William Clements will feature his monotype series Far Afield in Mind Sets, an exhibition of seven artists curated by Lynne Stone, running from Saturday, February 3, 2018 until Monday, February 26, 2018, with an opening celebration on Saturday, February 3, 2018 from 5 to 7 pm. Green Kill hours are Tuesday through Saturday, from 3 to 9 PM. On exhibition in February with William will also be the works of Jessica Alazraki, Donna Festa, Rosalie Frankel, Linda Larsen, Noah Saterstrom, and Gerda Van Leeuwen.
About Far Afield
These images began as a series of one hundred drawing on vellum using black acrylic, ink and a brush. I worked on the floor, generating almost subconsciously. Selected drawing were then exposed directly to the screen, those screens then used in a collage like manner.
At the time I called this group “Far Afield”, though I might change that now. They are images about self, aloneness, attempted communication and connection, and the social machinations that keep us separate. The flocking I feel creates a seduction of the tactile in the visual, an attempt to pull the viewer in, the promise of touch.
William Clements is exibited four works in March of 2017.
Berkshire based artist William Clements studied printmaking at Knox College in Galesburg, Illinois before heading to the New York Studio School to study sculpture. Drifting down to North Carolina, he worked with an experimental MFA program at Western Carolina University. After several years teaching and showing in North Carolina, Clements gave up his adjunct gigs and relocated to the Berkshires in 2012. He worked as curatorial specialist with EB Fine Arts on their Curatorium gallery project in Hudson, NY, and as chef at Jacob’s Pillow dance festival in Becket, MA. He currently lives and works here and there.
These are drawings, I suppose. I call them drawings. They are drawn. There is no beginning outside of the line, scale, touch, the suggestion. They are made underground. In the basement. I believe this informs the feel of them somehow. There is a certain kind of violence in my approach. This might be a response to the times. There is a sort of dreamy eroticism that emerges, that I embrace. I find something else and laugh. The energy is a primitive energy, this is what I want. There is an endless supply of material in front of me and suddenly I don’t know what to do, but I do and I draw. With a crayon, a stick, a spray can then, some thing. I do not know if these are good drawings. They are flawed, no doubt, raw, but there is something compelling, to me, in them. There is a real-ness, some tension, a unity finally that comes from a breath. There it is, in the light, up from the ground, and I stop.