10 Questions with Todd Williamson

As a Los Angeles-based contemporary artist, Todd Williamson has had the privilege of showcasing his work in over 200 exhibitions worldwide, including an official solo exhibition at the 2019 Venice Biennale. His project "Processional" was distinguished as a "Top Ten not to be missed" by publications such as Forbes, Widewalls, Domus, and The Venice Insider. His work has been exhibited globally in the company of illustrious peers like Ed Ruscha, Billy Al Bengston, Laddie John Dill, and Robert Ryman.

In 2019, Williamson received the Prize for Creativity from the Pollock Krasner Foundation, marking him as only the third recipient of this prestigious award. This recognition sits among a host of others, including a 2024 Foundation Grant from the PKF, an Icon Award, and an International Film Festival Award.

The year 2022 took him through Switzerland and Germany for a series of acclaimed exhibitions. He was one of seven artists in a special exhibition with the American Embassy to Italy, which paired artists and notable authors to explore "Place and Inspiration"; his work resonated with Truman Capote's musings on Ischia.

Looking forward to 2024, he will serve as the US State Department's Arts Envoy to Germany, holding an exhibition and engaging with the community through masterclasses at the City Museum of Deggendorf. Additionally, he will be returning to his alma mater, Belmont University, for a campus-wide exhibition in collaboration with composer Greg Walter.

www.toddwilliamson.com | @todd_williamson_art

ARTIST STATEMENT

Todd Williamson's art is like a deep dive into a world of subtle abstractions, where every piece has a kind of ethereal calm and a determined presence. Williamson's style might often tip towards the minimalist, with a near-monochrome palette, but there's always more beneath the surface. He brings his pieces to life through a process-oriented technique of layering, sanding, grinding, and detailed brushwork—each step pulling out an inner connection into his world. 

His way of building up layers makes his creations glow as if they're lit from within. Often working with a pared-down, almost monochrome vibe, his art comes to life through an intricate, very process-oriented dance of layering, sanding, grinding away at the canvas, and light brushwork that pulls out a kind of inner light that tells its own story.

These layers create an invitation to step back and ponder the depths of the art, to take in the complex dance of colors at your own pace. His works balance the push-pull of control and chaos, full of movements and textures that tease the idea of landscapes but don't quite spell them out, keeping things firmly in the realm of the abstract.

Williamson's art strikes this cool balance between contrasts—like he's having a chat with colors, playing with lights and shadows, and toying with the depths created in these colors and movements. When he teams up with musicians, it's a whole new ball game. Often collaborating with composer Greg Walter, UNC School of the Arts, Walter creates music that echoes the deep emotions and questions that are present in Williamson's paintings, turning colors and forms into sound, and just like that, you've got a blend of art you can see and hear. 

Adding to his list of accolades, Todd Williamson has been named a 2024 Foundation Grant winner by the Pollock Krasner Foundation, marking the third time the Foundation has honored him, including a 2019 Prize for Creativity and support for his 58th Venice Biennale project "Processional."  

Referencing the greats like Reinhardt, Still, and Frankenthaler and drawing inspiration from contemporary trailblazers, Williamson weaves all this into his distinct artistic narrative. With this latest nod from the Pollock Krasner Foundation, it's clear he's not just part of the conversation—he's leading it.

INTERVIEW

First, who is Todd Williamson, and how would you describe yourself in 3 words? 

I am an artist who is immersed in the study of life, translating my emotions and observations of the world onto my canvas.  My passion fuels my work, my thoughts shape its depth, and my resourcefulness drives its execution.  I am very fortunate to have had numerous opportunities to share my art globally, and each experience enriches my creative journey.  The 2019 Venice Biennale came about because one of the directors of the Biennale had seen my work in Italy 6 years before and felt a connection! In three words: Passionate, contemplative, resourceful.

How did you develop into the artist you are today?

My development as an artist has been a slow and methodical journey. I spent years finding my unique voice in my work before fully dedicating myself to art. Even now, there are edges to polish in my artistic identity and many new things to learn and incorporate into my art.  This continuous exploration of new ideas and relevance is very important, especially as I get older in an art world that gets younger and younger! I am very inspired by the immense talent and innovation within the art world today.

How would you describe your artistic style and the atmosphere it creates within your pieces?

I am most inspired by the Abstract Expressionists of the 60s and 70s in New York but I constantly search for new ideas and ways to work into my heavily processed style. I merge elements of abstraction and color field painting, infused with distinct twists, and connect music and sound to the visuals to give a deeper meaning.   My approach is very process-oriented and physical, allowing me to capture the light, depths, and emotions central to my work. This method creates an immersive atmosphere that invites viewers to engage deeply with the essence of each piece.  I want this atmosphere to invite the viewer to sit quietly and stare at the work or meditate on it.  Color and sound can calm the world. 

