Jessica A. Williams

April 2nd, 2014_ colored pencil on paper_ 14x17 inches (35.56x43.18 cm)

Published in "American River Review 2016" Spring, 29th edition. Cubism alternating 2 color transitions.

February 12th, 2014_ charcoal and conte on 50% gray-tone paper_ 20x13 inches (50.8x33.02 cm)

Study of textures in value. The far left includes a wicker basket and the far right an unhinged fold-out wood Venetian blind. The image also includes visual differences in high-, low-, and non-reflective surfaces.

October 14th, 2015_ charcoal and conte on 50% gray-tone paper_ 20x21.5 inches (50.8x64.77 cm)

Male figure from observation. Study of back muscles and fabric.

December 9th, 2013_ ink on paper_ 9.25x12.25 inches (23.5x31.12 cm)

Here is a stippling artwork demonstrating the psychological phenomenon of grouping- perceiving multiple similar objects as a single entity- and closure - a psychological phenomenon where one "closes the gap," such as the contour/outline of the candle stick despite the non-illustrated edges. Behind the candle is a vine of ivy and in the left corner is a sculpture of a bird.

September 16th, 2012_ paper collage_ 16x10 inches (40.64 x 25.4 cm)

Art Nouveau inspired monochromantic paper collage where text pages and geometric design papers serve as a different shades of gray. Not one of the 4 patterns touch each other, no matter how small the shapes.

April 30th, 2012_ oil pastel collage_ 16x10 inches (40.64 x 25.4 cm)

Asymmetry while breaking a set pattern. The design on each of the collages pieces was made by scraping.

January 11th, 2012_ magazine collage_ 16x10 inches (40.64 x 25.4 cm)

Here is a mainly monochromatic collage taken from vintage magazines celebrating the traditional woman and feminine spirit. Each piece was carefully chosen. For instance, the piece in the bottom left corner features a young girl and grown woman looking at one another; the girl who will grow into a woman and the woman who was once a girl sharing a joyous moment joining their two stages of the feminine experience. 

May 8th, 2014_ oil pastel_ 14x17 inches (35.56x43.18 cm)

Observational portrait of the Gremlin living in American River College's Art Department. Sculpted by Professor Dan Samborski with found items from the still life supplies shelves.

2015_ colored pencil on bristol_ 18x12 inches (30.48x45.72 cm) (x3)

Three sequential dichromatic illustrations ofEdgar Allen Poe's "Tell Tale Heart." In the first drawing, the old man with bulging pale eye is fright in the dark by a noise. In the next drawing, a young man is standing, the cause of the noise, illuminating a spot on the floor and a jagged lightning-like stream of light (representing chaos) from his lantern onto the old man's eye. In the corner is a spider and its web, much like the old man caught at the mercy of the young protagonist. His headboard also symbolizes his entrapment, styled after a tall iron gate. In the final drawing, the young man is disheveled, having knocked over and broken his chair, clutching his racing heart and gesturing madly to the blue floorboards where we can interpret is where the old man lies. One policemen gestures to his partner to hold off for the confession, preparing his baton. They are illuminated by yellow light of day, representing their goodness while the protagonist is still blue, representing his foul play.

March 34th, 2015_ink on bristol_ 11 x 14 inches (27.94x35.56 cm)

An original illustration of Quasimodo's lament. My intention is to depict him child-like and pitiful, clinging to a gargoyle like a child to its mother for comfort, hence the gargoyle's long breasts representing its mothering role. Techniques used include hatching, crosshatching, line weight, and ink wash.

2015_ ink on paper_ 8.5 x 8 inches (21.59x20.32cm) 

These are three original illustrated poems in the shadow of Edward Gorey's "The Gashlycrumb Tinies" also known as "The ABCs of Death" in which the first letter of a child's name is used in a positive manner, followed by the next letter referring to the manner in which they died. The top sequence was re-created on a larger piece of bristol board as a stand-alone. This is the original 3 together, the middle sequence adjusted vertically for your viewing pleasure. Grayscale techniques used are hatching and cross-hatching.

April 28th, 2014_ oil pastel_ 14x17 inches (35.56x43.18 cm)

An observational portrait of a Disney's Pinocchio wooden marionette sitting on an aluminum can, propped in the corner of a wooden box and wood Venetian blinds. The texture of his wooden limbs was accomplished through scraping; laying down the lighter color, layer a darker color for the wood on top of it, and scraping away the darker layer to show the lighter one beneath it.

October 10th, 2015_ sanguine conte on cream paper_ 14.5x22 inches (36.83x55.88 cm)

Observational study. The figure's face is defined by the shadows of its recesses. giving us the impression of the placement of his features but leaving his expression to interpretation.

2015_ sanguine conte on cream paper_ dimensions to be added

Bust study of a female dancer.

2015_ ink on paper_ 18x24 inches ( 45.72x60.96 cm)

These are preliminary studies turned artwork for "Beauty Mark" of the same dancer including contours and blind contours held for various unscripted amounts of time, and thumbnail sketches for the sanguine conte piece. Value was used to differentiate figures form the background and each other through hatching and crosshatching.

November 2nd, 2015_ sanguine conte and charcoal on paper_ 18x24 inches ( 45.72x60.96 cm)

Full-body study of the (male) back in a contrapposto pose.

November 4th, 2015_ charcoal on paper_ 8.25x8.25 inches (20.96x20.96 cm)

Model Steve lounged in session in a Figure Drawing class surrounded by students before a blackboard at American River College. The students are situated in various fashions to create: podium (left), table (center), easel (right, far back), and wooden drawing "horse" (right). It spoke to me about the different tastes, styles, and unique ideas, perspectives, and experiences brought to the room, and thusly society, from each creative spirit despite sharing this same current reality.

Fenruary 5th, 2014_ ink on paper_ 17x14 inches ( 43.18x35.56 cm) 

This is an observational free-hand ink drawing of a portion of my backyard using many different types of ink pens and techniques including hatching, crosshatching, scribbling, and stippling to create depth and texture.