8.65 × 11.25 in
Bainbridge Island Museum of Art
An ultra-vivid book of complex design matrixes and sardonic pop and psychedelic cultural deconstructions. The compositions are airbrushed precise hand-cut and found stencils, painted with archival acrylic pigment paint using hand-cut stencils and various other paint application techniques.
Acid-free Mohawk Text paper, hand-sewn binding, hand-painted museum board covers. 8.65″ x 11.25.” 48 pages. Unique. 2009.
Godfather of both the San Francisco New Mission School and the Global Stencil Pirate movement, Scott Williams is the leading pioneer in the painterly expansion of stencil and airbrush media. The relentless intensity of William’s artwork compels you to see the way he sees, to think the way he thinks; his drawings draw you into his own parallel universe, like a visually motivated Phillip K. Dick or Stanislaus Lem.
Williams work is pan-American in its roots and unique to California culture, its a hybrid mix of both Catholic and indigenous Mexican papercutting technique, with the intelligence and sardonic commentary of Jose Guadalupe Posada, and the spice of modern Chicano aesthetics (Williams has lived in the Mission District of San Fransisco for about 20 years). Throw in some beat, punk, and psychedelic San Fransisco sub-cultures and you have an exceptionally original and potent aesthetic vernacular.
Williams has come out of two years of seclusion with two pattern books that are like mesmerizing portals into another universe. These are books that one falls into, beyond iconic or even symbolic narrative, they are kaleidoscopic codices and may very well represent the apotheosis of Bay Area psychedelic culture.