"Hatch" | 40 x 60 in. | Acrylic on Paper | 2017
A series of work recognizing local boys and girls who make and sell handwoven Palmetto Roses throughout the city of Charleston, S.C. They are descendants of master builders and tradesmen: blacksmiths, masons, carpenters, butchers, mechanics, farmers, moonshiners, plasterers, gardeners, and cigar makers, among others.
25 x 18 in. | Acrylic on Paper | 2018 | Fletcher Williams III
March 8 - April 22, 2018 | 701 Center for Contemporary Art | 701 Whaley St, Columbia S.C. 29201
I "sat down" with Charles Henry Rowell for this 9-page interview conducted via email between Charleston, South Carolina, and College Station, Texas. We discuss my childhood, The Cooper Union, and creating art in the segregated South.
Callaloo was founded in 1976 by its current editor, Charles Henry Rowell, when he was teaching at Southern University (Baton Rouge). He originally described the fledgling periodical as a “Black South Journal,” whose function was to serve as a publication outlet for marginalized writers in the racially segregated US American South.
Shortly after Dr. Rowell moved the journal to the University of Kentucky at Lexington in 1977, Callaloo began to publish black writers nationwide. He had transformed Callaloo into an African Diaspora journal by 1986, when the Johns Hopkins University Press became its publisher,after he moved to the University of Virginia (Charlottesville) as Professor of English. After a fifteen-year tenure at Virginia, he moved Callaloo again—this time to Texas A&M University in College Station, where it has remained since 2001. At this point in time, the life of Callaloo—as a forum continuously publishing creative writing, along with visual art and critical texts about literature and culture—is probably the longest in African American literary history.
Bless'em - Fletcher Williams III ©2017
Outworld Spiral, for soprano and bass clarinets, is an interpretation of Fletcher's latest exhibition City Block, particularly his sculpture, Beyond the Proper There are Dreams To Catch, which yearns for the sky and spirals upward like a strand of DNA. Circular breathing enables me to create long lines of sound patterns which slowly change shape over time. In the beginning and closing sections of Outworld Spiral, the rhythm fades in and away creating a unique feeling of momentum. The middle section, comprised of single tones, melts into each other, illuminating the soprano improvisation and rebuilding the rhythmic juxtapositions. The Bass clarinet wraps up the work and brings the texture of sounds to a new level of saturation.
Learn more about Philip at philiplipton.com
A piece containing a trio of illuminated crosses, called “Faith is No Match for Man’s Retribution,” refers indirectly to North Charleston Mayor Keith Summey’s November 2015 post-election comment, which many in the black community interpreted as a threat against them.
“It was a rather nasty election and I will not forget the nastiness and there will be some retribution in the future,” Summey said at the time. Soon after, he attempted to clarify his remark: “By retribution I mean that we are going to make sure we do what needs to be done in the communities that need it. Don’t sit here and fight us in trying to make communities better. If I have a chance to do something in your neighborhood and you’re going to resist and I’ve got another neighborhood that’s willing to work with me, I’m not going to waste my time with you.”
The installed artwork references urban blight and civic failure, Williams said. The façade mimics the physical state of disrepair found among many structures in the city. The metal mesh and flashing colored lights are akin to what one finds at a corner bodega in an area without supermarkets. The crosses represent hope and faith.
“Residents view the local government as not helpful,” he said.
- Adam Park, Post & Courier
Fence posts and palm fronds - North Charleston Arts Fest features hometown artist Fletcher Williams III
Fletcher Williams III is at home in his studio, surrounded by a mixture of found items, paints, metals, organic and iconic Lowcountry materials. His mind is always working, looking, assessing, imagining what a piece can be, should be and how these disparate parts come together to tell a story.
“I saw a car outside a storefront recently,” he says looking at two pieces in the process of creation. “I thought at first these would be joined somehow, but now I realize they are separate pieces.” He runs his palm along the edge of the representation of the car, at this point a magenta and lime green with metal flake glittering in the clear coat. On the floor behind him stands the storefront representation, lighted with aqua lights and waiting for the artist’s eye to make it whole.
10 South Carolina Artists You Need to Know
by HANNAH BHUIYA
“A main component of the mission of Palmetto Curatorial Exchange is to educate the next generation of young professionals. They are hearing stories from my international network of museum directors, freelancers, art advisors, gallerists and artists. Not just my own interpretation on curating, but where other people have landed. It is also to build a little army of South Carolina badasses to send out into the world, making the connections that can lead to future projects,” Stucker proudly declares. FULL ARTICLE
Image: Fletcher Williams III - The Chapel
"In this series, local artists will be paired with international figures like established artists Rashid Johnson and Henry Taylor, as well as emerging stars Michi Meko, Victoria—Idongesit Udondian and Charleston-based artist Fletcher Williams, III. And here we present 10 such South Carolina artists you need to know."
The Charleston Arts Alliance is asking all of you art lovers to select your favorite piece to be displayed on a local billboard for one year. Vote Here - https://charlestonartsalliance.org/artpop/
Image: Fletcher Williams III - Weave
33 x 35 x 6 IN, Painted Wood, Sweet Grass, 2016 - Fletcher Williams III
Photo by Rick Rhodes Photography | Charleston S.C.
Fletcher's latest project features 160 handmade Palmetto Roses, a mahogany stained Birch frame, and a 30" mirror.
Contact Fletcher Williams III at firstname.lastname@example.org or 843-425-6167
36 x 28 x 3 Inches
Initial stages of fabrication. (Inside Fletcher's North Charleston Workshop)
Freshly made Palmetto Roses. Roses must dry completely before being cut and fastened to the frame.
Palmetto Roses after two weeks of drying. Ready for installation.