Here's what happened one radiant Saturday morning:

I was heading out on my ritual walk through Prospect Park when I spotted a dirty cardboard box on the corner.  Compelled to investigate randomly placed boxes in case they contain animals that need help, I peered into it. Inside the box was a dead rooster, carelessly wrapped in a bloody grocery bag and dumped behind a street lamp—most certainly the loser in a local cockfight. The sight was heartbreaking. I hope my tribute on that lamppost makes him look as proud and majestic as he was in life. This incident inspired me to continue to learn, educate and advocate for the dignity and quality of life that all living beings deserve.

  Rooster  , 2015   Brooklyn, NY   (stained glass)

Rooster, 2015
Brooklyn, NY
(stained glass)

What Drives My Work

Initially, I just needed to make things with my hands, contribute a female perspective to a male street art scene, and express my respect for nature. Now my growing interest in environmental issues and involvement in animal welfare is altering the way I think about my art. I try to establish links between urban decay, “progress” and anthropogenic influence on the environment. For me, anchoring delicate glass to various forms of urban deterioration is a manifestation of the tenuous state of relations between humans and the natural world. 

My hope is through my small acts of creativity and other avenues, I can in some way ameliorate our behavior and bring trust and responsibility back into our spiritual connection with our home. 

Street Art

I am drawn to fragile, resilient creatures. With birds, butterflies and other creatures, which are sometimes a city dweller’s only connection to nature, I aim to bring awareness of how humans and the built environment interact with other living things. Ideally when placing my street art, I look for color, texture, decay or various artists' work that I find visually compelling. I prefer making small pieces because they encourage more intimate observation, which is what I wish more people would do in life.  When we look closely at something, we exercise our sense of wonder and gain understanding. When we understand, we become more compassionate. 

Collage and Mixed Media

Working with glass can feel limiting sometimes. For me, it’s a challenging medium to convey ideas. It's unlike painting, which conforms to your skill level in every color under the sun. I choose to work with glass and mosaics because I admire their visual and tactile qualities. I love choosing objects, weighing them in my hand and exploring how they fit together. It’s fun to watch a dialogue develop between light, texture and shape, sometimes creating a mysterious relationship between the pieces and the spaces between them.  A hand-made and imperfect aesthetic appeals to me more than machine-like precision. Many times pieces of glass have their own idea of what they should be, and I listen.

  How to Attract Hummingbirds , 2014 (stained glass and paper on plexiglass) 16” x 20"

How to Attract Hummingbirds, 2014 (stained glass and paper on plexiglass)
16” x 20"

Exhibitions and Commissions

To make my street art pieces portable for exhibitions, I photograph urban “compositions” of evolving decay. When I begin a new project, I sort through these images until a potential “canvas” emerges (like the background in the hummingbird piece). I then decide what colors and textures of glass to use. I cut out the shapes and fit them together to form a design. When the figure is finished, I trace the shape and remove it from the photograph before mounting them both onto a board or plexiglass. 

Thank you for your interest. Please feel free to inquire about commissioning a new project or purchasing art work.

10% of all sales will benefit one of the following organizations:

Wild Bird Fund (NYC)
Farm Sanctuary
charity: water
Humane Society of the United States
Wildlife Conservation Society
Environmental Defense Fund
Sierra Club


 

 

Whitney-Williams-Artist-NewYork.jpg