Aubrey Williams: Life Force is a poignant display celebrating the works of renowned artist Aubrey Williams (1926–1990). Co-curated by Abbie Griffiths and Maryam Ohadi-Hamadani, Life Force offers a compelling exploration of Williams’ dynamic artistic legacy. A pioneering figure in British post-war art, Williams striking use of colour and energetic forms continue to influence contemporary art discourse. The title “Life Force” captures the raw vitality and sensuous energy of Williams’ work while also reflecting the core mission of the AGBI; to support professional visual artists with grants during times of illness or injury. Just as Williams’ paintings evoke the force of life itself—raw and invigorating - the AGBI stands as a testament to the resilience and strength of professional artists who continue to create despite the obstacles they face. 

Williams’ career spanned decades and continents, marked by his innovative approach to abstraction. Williams, who moved from Guyana to Britain in 1952, found a platform for his pioneering work through networks such as the New Vision Centre and the Free Painters Group. New Vision, founded in 1956, championed emerging, experimental artists - many from post-colonial nations - who were often excluded from mainstream galleries. Williams, known for his dynamic and expressive abstraction, had three solo exhibitions at New Vision (1958–1960), where critics praised his ability to fuse Indigenous South American aesthetics with modernist techniques. 

Williams participated in significant exhibitions like the Commonwealth Biennales of Abstract Art, highlighting his global perspective. His paintings, such as Guyana II (1962), reflect a blend of Indigenous forms, environmental influences, and a critique of colonial histories. Williams was also a founding member of the Caribbean Artists Movement (CAM), established in 1966 to explore Pan-Caribbean identity and aesthetics. His work often drew on Guyanese Indigenous traditions, integrating motifs from Amerindian pottery, basketry, and rock art. Williams saw abstraction as a language capable of uniting disparate cultural histories. Paintings like Guyana II and The Carib, Arawak, and Warrau Triptych exemplify his synthesis of diverse cultural sources, while Untitled reflects his early, intimate explorations of figuration. These works resonate with a profound “life force,” offering a compelling meditation on the human condition and the interconnectedness of history, culture, and environment.