An article about my installation INcongruence at Moorpark College Art Gallery written by Moorpark College student, Natalie Hyman.



Diane Williams
Connect to Disconnect at LA Artcore Brewery Annex
Diane Williams Social Practice


Diane Williams is inviting the community to engage and connect people through crocheting. Crochet is a process of creating fabric by interlocking loops of yarn, thread, or strands of other materials using a crochet hook. Materials will be provided but participants are welcome to bring their own yarn and hook. Participants can take or leave their creations to be included in a collaborative installation and become a part of an immersive art project.

Beginners, experts and anywhere in between are welcome to join.


The idea was inspired by Jean Baudrillard’s, Simulacra and Simulation: “We live in a world where there is more and more information, and less and less meaning.” Social media interactions have become our default social exchanges. Studies have shown that when people are given the platform to connect with one another in communities, they can be a powerful force for change. This is a collaborative social practice project, emphasizing the importance of real connections through art making, social interactions and active participation. Creating positive interpersonal interactions is the first step into building relationships necessary to thrive.


I have a solo show coming up, March 1st through April 1st at Moorpark College.

There is a reception after my lecture on March 12th, at 11am. 

Diane Williams
Making Lightly | a communal residency

Making Lightly | a communal residency

First iteration: Residency from October 8 through October 20

Atche Art Space

As artists and participants in our consumer culture, we often become very attached to things that we own and make. Our creations and possessions are considered extensions of our identities and symbols of status and achievements.  This residency challenges this cultural default, and emphasizes the importance of a collective experience of creation over  individual achievement. In rejecting the preciousness of art objects in favor of a non-attached and non-individual mutual communal creation, we re-examine the paradigm of art as commodity.

This communal residency created by Los Angeles artists: Arezoo Bharthania, Diane Williams, Nicole Stirbis and Sophia Allison, will take place over a period of two weeks at Atche, a 120 square foot artist space in a residential area. We invited artists to come and work together in various iterations over that time period.  It is an exploration that values the joint experience of creation above the end result of an art object belonging to one artist. Materials and art work provided at the space are all fair game for each artist to add to, deconstruct, or re-create. Artists may create wall hanging art, installations or freestanding sculptures in and around the space and the surrounding outdoor areas with the understanding that anything can happen to ‘their’ pieces. There is a small contemplation space with a typewriter and paper for artists to write temporary art statements, manifesto, a joke.  Statements may also be  sympathy letters to themselves about the loss they may feel of the work they contributed to. The focus is the experience of time spent in space as a non-material creation in and of itself, and the interaction between artists verbally, temporally, artistically and materially.

Hybrid Altar at Tarfest 2018

Tarfest - September 22, 2018

La Brea Tarpits

Hybrid Altar

Diane Williams and Ching Ching Cheng

“Hybrid Altar” is a collaborative, interactive installation by artists, Cheng and Williams. It explores identity that traces back from their cultural lineage and identity as immigrants from Taiwan and Philippines. Colonization heavily influenced their customs and traditions. Taiwan was under Japanese rule and the Philippines was colonized by Spain, United States, and briefly by Japan. Under foreign rule, the countries developed unique cultures and rituals that are practiced today but as time passes, people forget the “what” and the “why” of these practices and their origins. A popular tradition in the U.S. is the Wishing Fountain (toss-a-coin-make-a-wish), a European folklore where any spoken wish would be granted. It is a ritual that everyone performs yet very few know of its history. It originated from early European tribes who believed that the water from potable holes was a gift from the gods.

The structure is constructed with an environment made of yarn, fabric and plastic woven into wires that are supported by two, 6’ and 4’ metal poles in cement blocks, and a fountain for the offering ritual, surrounded by Chinese gods on Greek columns made of plaster and wood.

The yarn and fabric are recycled from friends and family or salvaged from stores that are traditionally owned, operated and supported by immigrants. They provide connections with the histories and memories of Diane’s community as well as the Catholic religion she was brought up in. Under the Chinese gods and fountain is a woven mat, made from the same materials, with the word, “TULOY” meaning welcome in Tagalog, the main language in the Philippines, referencing the Filipino hospitality during a religious fiesta. Ching explored the popular Chinese gods in Chinatown located in Los Angeles, then modified and mass-produced these statues with Greek mythology influences. The immersive display of the gods and the offerings are based on the ceremonial tradition in Taiwanese temples.

