Oslofjord bears witness to an intrusion of the artificial into the organic, the manufactured into nature – but also of the artificial masquerading as organic, the manufactured attaining an almost natural quality by exposure to time. The book presents pictures of plastic and polystyrene collected around Oslofjord by the artist; sometimes arranged stylistically for the viewer like corpses laid out in lit de parades; sometimes as integrated parts of the natural landscape. At selected intervals, the plastic objects are juxtaposed to images of almost pastoral idyll. But there is no returning to Romantic immersion in nature: The riso-printings blurred quality and the coloration work in tandem to give us the sense that something is altogether off. Every image is saturated with a weird, phantasmagorical intensity. Williams’ book depicts a slow-moving violence that affects the very categories by which we make sense of things. There is a clear environmental agenda in the work, but not as a pointing of fingers; more as a way of illustrating how these issues affects us at a phenomenological level.

Hverdag Books, 2016

40 pages

Staple bound

First edition of 200