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Skye Williams

Skye Williams is interested in community, collaboration and conversation, bringing the public into important aesthetic decisions in her work to bring this about.

Through her use of everyday, household objects, Williams' encourages members of the public to participate in her installations through drawing and writing directly on them. By displaying her installations in public spaces, she is able to access a plethora of individuals to partake, which often results in interesting written conversations that are read in part and remain unfinished by the participant.

Previously, Williams' has seen a huge amount of political debate appear on her work, a discussion forming between many people who are unlikely to return to re-access the unfolding arguments. These works explore unscripted communication, allowing the participants to discuss whatever they feel fit, often without meeting one another.

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SKYE WILLIAMS

   Throughout my time at Lancaster University, I have explored how artworks can be interactive and participatory. My work considers things such as tactile qualities to bring about intrigue, and handing over aesthetic decisions to the viewer to bring about individualistic responses. I am fascinated by how the public reacts to being encouraged to participate in art, particularly within a society that seems to frown upon doing so.
    Most recently, I have become interested in using broken, disused household objects that are unremarkable and passive; our relationship is very basic and repetitive - on and off. By recontextualising these objects into artworks, they are transformed into vessels of expression, activity, opinions and diversity, behaving in a way they were never intended to do. These objects provide the participant with never before considered space, encouraging them each in a singular manner to respond to a collective call.
    This page displays the progression of my practice, in reverse chronological order. By looking back at my work, you can observe how interactive and participatory art has increasingly become a focal point of my practice.

☉☉☉

DOMESTIC ISOLATION

2020

BROKEN ELECTRICAL EQUIPMENT, ACRYLIC PEN, STICKERS

Throughout this Covid-19 pandemic, my practice has had to shift dramatically away from public participation and adapt to this new state of lockdown (as with all things in life). Suddenly working from home, without access to a studio, I turned to my partner to replace the public element of my works. Using these everyday household objects, we have recorded, together, the ins-and-outs of the height of lockdown, each day writing a snippet of what we had done or how we were feeling. These works act as a joint diary, showing our navigation through such a strange and uncertain time.

☉☉☉

CURIOSITY & CONVERSATION (1)

2020

BROKEN TELEVISION, PERMANENT MARKER, PUBLIC PARTICIPATION

This semi-structured installation took on a performance-like role fulfilled by the many participants. By handing over such dramatic aesthetic decisions to the participants, the work becomes completely individualistic and dictated by the public. The finished piece, post-installation, depicts many unspoken conversations of varying themes, but mostly political debate.

☉☉☉

CURIOSITY & CONVERSATION (2)

2020

COMPUTER MONITOR, RADIO, WOODEN CHAIR, PLAYMAT PLINTH, ACRYLIC PEN, PUBLIC PARTICIPATION

This installation explored how targeting a specific audience would change the aesthetics of the work. By setting up in the Management School at Lancaster University, the general public in the area seemed much less interested in participating. This considerably different reaction and behaviour around the artwork lead to less public participation which, in turn, lead to less aesthetic development.

☉☉☉

INSTALLING HOME

2020

QR CODES DISTRIBUTED AROUND THE ARTIST'S HOME, DISPLAYING IMAGES OF CHILDHOOD, GROUP PARTICIPATION

A site-specific installation of images, displayed in my house, exploring the relationship between the many places that I have called home and the memories that reside within those places. Invitees hunted the house for QR codes which, when scanned, displayed my collected childhood images on the participant's mobile device. The installation was both self-reflective and vicariously so, encouraging the participants to reflect on their own memories of childhood and home.

☉☉☉

A site-specific installation focused on reacting to the immediate environment. I encouraged the group participants to paint using only the natural materials that could be found around us, allowing them to dictate how creating directly from the natural environment could affect their aesthetic decisions.

FIELD PAINTING

2020

WHITE PAPER, NATURAL & IMMEDIATE MATERIALS INCLUDING MUD AND COW POO, GROUP PARTICIPATION

☉☉☉

A series of 30 sculptures exploring how low light levels distort vision, making us see shapes and colours, rather than objects and places. Through the process of night drawing, translated later into sculpture, I was able to bring together a distorted environment for the viewer to experience and interact with. Participants in the installation were able to pick up and move the sculptures, often opting to stack them. This work plunged the participants into a created environment for new exploration and understanding.

VESSELS

2020

GALVANIZED WIRE, PLASTIC WRAP, EXPANDING FOAM, ACRYLIC PAINT, PUBLIC PARTICIPATION

☉☉☉

☉☉☉

SIGHT EXHIBITION

2019

A self-organised and curated group pop-up exhibition, consisting of three other 2020 graduates work alongside my own. Visitors were able to pick up and move around elements of the small scale Vessels installation as they walked around the exhibition space. The free exhibition was a great success, with a consistent flow of visitors.

THE HERBARIUM, LANCASTER

OTHER PROJECTS & EXHIBITIONS

DRAWING DIALOGUE

2019 - 2020

AN INTERNATIONAL PROJECT FOCUSED ON COLLABORATION

CLAY POT BUILDING WORKSHOPS

WORKSHOPS HELD AT A SPECIAL NEEDS SCHOOL IN BLACKPOOL

CURATE A SPACE EXHIBITION, LANCASTER

2020

A PHENOMENOLOGICAL INSTALLATION CENTRED AROUND TOUCH

2018-2019

SPECIAL COLLECTIONS EXHIBITION, LANCASTER

2018

A GROUP, SITE SPECIFIC EXHIBTION, WORK CENTERED AROUND INTERACTION

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LICA 2020