Rather than ponder Platonic perfection, Peter Williams’ exhibition of “Recent Works” at Clough-Hanson confronts the world in all its complex, ribald, multicultural, paradoxical glory. You’ll find no vague shadows playing across stone walls in Williams’ 48-by-60-inch painting Plato’s Cave. Instead, stones shape-shift into montages of racial/sexual/cultural prejudice and dysfunction, including pornographic Aunt Jemimas and good-ole-boy […]
