Her practice is two-fold: post-conceptual but educated and trained in the traditions of ceramics. The concept of the show is inquiry-based but the methods of making are thousands of years old and supposedly functional. ‘Mouth,’ ‘lip,’ ‘shoulder,’ ‘neck,’ ‘body,’ and ‘foot:’ the vocabulary of pottery anthropomorphizes the object. This nomenclature (in)directly influences how an artist comprehends her relationship to an object and the purpose of her work.

Williams’ concrete sculptures venture towards an innate sense of knowledge that is crystalized through the synthesis of sight and spatial cognizance. Williams' individual works transgress their seemingly simple geometry. Plateaued ridges frame conical terminations. Crests, ridges, scoops, and dips undulate across the form. Tumid swells eventually invert into gentle basins. Elements can be disparate, reflected, doubled, or inverted to create an autonomous whole. The presence of the object dominates, but the series of twelve shapes remain oblique, softly referencing her conceptualist predecessors. The ceramicist explains that research for the sculptures was based on principles for making children’s toys. Toys are the tools for play, and play is essential to an individual’s healthy development, fostering emotional intelligence, social skills, and cognitive reasoning. We hone our creativity and sharpen our