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About Hermonie, only.

Baltimore City

Hermonie “only” Williams is a multidisciplinary artist who makes hybrid works using photographs of her sculpture to create comprehensive visualizations of abstract concepts. Williams’ graphite drawings are expertly drafted using simple geometric forms and gradients to craft dichotomous forces in a graphic narrative. She has exhibited in solo exhibitions at Terrault Contemporary and Gallery Four in Baltimore, Maryland. Her work has been included in group exhibitions at locations including The... more

Not Now

In my exhibition at Gallery Four entitled 'Not Now' I present a series of pieces derived from the affections of anxiety and depression, the potential of substance, the notion of bodily presence, absence, and residue. These artworks are an investigation into the ethical and aesthetic problems at the core of 'personal expression'. Fragility and vulnerability are defined by charred wood sculptures which hang in an ambiguous relationship to charcoal pigmented cement. Graphite, inherently dark and reflective, recedes from the viewer with an introspection so severe that it appears to cave in on itself. Drawings that seem so heavily obvious as to make ascribing further significance uncomfortable. Pointed and sheared polycarbonate rods are obstinately staged with expectant resolve.

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  • Not Now

    Not Now: Well and Suttee
    "Well" in the foreground and "Suttee" in the background.
  • Not Now

    Not Now: Suttee, Long Gone, and Well.
    "Suttee" on the left, "Long Gone" on the right, "Well" on the bottom right.
  • Not Now

    Not Now: Long Gone
    Detail of "Long Gone"
  • Not Now

    Not Now: Installation view
    From left to right: "Well", "Not Anymore", "Nowhere, fast.", "Some More Than Others", "After and Before", and "Then When (1/2)".
  • Not Now

    Not Now: Installation view
    From left to right: "Nowhere, fast.", "After and Before", "Some More Than Others", "Then When (1/2)", "Not Now (1/2)", and "Now Now (2/2)".
  • Not Now

    Not Now: Installation view
    From left to right: "Hecate", "Some More Than Others", "Not Now (2/2)", "Be That As It May", "(untitled)", "Might As Well Get Used To It", and "If you can see them, they can see you."
  • Not Now

    Not Now: Installation view
    From left to right: "Be That As It May", "(untitled)", "Might As Well Get Used To It", "If you can see them, they can see you.", and "Then When (2/2)".
  • Not Now

    Not Now: Installation view
    From left to right: "(untitled)", "Might As Well Get Used To It", "If you can see them, they can see you.", "We've all been there.", "Omniscience", "Bones Piece", and "Omnipresence".
  • Not Now

    Not Now: We've all been there
    "We've all been there." Polished enamel, MDF.
  • Not Now

    Not Now: Installation view
    From left to right: "Some More Than Others, "Be That As It May", "(untitled)", "Might As Well Get Used To It", "If you can see them, they can see you.", and "We've all been there.".

Some What

Some What was a Minimalist exhibition of paintings and altered photographs produced during a four week residency at the Lobot studios in Oakland, California. A limited palate of shapes and colors built a dramatic contrast between the object of the painting and the enveloping emptiness of the gallery. The artist invests her design and installation skills into creating a monastic environment imbued with an undercurrent of isolation and anxiety.

  • Some What

    Tempera and gouache paintings on a curved wall; various sizes.
  • Some What

    Tempera and gouache paintings on paper; various sizes.
  • Some What

    Tempera and gouache paintings on a curved wall; various sizes.
  • Some What

    Installation view of "Lean, 2", wooden sculpture in the foreground. Tempera and gouache paintings on a curved wall behind the sculpture.
  • Blue Tip Black Stab

    Gouache on paper. 2 x 12 x 20 in.
  • Untitled

    Tempera and gouache. 24 x 18 in.
  • Red Tip Black Stab

    Gouache on paper; cut out. 2 x 12 x 20 in.
  • Nice Nice

    Tempera and Gouache on paper. 18 x 24 in.
  • Untitled (detail)

    Tempera and gouache on paper. 18 x 24 in.
  • Fault

    Altered photograph. 32 x 14 in.

Big Deal

Big Deal was a conceptual installation based on Dramatism, the brand of literary theory touted by Kenneth Burke in his 1945 book "A Grammar of Motives". The artist utilized Burke's "Dramatist Pentad" strategy of finding meaning in a text and expanded this strategy into the abstract, finding meaning in combinations of the following elements: act, scene, agent, agency, and purpose. These five components were used to reference the five major points of the human body. The repeated use of the number 5 and other symbols such as the cross, triangles, and dodecahedra, lend an air of mysticism. The artist made intentional use of the stark language of Modernism to articulate her passion for objectification and authority.

  • Installation View 1

    WORKS FROM LEFT TO RIGHT: HALF RED : tempera on wallpaper - 2'x3' each, NOVELTY SCULPTURE GROUP A : (see detail), BLACK DODECAHEDRA 1 : concrete - height 18", PENTAGON BLACK 1 : wood - height 36", NOVELTY SCULPTURE GROUP B : (see detail), FLAG BLACK FLAG WHITE : vinyl - height 6', BLACK CUBE 1 : wood - 2'x2'x2', PENTAGON BLACK 2 : wood - height 36", BLACK X RED HALF : tempera on wallpaper framed - 11"x14" each, IN THE BEGINNING WAS THE WORD AND THE WORD WAS WITH GOD AND THE WORD WAS GOD : wood - height 6'.
  • Installation View 3

    WORKS FROM LEFT TO RIGHT : BLACK DODECAHEDRA 2 : concrete - height 18", BLACK CUBE 2 : wood - 2'x2'x2', IN THE BEGINNING WAS THE WORD AND THE WORD WAS WITH GOD AND THE WORD WAS GOD : wood - height 6', XXX (red crosses along the wall, between doors) : wood - 4'x8', BLACK CUBE 1 : wood - 2'x2'x2', BLACK DODECAHEDRA 1 : concrete - height 18", RED : enamel paint - 6'x2', BLUE : blue tempera - 2'X2'
  • Novelty Sculpture Group B

    LEFT TO RIGHT : BLACK DODECAHEDRA : cardboard and vinyl - height 10", WHITE TETRAHEDRON : plexiglass and vinyl - height 8", WHITE TETRAHEDRON : plexiglass and vinyl, height 8", RED TETRAHEDRON : plexiglass and vinyl, height 8", YELLOW TETRAHEDRON : plexiglass and vinyl, height 8". Similarly to NOVELTY SCULPTURE GROUP A, GROUP B is a display of objects with reduced elevation to create a physical and psychological distance from the viewer, however, unlike GROUP A, GROUP B has more intrinsic significance.
  • Novelty Sculpture Group A

    LEFT TO RIGHT : concrete, charcoal, clay, plastic, rubber, wood, pizza. NOVELTY SCULPTURE GROUP A is a collection of objects displayed on a shelf 6 inches from the ground. The elevation is meant to diminish any contact one could have with the objects while their isolation further objectifies them. Their significance to each other is due to proximity and not to any intrinsic property. This is an invitation for one to consider her proximity and significance to those around her.

More or Less the Same

To create this image I took a dowel and cut it into an even number of pieces. I painted each piece with black and white paint. Every segment has an inverse segment painted as its opposite. If all of the segments were arranged back in a straight line it would be continuous, with no gaps. This piece is about completion.

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Hermonie, only.'s Curated Collection

This artist has not yet created a curated collection.