articles rotated

2017garlandmag.com Kevin Murray 12 March
2016Mara Yunqu: The story of the western Desert Kidney Health project
2015ABC Great Southern WA Artist Turns Trash to Treasure, Katrina Beavan
The Australian June, review by Victoria Laurie
The West Australian May, Steven Bevis
2014Yarns of the Heart Publication CANWA
2010Art Link Vol 30 no 4 Stirring 2 Kevin Murray
Australian Art Review West Australian An island of props, Ric Spencer
X-press magazine Contained Objectified, Emma Bergmeier Feb
Art Monthly Australia issue 229 May
Insite Scoop Summer magazine 2009/10 issue 23
Festival 10 Visual Arts Perth International Arts Festival Feb–March
2008Out of the Box Weekend Australian Ted Snell
Peep Glimpses of the last 4 decades from the Kerry Stokes collection
Art & Australia vol 45 No 4 Peep review by Hannah Mathews
Silver Artrage 25 Marcus Canning Andrew Gaynor
2007Telling Tails WA Artists in schools partnerships DCA, Arts Line autumn
2006Hot Spot contemporary art from the great southern WA
2003Just imagine a children’s guide to the Art gallery of Western Australia
2001Smarts Arts Info. Issue 10 June 2001, Judith McGrath 1/9/01
www.artseen.vbw.com.au/peepskin.html
Artist In Residence, John Stringer, Sandpiper Press, Perth 1995
1999Wendy Walker, The Adelaide Advertiser, 22 April
1998Kate Malkovic, Soup Magazine, May
1997Smarts Arts Info issue 10 June Jenny Wright
1995One Hundred Years Art gallery of WA
1990David Bromfield, The West Australian, March
1989Christine Sharkey, The West Australian, Feb

Forward to "Peep" by John Stringer:

Cecile Williams

Peep 2001

Cecile Williams is a Western Australian scuptor whose career has involved her in diverse environmental projects, theatre and street festivals as well as more conventional gallery exhibitions over the last decade. Her subjects and motifs reflect significant travels abroad as well as experiences closer to home. Especially influential on Williams' artistic development has been the opportunity to witness the varied customa and different perspectives of cultures in Africa, Asia and the Pacific. These exotic sources and the artist's own enthusiasm for discovery are significant clues to the quirky and curious images that abound in her work combining the unexpected and unconventional. Inspired by the richness and diversity of popular culture, they draw on humble, universal, everyday experiance. Her pieces celebrate especially the ability of common people to enrich their existence through craft and decoration, showing a warm appreciation and gentle acceptance of the world as is. Though periodically turning to carving Williams more usually builds her peices with pliable materials, using modelling and constructive techniques to combine and transform refuse into strangely haunting pieces. Both in their diminutive scale and emphasis on handcradft Williams' pieces seem related to traditional feminine perogatives and pastimes. Her preference for discarded, found, harvested and recycled materials reflects deeper sentiments and accounts for the varied techniques of collage and assemblage that abound in her work.