This collaborative work is an experience of mixed ceremonial practices. It addresses cultural structures, questioning norms and assumptions that we all have, regardless of where we are from. These traditions are often seen in our daily practices, beliefs and routines. “Hybrid Altar” is the artists’ version of an altar that combines iconic symbols and representations of their cultures with figures and materials that are reminiscent of their present lives in Los Angeles. The public is invited to participate in a scavenger hunt, looking for iconic symbols: baby Jesus, flowers, angels…. hidden near the installation then placing them in the “Hybrid Altar”

Diane Williams
Introducing Atche Art Space

I recently turned my studio into an art space, located in Glassell Park, a neighborhood in North East Los Angeles. This space is a part of the Shed Collective —an alternative to alternative spaces located in residential neighborhoods in LA. Atche means sister in my Filipino dialect of Kapampangan. @atcheart

Atche Art Space located in Glassell Park  A sister Gallery of the Shed Collective

Atche Art Space located in Glassell Park

A sister Gallery of the Shed Collective

Diane Williams
Los Angeles Magazine article

"In her solo exhibition titled INcongruence, eight woven banners hang from the ceiling, a levitation act accomplished through imperceptible clear wire. Each piece is a chaotic amalgamation of colors and textures, with a single word boldly woven in the center: “Immigrant,” “Fear,” “We,” or “Migrant.” Inspired by recent rallies and demonstrations, the pieces function as conceptual protest signs. Yet unlike the signs you’ll find in the streets, Williams’s pieces don’t explicitly declare an opinion or statement. Instead, she urges viewers to examine their own emotional responses to the singular woven words." ---Andrea Alonso, Los Angeles Magazine

Diane Williams
Beautiful Creatures at Cerritos College Gallery

“Beautiful Creatures”

A solo show exhibition as part of the Window Dressing Series at Cerritos College Gallery

11110 Alondra Blvd. Norwalk, California 90650

On view through February 16, 2018

Williams’ installation, “Beautiful Creatures”, mimics the stereotypical presentation of commercial storefront displays, but with a surreal twist. The featured objects on display are pulled from her “Monsters & Aliens” series, which involved the creation of abstract masks, monstrous (self) portraits, made out of shredded paintings and other discarded materials. The masks are placed on a mannequin and stands, combined with shredded acrylic paintings scattered on the floor and cut-up gel rolls hanging from the ceiling. These materials are semi-translucent, diffusing light in a pleasant aesthetic amalgamation, and obscuring the masked female object, subverting the way we are conditioned to see the unfamiliar as only-ever the frightening ‘Other’ - the outsider, the monster, the alien – replaced instead by fascinating, beautiful creatures.


Los Angeles Artist Collectives you should Check out!

My latest contribution on Art and Cake, an online contemporary art magazine based in Los Angeles, CA. 

Los Angeles Artist Collectives You Should Check Out

Los Angeles Artist Collectives You Should Check Out By Diane Williams Breaking through the art world has never been more challenging. Folding or merging art galleries and limited government funded art programs are making the competition extremely high along with the saturation of artists producing and showing artwork.

Diane Williams: My America | Lancaster Museum of Art and History - MOAH

Saturday, September 9th, 2017


Lancaster Museum of Art and History – MOAH

665 W Lancaster Blvd., Lancaster, CA 93534

My America is William's recent body of work about finding common ground with the community at large.

Diane Williams is a multidisciplinary artist whose work stems from the political and social landscape that surrounds her. She uses art as a call to arms, creating works that explore issues about immigrants and gender to encourage cultural and social understanding.

In this participatory piece, the artist asked viewers to write the first name of an immigrant (first, second, third generation….) they know and their relationship to that person on a piece of paper and then post it on a wall with an outlined map of the United States. The word immigrant has had a negative connotation in our society. This project examines how people view immigrants and questions their own immigrant identity.


Williams and MOAH staff engaging the public with the 2nd installment of her participatory piece, “My America”.

Williams and MOAH staff engaging the public with the 2nd installment of her participatory piece, “My America”.

