©Patrick Williams' Bio  
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©Patrick Williams' Bio Patrick Williams began his professional career after graduating from Art Center College of Design with a Bachelor of Fine Arts in Illustration Design, as the youngest member in his class with honors.

After getting out of school Patrick began an introspective process of sifting through his influences and ideas to find his personal voice. Patrick found himself becoming increasing aware of the suburban culture of Orange County where he had returned after school. He started noticing things, the architecture, the street grids and the lives of the people who lived there, and these things in turn began to appear in his paintings. Eventually a definitive style emerged from the hundreds of paintings Patrick completed in the next three years. What followed was a combination of the surrounding post war suburban landscapes of Orange County. And the lives of the people who lived within the sprawling miles of track homes and master planned communities.

Patrick's work is a combination of cartoons and realism, using two stylistic approaches, fundamentally opposed, allows for a deeper conversation between the viewer and the artist. There is a cast of characters that perform in these paintings. Being iconic yet completely general. Through subtle manipulations, the characters become distorted to mirror internal conflict, landscapes change from one painting to the next yet they all manage to stay firmly rooted within the same world, the same characters, just a different chapter in the mythology of suburbia.

Starting in L.A. and O.C. then branching out into the rest of the United States, Patrick has shown his paintings and found and overwhelmingly positive response from those that live within the suburbanite culture and those who identify with the themes and ideas represented in his work. Patrick’s audience is appreciative of the fact that the modern suburban landscape is that of a warped nature, and the resulting social structures are equally warped. These paintings don’t need to reflect a specific explanation or a title but have items that relate to many storylines and possibilities within a wide range of people.


Dogs, birds, cell phones and death; my work pulls imagery and ideas from my surroundings to create a tapestry of ideas and icons that portray a suburban world. It's an experiment in creating a modern mythology, an attempt to explain the world in a way that prefigures knowledge of current technology and social structure. I'm interested in the subtleties of life, the interactions between people who have never met, indifference between neighbors, and an underlying paranoia that influences with a sparsely noticed finesse. I place all these elements through a filter of pop graphic cartoon realism. It’s Within this sphere of the cartoon, an easily understood and nonspecific representational form, which nearly everyone can identify with, my hopes are to lure my viewers with the perceived innocence of the cartoon, and then confront them on levels not possible without a certain level of viewer involvement. My characters are distorted in an attempt to mirror internal conflict with external physical deformations. What happens with in this world is an explosive conjunction between perceived good and evil, it's lighthearted, it's scary it's somehow urgent yet, utterly meaningless. All this is an attempt to quantify the sum and the negating contradictions of human experience. Tying the exciting and the mundane into one seemingly tangled mess of ambivalence. These paintings are intended to work within the context of them selves, created simply to be tiles in the bathroom floor of speculative anthropology, interlocking to form a larger surface yet still achieving a level of complexity and detail on it's own.

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