Grief Gestalt, 2009, Xerox Collage on Paper, 167.64 x 106.68 cm, Berlin
Untitled (reification series)- 2011, Xerox Collage on Paper, 150 X 140 Cm, Berlin
Contrary to Jouissance, artwork does not exhaust its erotic potential, 2013, xerox and lead on paper, 110 cm x 200 cm, Los Angeles
Einführen / Ausführen III, (project for Biennial of the Americas), 2013, xerox collage on paper, 30x40 cm, Athens, Greece
Liza Jane (Unborn Daughter): That presence is not to be understood as visual but is the irreducibility of the Other as a subject to whom I am called to respond and toward whom I am responsible (the Other as a visage, a face), 2013, collage on paper, 170 x 150 cm, Berlin.
Demeter Persephone Downtown LA, 2014, Tar, Rubber, Charcoal, Cement, and Plaster on Heavy Paper, 117.45 x 108.9 cm, New York
That of linking with the unknown and bonding in unions with others in the process of becoming and transforming oneself puts patriarchy in danger (ettinger), 2014, Rubber, Paint, Charcoal, Xerox Collage on Bond Paper, UG Museum Los Angeles Permanent Collection.
The Oratory Command: X Carmichael King Hampton, 2016, Xerox Toner, Collage on Paper, 100” X 87, LA
Obscured, Slain, Witnessed, 2016, Collage Xerox, Toner, Rubber, and Charcoal on Canvas, 14” x 11”
Internal Audible: Hampton, 2016, Xerox on Watercolor Paper, 45” X 38”, LA
Scarlet@cinemagropers.com, 2016, Vinyl, photo transfer and acrylic paint on canvas 30 x 47 in. (76.2 x 119.38 cm) LA
Cervical Smile, 2016 Vinyl adhesive on mirrored plexiglass 90 x 48 in. (228.6 x 121.9 cm), LA
Perfect Smile, 2016, Vinyl adhesive on mirror 12 x 12 in. (30.5 x 30.5 cm), Heldsburg, CA
Venus is a Sacrificial Form, 2016 Vinyl, photo transfer and acrylic paint on canvas 76 x 44 in. (193 x 111.8 cm), Miami
Still from Dance Performance Affect: Network: Territory, August 11th 2016, Digital Photo courtesy of John Tain, Human Resources LA
Kandis Williams produces large-scale collages that track the philosophical constructs of difference as it manifests in systemic iterations of state violence governance and authority in sexuality, culture, and self. Using the mechanics of collage as a deliberate metaphor for violence, Williams makes idiosyncratic collage images- topologies fitted from visual content of incidents of sociological chaos. Her works are often set against monochromatic gradients, suggestive of deep space and the occurrence of these incidents over time, compounding the horror and fascination with both physical and ideological dissonance. Williams implicates herself and the audience in the intoxication of commodity-fetishism and its territorialisation of land and body. The gathering and distribution of texts and source material for her visual investigations comes out of Williams’ practice as a dramaturg in Berlin over 5 years, “Taking her grounding in theory one step further, Williams often binds her work with a series of “readers,” photocopied books full of essays and excerpts that Williams is currently thinking about, offered as a way of understanding her work. Often these essays will play a conformational role in Williams’ life and practice.”- Maxwell Williams, KCET.
Research on the visual strategies of other artists especially in the medium of dance has been a vital crux of Williams’ collage and performance practice. Her most recent research finds its expression in contemporary dance, a medium that Williams hopes to further investigate, alongside self publishing.
In 2016, Williams, Taylor Doran and Jordan Nassar founded Cassandra Press; producing collaborative artist books and editions.