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William began to draw at an early age. In his adolescence, he aspired to be an architect with the hope of someday working for and being associated with Gordon Bunshaft of Skidmore, Owings and Merrill Architects. Bunshaft, was the designer of the Lever House in 1952, the first modern glass skyscraper ever built. William accomplished this in 1986 as an architectural apprentice after his graduation from Louisiana State University architectural program under his mentor architect Charles Colbert. Also in 1986 his first formal exhibition took place at the Louisiana State Museum art competition where two of his works were selected for exhibition. Thereafter, his focus was primarily architectural design. In 1989, William was granted the opportunity to work as an architectural designer for the prestigious New York firm of I.M. Pei & Partners Architects.

In 1999, William redirected his life resigning his pursuit of architectural design and began to concentrate instead on the further development of his art compositional ideas of which lead, in the year 2000, to his enrollment in the MFA program of Vermont College. During this period he finalized his life long research into the nature of a universal art compositional language. William has developed the understanding that the universe has an inherent proto-language that reveals the inter-connectiveness of all things. His artwork therefore is non-objective. His paintings express the absence of physical phenomena as a metaphor for pure spirituality. It deals directly with the inner workings of the subject matter revealing both the physical and metaphysical realms of the subject. It is through this universal sensory language that both the spiritual essence of the work and its conventional source of meaning are reveled. This idea is found in all of his work and in some cases the figurative is revealed as an apperception of the objects ultimate constructive configuration.

As a result, his art production engages in 3 simultaneous synchronized processes. It
is a state where the divine light and the physical light coalesce.

1. The physical (object) compositional structural process of the work.
2. Thought (subject, mind, energy, etc.) processes.
3. Spiritual (soul, divine light, etc.) processes through prayer and meditation.

This is based on a hypothesis that suggests as its premise the existence of a universal language that exhibits connections between object and subject. The elemental structure of this visual language is based on the linguistic primordial presumption that object manifestation and its name (subject) are in their origins one and the same. This connection is based on the fundamental nature of the physical universe, which is knowable to us only through its underlying patterns of waveforms.

Therefore, the content of his art is a formulation, revelation and evocation of vision. Not as a force of exaltation, but rather of revelation. William has discovered in nature a language artifice for manifold instrumentation whose structural discourse lies within the syntax of phenomena. A syntax, which manifests in the correlation between "object" and "subject." This is the philosophical model that is reflected in the art that he makes through the visual mediums of drawing, painting, sculpture, and art installations.

Current Exhibitions
Year 2000 / 2006

Fine Arts Gallery, Broward Community College, Florida, National Juried Exhibition
The Church Street Gallery, Orlando, Florida, Exhibition
The Art Guild, Vero Beach, Florida, Exhibition
The Pate Collection Gallery, Vero Beach, Florida, Personal Representation Exhibition
Agora Gallery, Soho - New York City, Personal Representation and Exhibition
Limner Gallery, Soho - New York City, Exhibition Competition Finalist
Gora Galery, Montreal, Qc.Canada, Personal Representation and Exhibition
Padron Gallery, Coral Gables Miami, Florida, Personal Representation and Exhibition
Indian River County Library, Vero Beach, Florida, Solo Exhibition
Center for the Arts Museum , Vero Beach, Florida, Exhibition

crucifixion

1999
acrylic on canvas
90 cm x 90 cm

dais

1997
Concrete
90 cm x 30 cm x 100 cm

indoctrination

1999
Acrylic paint on canvas
60 cm x 60 cm

reflection

1999
Acrylic paint on canvas
60 cm x 90 cm

fallen

1999
Acrylic paint on canvas
60 cm x 60 cm (2 panels)

Passage I

2003
Acrylic paint on canvas
120 cm x 120 cm