A Separation, paper and vinyl, 102x102cm, 2017
让我们开启一场对话，探讨文化传统所塑造的复杂体 、个人与政治的关联性，挖掘根源，理解时间、过去与当下的重要性。
Let’s open a dialogue to investigate the aspects of the complexity shaped by culture and traditions, a personal and political sense of relevance, unearthing the roots and comprehending the importance of time, past and present.
Endlessly, acrylic, paper, pastels and vinyl, 61x61cm, 2018
Ephemeral, acrylic, paper, pastels and vinyl, 61x61cm, 2019
Where … Is, acrylic, metallic powders and vinyl, 61x91cm, 2017
Exit, acrylic and vinyl, 91x152cm, 2017
我所使用的材料具有多重属性，既是作品的表面，又涉及多个维度：形式、线条和形状。它们还是从不同环境生长出来的故事：有关身份、爱、同情、愤怒、情感与人性的故事。
My materials are of a diverse nature; they are the surfaces as well as depths of renderings: forms, lines and shapes. They are also the stories that emerge from these environments: stories about identity, love, compassion, anger, sensitivity and humanity.
Detour, acrylic, paper and vinyl, 122x152cm, 2019
阿奎塔·威廉姆斯的艺术经历是从玻璃吹造者到雕塑家，再到画家的人生旅程。她的灵感来自对非洲图像的研究，以一种身处其中的感受讲述非洲裔女性的故事，讲述她复杂的感觉、思想和记忆。威廉姆斯对自己的过去进行反思，认清自己的身份。她在《长颈鹿脖子的女人》《携带的女人》《计时员》《结构时间》作品中用多种材料讲述了故事。威廉姆斯对艺术的热爱在威斯康星大学讲师、著名艺术家哈维·利特尔顿的指导下得到了巩固，并获得了硕士学位。她获得艺术国际旅行资助，旅行穿越西非贝宁。她曾在美国多地展出她的艺术作品，包括参加《常见物品中的罕见之处：非裔美国人手工艺的遗产》及其在美国五大博物馆的巡展。她的作品还在日本金泽市举办的国际玻璃展和韩国京畿宗宗当代艺术研究所的《色彩2018》上展出。
Acquaetta Williams’s art has been a life journey from glassblower to sculpture and now painter. Her inspiration evolved from vision of African Images to tell the story of African American Women in a sense of relevance in a complexity of her feelings, thoughts and memories. Williams reflects on her past to form an identity. She tells a story in assemblages of materials contained in Giraffe Neck Women, Women Who Carry and then into Timekeepers and Deconstructing Time: Memories. and now Faceless Melodies. Her love for art was cemented under instructor and well-known artist Harvey Littleton at the University of Wisconsin where she received a MFA degree. An Arts International Travel Grant that was awarded to her included travels through Benin in West Africa. She has exhibited her art Nationally, in Uncommon Beauty in Common Objects: The Legacy of African American Craft Art which included a tour throughout the United States, visiting 5 major museums, as well as International: the International Glass Exhibition, Kanazawa, Japan and “Color 2018”, Czong Institute for Contemporary Art, Gyeonggi, Korea.