1984, oil on board, 26 x 33cm
For last 20 years William has focused on still life painting. He likes to work in natural light although the painting and composition can change radically during the process (of reconciling space, form and light on to the two dimensional surface of the canvas) so the finished image is not always quite what it seems to be.
William also produces collages which hark back to his early Pop-Art days, torn and cut paper scraps arbitrarily cropped and fraught with surrealist possibility when brought together. They have much in common with the paintings in terms of formal composition and structure with their strong vertical/horizontal emphasis and blocks and strips of colour.
Trained at Wimbledon School of Art
Group shows include the Royal Academy at intervals since 1963, the Bradford Open; Flowers Gallery; Annely; Juda Fine Art; Russell Gallery; Camden Art Centre; NEAC; Pastel Society; RP; RBA; Discerning Eye; Cadogan Contemporary; New Grafton Gallery; the Lynn Painter-Stainers Exhibition.
One-man shows at Piers Feetham Gallery 1996; 2001; 2004; 2009; 2014, 2018
Two and Three-man shows at Cadogan Contemporary, Piers Feetham, The Chapel Row Gallery (variously with Giles Auty, William Feaver and Ian Potts).
Works owned by the National Portrait Gallery, Sheffield City Art Galleries and many private collectors.
Art critic with the Financial Times 1974-2004. Innumerable introductions to exhibition catalogues, newspapers, journals and magazines. Served on many exhibition and competition selection panels from the NPG Portrait Award, Crafts Council Awards to the Hunting Art Prizes.
Curated numerous shows including The British Art Show I (Arts Council) 1979, Elizabeth Blackadder Retrospective (Scottish Arts Council) 1981, a Critic’s Choice for the Lemon Street Gallery, Truro, 2006.
Books include The Art of Vogue Covers (Octopus) 1980, Fashion Drawing in Vogue (Thames & Hudson) 1983, Henry Moore (Weidenfeld & Nicolson) 1985, Sarah Raphael (Unicorn) 2013