Laura Williams, A Small Amuse Bouche I, 2022. Courtesy of the artist and Page Galleries.
Photo Credit
The work of Tāmaki Makaurau-based painter Laura Williams (b. 1965) draws strongly from Catholicism, classical mythology and art history. Depictions of recognisable figures and narratives such as the crucifixion of Jesus or Leda and the Swan are interspersed with more subtle references to the people and events that make up Williams’ own history. Williams brings a feminist lens to religious and historical narratives, often reimagining scenarios in which women are mistreated.
Flowers are prominent symbols throughout Williams’ work, used as centrepieces in tableaus and still lifes, as well as in the intricate borders which frame these scenes. Flowers also appear on the wallpaper, furniture and artworks which populate Williams’ paintings. The artist embraces the conflicting interpretations of flowers in classical, Elizabethan, and Victorian literature, so that one bloom may convey a range of sentiments from devotion to disdain. Williams also incorporates personal meanings: “I often include Henri Rousseau's Bonne fête, 1892. This painting, which depicts a hand holding pink and yellow roses, signifies my often mixed emotions when I receive flowers.”
Williams’ exclusively floral works function as inter-series refreshers: “Between a series or after a large or challenging work, I often undertake what I refer to as a ‘palette cleanser’ or ‘amuse-bouche.’” Small to medium in scale, Williams’ ‘amuse-bouche’ paintings typically comprise colourful, fanciful and delightful arrangements of flowers. Devoid of figures or clear narratives, these works offer room for interpretation.
Opening Hours
- Winter/Spring: Tuesday - Sunday, 10am-4:30pm
- Summer/Autumn: Monday - Sunday, 10am to 4.30pm
Address
- 420 Titirangi Road
- Tāmaki Makaurau, Auckland, 0604
The work of Tāmaki Makaurau-based painter Laura Williams (b. 1965) draws strongly from Catholicism, classical mythology and art history. Depictions of recognisable figures and narratives such as the crucifixion of Jesus or Leda and the Swan are interspersed with more subtle references to the people and events that make up Williams’ own history. Williams brings a feminist lens to religious and historical narratives, often reimagining scenarios in which women are mistreated.
Flowers are prominent symbols throughout Williams’ work, used as centrepieces in tableaus and still lifes, as well as in the intricate borders which frame these scenes. Flowers also appear on the wallpaper, furniture and artworks which populate Williams’ paintings. The artist embraces the conflicting interpretations of flowers in classical, Elizabethan, and Victorian literature, so that one bloom may convey a range of sentiments from devotion to disdain. Williams also incorporates personal meanings: “I often include Henri Rousseau's Bonne fête, 1892. This painting, which depicts a hand holding pink and yellow roses, signifies my often mixed emotions when I receive flowers.”
Williams’ exclusively floral works function as inter-series refreshers: “Between a series or after a large or challenging work, I often undertake what I refer to as a ‘palette cleanser’ or ‘amuse-bouche.’” Small to medium in scale, Williams’ ‘amuse-bouche’ paintings typically comprise colourful, fanciful and delightful arrangements of flowers. Devoid of figures or clear narratives, these works offer room for interpretation.
