Her ‘adolescent me’  allows the flexibility of her mind to freely take over - playing out all her fantasies … the eternal battle between her body and soul - let the  fantasy play out… 

gallery TEN 2021

A series of mixed media works on paper created during the covid-19 pandemic lockdowns

Images copyright : gallery TEN.

Funded by Wales Arts International, Sanshang Museum of Contemporary Art and University of Wales Trinity St David Swansea .

The Sangshang Museum of Contemporary Art in Hangzhou invited OPEN BOOKS to be exhibited between September and December 2013 and was an integral part of a programme looking at the tradition of folding and expanding artist books and is part of an annual programme 'Decanter Ink' to promote contemporary ideas about Chinese ink painting and culture. Exhibiting alongside historical work by Chinese painters from early and mid 20th century and contemporary Chinese ink artists who are taking on this traditional context. I gave a number of lectures on my work at The China Academy of Art, Hangzhou and the University of Hong Kong. A body of research had been gathered:

Men and women communicate differently and some of the factors contributing to this might be cultural or tradition, background or upbringing as well as the obvious issues surrounding personalities. Whilst social and sexual recognition has been paramount within western culture, China has been known for its culturally engrained and profound discrepancy in the female status. Plus with the 'one child' policy, China is dealing with a higher population ratio of men to women highlighting an unequal balance in gender. How does communication between men and women in china differ to western culture and how do Chinese women relate to their own femininity and sexuality within this state of unbalance, particularly when confronted by their counterparts in western culture?

OPEN BOOKS as toured throughout the UK, including Aberyswyth Library; Bristol Academy; China; Shanghai; Hong Kong; Australia; Canada; India; USA and will be exhibited in Hong Kong; China; Japan; India and Dubai in 2019/2020.

ESTIRANDO EL TIEMPO - O COMO NO CAER EN LA HISTERIA - AN MIXED MEDIA EXHIBITION DEVELOPED AND CURATED BY ELIZABETH ROSS. CASA DE LA CULTURA. STARTING NOVEMBER 22 2019

GOLDEN THREAD GALLERY

84 - 94 Great Patrick Street

BELFAST

 BT1 2LU

OPENING: 18TH APRIL - 25TH MAY 2019

Immerse yourself in the visual overload of 'LoveLustLonging', Sue Williams' first solo exhibition in the North of Ireland in more than a decade.In this exhibition internationally renowned artist Sue Williams reflects the sense of a society perpetuating its own fear. The works deal with the saturation of mediation and the frailty of the self in response to a bombardment of images.

Sue Williams explores the nature of sexuality and our relationships with our own bodies. Through work which combines drawing, painting, film and collage, Williams challenges the tradition of idealised nude painting, presenting the realities of the body, sexual identity and health. Work is often installed in a 'notice-board' format, challenging artistic conventions.

Then + Now: 80 Years of Collecting Contemporary Art for Wales

TOURING EXHIBITION  Oriel Plas Glyn-y-Weddw, Llanbedrog: 7 October – 25 November 2018  MOMA, Machynlleth: 8 December – 26 January 2019  Glynn Vivian Art Gallery, Swansea: 9 February - 12 May 2019

vis-à-vis

The University of South Wales is pleased to announce its summer exhibition, vis-à-vis, a celebration of the centenary of women’s suffrage. It represents a selection of twenty images of women from its Museum Collection paired with twenty images of women by contemporary artists from Wales. vis-à-vis is understood here as being the consideration of one thing in relation to another, but by lucky chance ‘vis’ also brings to mind its older meaning of face to face and the act of visaging. With the exhibition installed, a conversation project has been underway, its aim to enquire on the relation between past and present representations of women in art. Each artist was invited to undertake an email conversation with the exhibition’s curator, Dr Frances Woodley, in which their exhibit was discussed in relation to its pair from the Museum Collection. These conversations have brought a remarkable range of new perspectives to older works of art: feminist, political, historical, cultural, representational and more. At the same time the project has offered contemporary artists an opportunity to reflect on their own practice in relation to a work of art by an artist from the recent past and often unfamiliar to them. It has made for a fascinating set of encounters that are to be included in a substantial catalogue due to be launched 28th September.