Bio

Isi Williams is a visual artist who predominantly works with sculpture and photography, exploring themes of anthropology, archaeology and history. Within that, she's particularly interested in animal husbandry; often creating work that connects to the landscape's relationship to agriculture through weaving. 

Williams creates sculptures that respond to the history and atmosphere of the landscape that she finds herself in. She attempts to make work that appears like a shadow of what once was, reflecting deep histories. Because of this, Williams likes to work with historical processes that have been used for thousands of years such as ceramics, weaving and carpentry. The work is often temporary and site-specific which means photography also plays a large role in her work as this is often how her pieces are disseminated and presented to an audience.

More recently, she has been creating sculptures that embody both her relationship with ‘place’, and the language of materials in historical fishing towns. These pieces, ‘Collioure’ and 'Open Window in the Bay' are designed to be shown in a gallery setting, providing the viewer with references to the specific environments that they’re inspired by. 

Ecology and the environment are primary considerations for Williams. Her sculptures are temporarily installed and deconstructed in a way that leaves little effect on the surroundings and she utilises local, sustainable or waste materials in most of her sculptures.

Úr

Named Úr from the Irish Gaelic word meaning “clay”, “earth”, “soil”, “fresh” or “moist” and from the Scottish Gaelic word meaning “recent”.

Holyrood park used to be mostly forested until the space was taken over for agriculture. Sheep roamed the hills for hundreds of years but were removed in the 1970s. My interest in the process of weaving, my relationship to local materials and my curiosity about the history of the landscape all came together to produce this series of photos of a weave called Úr.

Photograph of weave made from Shetland sheep's wool and hands-on, hand-dyed thread on a wooden frame. The weave is held up by a model whose face is covered by the weave and they are set against the background of the crags.
'Úr' (2021). Photograph of weave made from Shetland sheep's wool and hands-on, hand-dyed thread on a wooden frame.
Photograph of weave made from Shetland sheep's wool and hands-on, hand-dyed thread on a wooden frame. The weave is held up by a model whose face is covered by the weave and they are set against the background of the crags.
'Úr' (2021). Photograph of weave made from Shetland sheep's wool and hands-on, hand-dyed thread on a wooden frame.
Photograph of weave made from Shetland sheep's wool and hands-on, hand-dyed thread on a wooden frame. The weave is held up by a model whose face is covered by the weave and they are set against the background of the crags.
'Úr' (2021). Photograph of weave made from Shetland sheep's wool and hands-on, hand-dyed thread on a wooden frame.
Cwtch.

Cwtch was created for an exhibition which took place on Cramond Island. The piece is site-specific and included an element of human interaction. For this artwork I took inspiration from sheepfolds to create an enclosure on the island (that also mimicked the island itself).

The piece is named Cwtch,  a Welsh term which has two meanings:  a special kind of cuddle or a cubbyhole. I used Welsh mountain wool to reflect the heritage of the word. The shape is designed to closely hug whoever is inside the sculpture and echoes the containment that the sheep experienced when on the island surrounded by water.

Image of sculpture in the landscape. Branches coming out of the ground with Welsh sheep's wool woven around. Inside the sculpture stands a person, facing away from the camera.
'Cwtch' (2022). Branches, Welsh sheep's wool and thread.
Image of sculpture in the landscape. Branches coming out of the ground with Welsh sheep's wool woven around.
'Cwtch' (2022). Branches, Welsh sheep's wool and thread.
Image of sculpture in the landscape. Branches coming out of the ground with Welsh sheep's wool woven around.
'Cwtch' (2022). Branches, Welsh sheep's wool and thread.
We Shall by Morning Inherit the Earth

Originally created as a site-specific work as part of a residency at the National Mining Museum of Scotland, this piece was inspired by the dangerous conditions of the mines.

Miners faced many potential health threats but the silent killer was the coal dust which collected in their lungs. The sculpture was created to look like structures found in fungus, particularly orange peel and wolf’s milk fungus.  Fungus release spores into the air and these spores can often be dangerous to humans, similar to the coal dust. 

The sculpture is made using black vulcan clay to mimic the wall of mine.



 

We shall by morning
'We Shall by Morning Inherit the Earth' (2020). Black vulcan clay.
We shall by morning
'We Shall by Morning Inherit the Earth' (2020). Black vulcan clay.
We shall by morning
'We Shall by Morning Inherit the Earth' (2020). Black vulcan clay.
Remnants/Ebb and Flow

Remnants is my first artwork that references fishing weirs and research into the development of fishing practices. The image was taken at Portobello beach and uses locally grown willow which has been bound by thread to create long sticks.

It’s inspired by research into both archaeology and anthropology, attempting to act as a ‘remnant’ of a previous structure. Having studied many images of fishing weir remains, I wanted it to seem like a shadow of a previous structure, already embedded in the landscape.

I produced Ebb and Flow as my second fishing weir work. Ebb and Flow is comprised of tied up bunches of willow over 2m tall, thread and hand-dyed strips of black calico fabric which were inspired by lines of strung up fish. The relationship between the work and the ocean was an important one and the name relates to the ebb and flow of human histories. 

Image of sculpture in the sea. Designed to look like the remnant of a fishing weir, jagged bunches of willow (wrapped with thread) come out of the sea. They are arranged in a circle.
'Remnants' (2022). Bunches of willow wrapped with thread.
Image displaying sculpture in the sea. Bunches of willow support a line of strung up black fabric
'Ebb and Flow' (2022). Willow, thread and hand-dyed calico.
Collioure

Collioure was named after Open Window by Henri Matisse. Open Window depicts the bay of a small French town called Collioure, reflecting my artwork’s relationship with the docks and my previous research into fishing practices in the UK. 

The chains were inspired by the docks at Dunbar and North Berwick, and are made of ceramic so they chime in the wind. The floating fabric was hand-dyed with turmeric, native to southern India, and rust. This creates a mediterranean colour scheme along with the aquamarine structure and coral coloured ceramic chain. The frame gives a nod to the composition of Open Window with the grid structure of the doors and windows in the painting, while my hand-dyed muslin fabric references floating curtains.

Image of sculpture leaning against the wall. It resembles a ladder with fabric hanging from each rung and ceramic chains draped.
'Collioure' (2022). Wooden frame, ceramic chain, and muslin fabric dyed with rust and turmeric.
Image of sculpture leaning against the wall. It resembles a ladder with fabric hanging from each rung and ceramic chains draped.
'Collioure' (2022). Wooden frame, ceramic chain, and muslin fabric dyed with rust and turmeric.
Image of sculpture leaning against the wall. It resembles a ladder with fabric hanging from each rung and ceramic chains draped.
'Collioure' (2022). Wooden frame, ceramic chain, and muslin fabric dyed with rust and turmeric.
Skills & Experience
  • 'Edinburgh Gallery Society's Summer Show' (May, 2022) - St Margaret's House, Edinburgh
  • SSA at the Borders Art Fair (March, 2022) - Borders Events Centre, Kelso
  • 'RE-KNEW-ED' (January, 2022) - Dundas Street Gallery, Edinburgh
  • 'Works on Paper with Friends' (November, 2020) - The Rafiki Gallery, Edinburgh
  • 'Below' (March, 2020) - The National Museum of Scotland, Dalkeith
  • 'Autonomy' (March, 2020) - Whitespace Gallery, Edinburgh
  • 'SHE.' (April, 2019) - Whitespace Gallery, Edinburgh
  • 'Keep Gazing' (February, 2019) - Norman Rea Gallery, York
  • 'Untitled DOKument' (April, 2018) - DOK Gallery, Edinburgh