You primarily work with abstract art. Why did you choose this medium, and how did you get interested in abstraction in the first place?

Abstract art is a perfect form of expression. It doesn't dictate what to see or what emotion to feel; instead, it invites you to become part of the art. You can draw from your own experiences and emotions as you engage with it, creating a deeply personal and unique interaction with each piece. This open-ended, inclusive nature of abstraction is what captivated me and continues to inspire my work. I also enjoy living with my work. Instead of traditional studio visits, I invite collectors and curators to my home, where I have a large collection of my work. We sit and enjoy the art over wine or coffee, watching the work change as the light shifts, creating a more intimate and immersive experience.

Can you explain the process-oriented techniques you employ in your artwork, such as layering, sanding, and grinding, and how they contribute to the final result?

My technique is very physical and involves a lot of processes.  I typically work on a large stainless steel worktable, stretching the canvas over it and working with the painting flat. I apply several layers of gesso and polymers, sanding and reapplying each layer to build a rich, textured surface, which is also painted with a base coat that accentuates the final layers.   After this, I use oils, which I finely brush, grind into the canvas, then sand, reapply, and brush repeatedly more. This rigorous process creates a physical connection to my art, allowing me to engage intimately with each piece. This connection not only brings me joy but also enhances my appreciation for the craft and depth of my work.

In your statement, you mention how your art strikes a balance between control and chaos. How do you achieve this balance, and how does it affect the viewer's experience?

Abstract, by nature, is chaos and needs to have balance, composition, and beauty to hold the chaos.  It is colors and movement, and it asks your brain to find meaning in what it is showing you.  In the beginning, the control came from a series of 3" parallel lines that I used in my work. The lines, built up in oils, were like a staff for music where I could compose my music.  This eventually led to 3" grids.  All of this was an exploration of the power of the number 3.  3" lines, 3" grids, and the canvases are always divisible by 3, whether this is for you the holy trinity or numerology, a divine power in the number 3. Now my harmony comes more from the balance and movement of the colors on the surface and how the light interacts with all of it. The process now is the balance. 

You also mention your collaboration with musician Greg Walter. How did you develop this idea, and how does it enhance the audience's perception of your artwork?

Greg and I both attended Belmont University in Nashville.  As an undergrad, I was a voice major, so music was always a part of who I am.  Greg is a brilliant composer and musician, but he also has synesthesia, a condition in which he sees colors when he hears sounds.  He is the perfect collaborator for an abstract artist!  We have collaborated several times over the years, including the 2019 58th Venice Biennale, where Greg composed a three-movement piece of music that echoed the seven huge paintings that were shown.  By coincidence, the chapel was the home of Vivaldi and had amazingacoustics!  This exhibition led to the Pollock Krasner Foundation giving me the Prize for Creativity in 2019. 

Ultimately, what messages would you like to communicate with your art? 

Calm.  The world is so fucked up after COVID and all the political turmoil, we need stillness, mindfulness, and calm.  I want my art to question the world but also to create a serene space that evokes a feeling of peace every time you look at the art.  I want you to stare at the art and give it a few minutes each time you look, so you find another deeper layer in the work that pulls another emotion from your soul. 

You have been recently nominated as the 2024 Foundation Grant winner by the Pollock Krasner Foundation. What does it represent for your career? And how do you see it moving forward? 

The Pollock Foundation has been one of my biggest supporters over the years, and I am very grateful to them!  They are wonderful and one of the few organizations with a laser-focused path to supporting artists. Caroline Black, the director, is truly a gem! I won the Prize for Creativity from the PK in 2019 and became only the 3rd artist they had ever given this particular award to.  They supported my project "Processional" and the American Pavilion that year at the Venice Biennale.  

And lastly, what is one piece of advice you would give to a young, emerging artist?  

This is not a business for the faint of heart.  At some point, all artists deal with unscrupulous dealers and galleries that don't return calls or emails or simply just don't pay you.  Being an artist has less to do with art than it used to, and it takes some resilience and persistence to be a manuever. I would also say that what you do matters, meaning what's on your resume is important, even if it doesn't always seem that way.  Do shows that push your boundaries and never stop experimenting and growing.   

Artist’s Talk

Al-Tiba9 Interviews is a promotional platform for artists to articulate their vision and engage them with our diverse readership through a published art dialogue. The artists are interviewed by Mohamed Benhadj, the founder & curator of Al-Tiba9, to highlight their artistic careers and introduce them to the international contemporary art scene across our vast network of museums, galleries, art professionals, art dealers, collectors, and art lovers across the globe.