In 2020, the brutal reality of living in the waning days of American Empire has allowed Williams to consider how we might have arrived at this point. Her new paintings are suffused with images of colonial times: disembodied Pilgrim clogs, Tudor cabins, horses outfitted with blinders, the literal nuts & bolts that prefigured the industrial revolution, Betsy Ross as a dinosaur. The suggestion that America is founded on violence and manipulation, that the post-truth, post-Trump, post-COVID world is not an anomaly but a continuation of a status quo built over the past 400 years, doesn't seem far-fetched. A painting titled "Land Of Profit and Coincidence" would resonate equally in 1620 or 2020.

There is a wry and impertinent classicism in Williams' compositions - at first glance, they suggest the kind of maps early land surveyors might use. They also may intimate the strewn wreckage of a natural disaster, here the relentless and sadistic subversion of democracy, the American dream, and E Pluribus Unum. Couched in the archetypal imagery of our noble forefathers, of amber waves of grain and purple mountain majesties, American idyll itself becomes Machiavellian. Williams herself sums it up with two quotes: "The American people are the most brainwashed in the world" (Adam Curtis), and a hopeful note courtesy of Woody Guthrie: "You fascists never gonna win."

Sue Williams’ solo exhibition is on view through January 30 @ 303 Gallery 555 W 21st Street