Jack Williams' work broadly studies sounds and the energies utilized, stored, and transferred in its emission and the ways ghosts become entangled in its harmonic webs.This practice is dedicated to how the processes for constructing sounds have impacted/vibrated our bodies, environments, and histories. Spanning the subjects of music production, performance
spaces and telecommunication to war and its manufacturing platforms; from those casualties, those disembodied voices, those ghosts in the wire, moving at the speed of a spark, have all culminated in the current pandemic work of Jack Williams. This progression is apparent when viewed with the drawings presented in Vol. 1 of this publication which dealt with architectural space, its acoustics, and the interplay of the two to determine both a context and a content to fill it; ultimately questioning how we rationalize absent spaces and how we imagine interacting within them. In these current works, the question of architecture is once more a primary focus, yet has been complicated by its material choices. Bricks and ceramics from infrastructural water and power locations across the west coast have been synthesized together with the aid of metal joinery in formal studies of the architectural motif known as the Spandrel, a moment of space between the shoulders of adjoining arches and the ceiling or molding above, in essence a meditation on the spaces left over. The copper itself is a reference to both the ancient Japanese art of Kintsugi and to the electromagnetically resistant cages of Micheal Faraday, forming loose metaphors around the joining of the separate elements and the resistance they still hold towards each other.