstract Art" (http://new.diaspora-artists.net/display_item.ph
p?id=852&table=artefacts), Diaspora Artists.
32. Walmsley 1992, p. 32.
33. Locke 1990, p. 73.
34. Walmsley 1992, p. xvii.
35. Walmsley 1992.
36. "Aubrey Williams" (http://www.iniva.org/library/archive/people/w/williams_aubrey) Archived (htt
ps://web.archive.org/web/20151003183328/http://www.iniva.org/library/archive/people/w/willia
ms_aubrey) 3 October 2015 at the Wayback Machine at InIVA.
37. Walmsley 1992, pp. 72–73.
38. Walmsley 1992, pp. 80–83.
39. Williams 1990a.
40. Walmsley 1992, pp. 94, 99–100.
41. Williams 1990b.
42. Walmsley 1992, pp. 150, 327.
43. Araeen 1987, pp. 35–36.
44. Walmsley 1990, p. 106.
45. King 2010, p. 6.
46. Walmsley 1992, pp. 211–212.
47. Salkey 1972.
48. Walmsley 2010b, p. 134.
49. Walmsley 1992, p. 277.
50. Walmsley 1992, p. 270.
51. Walmsley 2010a, p. 24.
52. Walmsley 1992, pp. 272–274.
53. Hope 1990, p. 87.
54. Williams 1990d, p. 29.
55. Walmsley 1990, p. 111.
56. Chambers 2012, p. 191.
57. Brett 1999, p. 32.
58. Geoffrey MacLean, "Aubrey Williams: Tapping the Source" (http://caribbean-beat.com/issue-4/t
apping-source), Caribbean Beat, Issue 4 (Winter 1992).
59. "Anne Walmsley" (http://new.diaspora-artists.net/display_item.php?id=482&table=artists),
Diaspor Artists.
60. "Aubrey Williams" (http://new.diaspora-artists.net/display_item.php?id=55&table=artists&linkph
rase=Aubrey+Williams), Diaspora Artists.
61. "Aubrey Williams | Selected Oils and Recent Acrylics" (http://new.diaspora-artists.net/display_it
em.php?id=703&table=artefacts), Diaspora Artists.
62. "Aubrey Williams The Cosmos Series 1996, Seminar schedule" (http://new.diaspora-artists.net/
display_item.php?id=836&table=artefacts), Diaspora Artists.
63. Locke 1990, p. 70.
64. Brett 1990b, p. 99.
65. Gooding 2010, p. 37.
66. Araeen 1987, p. 36.
67. Araeen 1987, pp. 36, 44.
68. Araeen 1987, p. 44.
69. Locke 1990, p. 71.
70. Bowen 1990a, p. 86.
71. Araeen 1987, p. 50.
72. Brett 1999, p. 44.
73. "Appointment With Six" (http://new.diaspora-artists.net/display_item.php?id=324&table=exhibiti
ons) at Diaspora Artists.
74. "The Other Story – exhibition" (http://new.diaspora-artists.net/display_item.php?id=39&table=e
xhibitions), Diaspora Artists.
75. "Aubrey Williams – October Gallery 1989" (http://new.diaspora-artists.net/display_item.php?id=
257&table=exhibitions&linkphrase=October+Gallery) (2 November–16 December 1989),
Diaspora Artists.
76. "Transforming the Crown" (http://new.diaspora-artists.net/display_item.php?id=288&table=artef
acts) at Diaspora Artists.
77. "Whitechapel agenda – Aubrey Williams" (http://new.diaspora-artists.net/display_item.php?id=
780&table=artefacts&linkphrase=Whitechapel) at Diaspora Artists.
78. "Aubrey Williams: Major Works" (http://www.octobergallery.co.uk/exhibitions/2006wil/) (7
December 2006 – 17 February 2007), October Gallery.
79. "Aubrey Williams: Atlantic Fire" (http://www.liverpoolmuseums.org.uk/walker/exhibitions/aubre
y/) (15 January 2010 – 11 April 2010), Walker Art Gallery.
80. "Aubrey Williams: Now and Coming Time" (http://www.octobergallery.co.uk/exhibitions/2010wil/
index.shtml) (4 January 2010 – 3 April 2010), October Gallery.
81. "Aubrey Williams: Realm of the Sun" (http://www.octobergallery.co.uk/exhibitions/2015wil/inde
x.shtml) (8 October–21 November 2015), October Gallery.
82. [1] (http://www.octobergallery.co.uk/artists/williams/) (13 September - 27 October 2018),
October Gallery.
Sources
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Araeen, Rasheed (1987). "Conversation with Aubrey Williams". Third Text. 1 (2): 25–52.
doi:10.1080/09528828708576180 (https://doi.org/10.1080%2F09528828708576180).
Brathwaite, Edward Kamau (1990). "Timehri". In Anne Walmsley (ed.). Guyana Dreaming: The
Art of Aubrey Williams. Sydney: Dangaroo Press. pp. 82–85. ISBN 1 871049 07 5.
Brett, Guy (1990a). "A World Aesthetic". In Walmsley (ed.). Guyana Dreaming. pp. 89–92.
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Brett, Guy (Autumn 1999). "A Tragic Excitement: The Work of Aubrey Williams". Third Text. 48
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06).
Bowen, Denis (1990a). "An Artist's View of Contemporary Commonwealth Painters: Aubrey
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197. doi:10.1215/07990537-1665623 (https://doi.org/10.1215%2F07990537-1665623).
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Aubrey Williams. Liverpool and London: National Museums Liverpool and October Gallery,
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External links
Aubrey Williams page (http://www.octobergallery.co.uk/artists/williams/index.shtml) at October
Gallery.
Aubrey Williams page (https://web.archive.org/web/20170202004603/http://www.iniva.org/libra
ry/digital_archive/people/w/williams_aubrey) at Institute of International Visual Arts.
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