Today in the Studio

I have been getting up early every morning to work in the studio to beat the heat. So far I have managed to do some sketches on possible ideas, art projects and started on a new piece that is in a very awkward stage. Lately, my enthusiasm to want to create and look forward to being in the studio has been dwindling. Being in my tiny backyard studio has been quite a release and satisfying in the past but has been grueling and with much resistance on my part these days. Perhaps it's the summer heat + the climate change factor, the constant barrage of negative political rhetoric on social media and other news outlets, the current upheaval and discontent in my own community, the art proposal rejections one after another or maybe it’s the subject of my work that is weighing down on me. Nevertheless, I know this sentiment will pass and I will continue to persevere. I fervently believe in my own work as it offers something important and rewarding to me.

As a constant reminder from my past professor in art school –

Be bold!

No excuses!


Very early work in progress. Needs a lot of progress at this point!  

Very early work in progress. Needs a lot of progress at this point!  

My tiny backyard studio

My tiny backyard studio

Diane Williams
Closing Reception of "My America"

Artist residency and exhibition at Shoebox Projects

660 South Avenue 21 #3 Los Angeles, CA 90031

Residency from June 5 – July 9, 2017

Diane Williams is a multidisciplinary artist whose work stems from the political and social landscape that surrounds her—specifically the ethnically diverse neighborhoods of Los Angeles. She uses art as a call to arms, creating works that explore issues about immigrants and gender to encouraging cultural and social understanding.

During her residency at Shoebox Projects, Williams created a site-specific installation that further explores ideas of marginalization. In addition, she embarked on a new series of works that track the surges in hate crimes since the inauguration of President Trump. Williams seeks to find a common ground between the works she makes and the community at large. For example in the participatory piece, This in my America, she asks viewers to write the first name of an immigrant they know and their relationship to that person on a piece of paper and then post it on a wall. Collectively illustrating the idea of an extended community.


Diane Williams
Last week at Shoebox Projects

My experimental project ends this weekend. Closing reception is this Saturday, July 8th from 3-6pm. Shoebox Projects is at the Brewery artist lofts in Lincoln Heights. 660 S Ave 21 #3 Los Angeles, CA


The wall is filling up with names

The wall is filling up with names

Common Thread Installation is almost complete

Common Thread Installation is almost complete

Mujer Inmigrante  

Diane Williams
Working at Shoebox Projects Residency

Thanks to everyone who have participated in the "My America" wall and the visits are of course, always appreciated and much welcomed. The residency closes July 9th with a closing reception on July 8th from 3-6pm! Here is the work in progress in pictures. Stay tuned for more. 


Diane Williams
We: Visual Reflections of the American Experiment

Exhibition dates: June 15 – 18, 2017
Reception: Thursday, June 15, 4-6 PM

“We” is an exhibition that re-affirms the root aspirations of the American experiment. As our public political discourse has become increasingly toxic and polarized, we return to the core unifying claims of the United States Constitution — that “we the people” have a collective vested interest in the pursuit of certain ideals expressed concisely in the Preamble: “establish Justice, insure domestic Tranquility, provide for the common defense, promote the general Welfare, and secure the Blessings of Liberty”. These pursuits remain just as vital today as they were in 1787.

This group exhibition features invited artists to reconsider the immediacy of these core themes of Justice, Peace, Defense, Welfare, and Liberty; exploring the myriad ways these constitutional aspirations remain active challenges to our pursuit of unity as “we the people” in America today.

The suite of images is taken through each participating artist’s mobile device dating from the beginning through midway this year. Each photograph captures instantaneous, raw reflections of everyday life while evoking emotions, and insights into the human condition during the first half of 2017.

Kent Anderson Butler
Caesar Alzate Jr.
James Barsalou
Mark Batongmalaque
Mayte Escobar
Teresita de la Torre
Lauren Halsey
D. Hill
Eric L. Jones
Paul Kelley
Nery Gabriel Lemus
Nikolay Maslov
Amitis Motevalli
Douglas McCulloh
Cody Norris
Naida Osline
Juliana Rico
Steve Thomas
Diane Williams
Jake Williams
Samira Yamin

"We: Visual Reflections of the American Experiment" is organized by Alyssa Cordova, Assistant Curator, Orange County Museum of Art, Jennifer Frias, Associate Curator, Sweeney Art Gallery, UC Riverside, and Jeff Rau, Director and Curator, Earl and Virginia Green Art Gallery, Biola University.

Photo courtesy of Diane Williams.


Diane Williams
First week at Shoebox Projects, an experimental space.

Still a few more things to complete "My America". I'm enjoying the experimental aspect of the residency, working and re working to see what works and what doesn't work within the space and how each pieces responds to each other and make the whole project connect. 




