'From The Ocean To The Silver City' is the newest collection by artist Julie Williams.
Lady Raffles, Sophia Hull, circa 1817. 30cm x 30cm. Image transfer on canvas, organic paint and Posca enamel paint pen, 2017.
Sakthi Magic, Imogiri, Bright Water. H:35cm x W:46cm. Silkscreen printed on historic Batik, 2017.
Sakthi Magic, Imogiri Landscape. H: 35cm x W:46cm, Silkscreen printed on historic batik tulis. 2017
Sakthi Magic, Jogja Love. H: 35cm x W: 46cm. Silkscreen printed Batik Tulis, 2017 – Princess story, gold ochre blue gate.
Sakthi Magic, Kembang Merapi, Tiong Bahru. H:35 x W:46cm. Silkscreen printed on Indonesian New Batik, 2017.
Tokek, Javanese Protector. H: 24cm x W: 29cm. Image transfer on wood panel with acrylic and organic paint. 2017
Sakthi Shaft, Hill End, Imogiri. H: 98cm x W:47cm. Silkscreen printed banner on Kawung Batik Tulis. 2017.
The Long View
Julie Williams has been working in Hill End, NSW for over a decade. Exhibitions, The Long View at Western Plains Cultural Centre, Dubbo Regional Gallery and The Great Divide at Bathurst Regional Gallery, present her distinctly individual responses to this remote, historically charged village. Julie Williams’ leaf paintings in The Long View are from Hunts Creek Parramatta, Sydney and Hill End. Titled ,The Nature of Existence, these oil paintings continue her rigorous exploration of the relationship between the natural and built environment. Williams enjoys mixing traditional oil painting with contemporary responses and materials. The works on paper are all plein air paintings. Works on canvas are developed in the studio built up over time with many layers of paint, glaze, sometimes collage and high tech paint pens.
The Great Divide
The Great Divide 2011, Solo Exhibition Bathurst Regional Gallery NSW. These paintings explore relationships between the landscape and the built environment and are a combination of immediate responses to specific sites and ideas developed in the studio. Williams says, "Where we live creates relationship both visually and metaphorically, built environments either blend, recede or dominate but in the end it is the landscape that remains". Her conceptual works encompass her continuing passion with the alchemy of painting, blending traditional and high tech materials.
Beyond The Great Divide, Molong
Beyond The Great Divide, Molong was exhibited at Jayes Gallery, Molong, NSW. The exhibition included site specific works along with the paintings shown in The Great Divide, which are now in private collections. Carver's Cottage, Night, Hill End, 2011, oil and enamel on canvas, 30x40 is in the public collection of Bathurst Regional Gallery. The exhibition which began in Bathurst,was also exhibited in the village where it was created, at Jean Bellette Gallery in Hill End. This was a special moment and privilege, to be able to share her art with local friends and exhibit in the town which has meant so much creatively but also personally in her journey to become a recognised artist.
84 Chains Due South
Exhibition, Catholic Church, Hill End, 2005. These works created in many different mediums including silicone and steel, traditional gesso and ink, digital media and oil painting are the result of an investigation into the rich history of immigration in Hill End - a metaphor for the artist's own sense of belonging. The works reflect a particular interest in the Chinese history of the goldfields. The silicone and steel sculpture was also shown at Parliament House, Sydney NSW.
Great Western Undaunted
Julie Williams' first Solo Exhibition after graduating with distinction in Painting from The National Art School, Sydney, included oil paintings,charcoal and ink drawings, plein air painting and silicone sculptures. Her work was a result of investigating the Hill End mining leases, and connecting with the landscape. Many of these were brought to fruition in the studio 77 William Street, Sydney after having completed preliminary works in the bush.
Julie Williams has exhibited her Encaustic works in Sydney and Singapore. The wax allows a very different creative response. These works are archival, having been made using the most sophisticated equipment available on a medium that was first used in Egypt, to make icons in 100-300 AD. These are small A5 works.