More work to do on this installation  


Participatory piece needs more participants and soon will be a wall of immigrants

Diane Williams

I have not done a drawing piece in a long time and how I miss it! Check out the progress shots from start to finish.  


36" x 60"

Charcoal and conte crayon on paper

2 hrs

2 hrs

4 hrs

4 hrs

6 hrs

6 hrs

10 hrs. Finished drawing!

10 hrs. Finished drawing!

Diane Williams
Art as Subject of Protest

By Diane Williams

The Whitney biennale’s controversy with artist, Dana Schutz’ painting depicting a mutilated face of Emmett Till, a 14-year old African American boy who was tortured and lynched by two white men in 1955 has been a contentious subject on my social media feed. After reading both sides of the story, still some ambivalence as to which side to take or if there is even a side to affirm as things are never black and white (no pun intended). In all seriousness, the issues surrounding this incident is not surprising as civil unrest and vitriol is deeply felt by most Americans today. The 2016 election triggered and aggravated a multitude of problems we are facing and the presidential outcome undoubtedly divided many Americans.  Race relations problem is among the many complex hurdles we are facing still to this day.

This subject prompted me to art critic and writer, Hal Foster’s “Artist as Ethnographer” written in 1995 which offers some insights to contemporary art making.  In this essay, Foster questions the effectiveness of the role the artist plays as an ethnographer. Ethnography is the systematic study of people and cultures. It is designed to explore cultural phenomena where the researcher observes society from the point of view of the subject of the study. Foster sites assumptions that lead to the dangers of ideological patronage. The assumption that if the artist is not socially or culturally other, then he or she has limited access to this transformative alterity (otherness) however, if the artist is perceived as other, then he or she has automatic access to it. Many contemporary artists are well aware of the accusations as contributors of pseudo-ethnography but the subject of culture is immensely complex and given today’s political climate, the “exotic other” as coined by Edward Said in his book “Orientalism” is more relevant now than ever.

As she paints the piece, Dana Schutz admits that her painting of Emmett Till will be problematic. It is certainly igniting dialogue that both artists and viewers are divided on. One can argue that this painting is insensitive—- a misrepresentation by the artist or maybe the work is simply just unresolved. Before arriving at a conclusion, maybe it’s fair to look at some key factors. We know that the artist is a white woman who claims to use ‘alterity’ as a primary point of subversion of dominant culture. Schutz is well known for her work that depicts subjects in her paintings as humorous points of departure. Would the painting receive protest if the artist had a different background? Does our present political culture that promotes systematic racism stemming from the 45th President down to our local law enforcement contribute to this heightened critique of this piece? There are various questions to point out in this important debate. Many factors should be considered before making statements, as they should be thought of with respect and contemplation if our intention is to recognize one another and coexist. Having a dialogue is definitely critical but it is more effective when both sides are heard.

The Personal is Political at the Annenberg Beach House Gallery

We celebrated the opening of Personal Narrative on Tuesday, Feb. 28th and got a warm reception from artists and the Santa Monica community. Thank you to Sheli Silverio and the staff at Annenberg who helped coordinate the show. I wrote the proposal to showcase the identity and the individual context of the artists included in the show with works ranging from stories about their Jewish diaspora, gender disparities, body image issues, environmental concerns and immigrant background. Keeping in mind that our Personal Narrative shapes and molds who we are as artists and makers in the 21st century. 

The show runs through June 4th! 

The sunset at the beach

The sunset at the beach

From left: Dwora Fried and Bibi Davidson

From left: Dwora Fried and Bibi Davidson

From right: Tom Lasley, Randi Matushevitz, Terry Arena, Sheli Silverio

From right: Tom Lasley, Randi Matushevitz, Terry Arena, Sheli Silverio

From left: JJ L'heuxreux, Robert Nelson, Mardi DeVeuve Alexis

From left: JJ L'heuxreux, Robert Nelson, Mardi DeVeuve Alexis

From left: Malka Nedivi, Robert Soffian

From left: Malka Nedivi, Robert Soffian

From right: Erika Lizée, Diane Williams, Rick Dallago

From right: Erika Lizée, Diane Williams, Rick Dallago

From left: Linda Sue Price, Chenhung Chen, Kristine Schomaker, Susan Amorde

From left: Linda Sue Price, Chenhung Chen, Kristine Schomaker, Susan Amorde

Diane Williams