Stephenson's Gallery is delighted to showcase the compelling artistry of Glen Williams, a proud member of the Huddersfield Art Society. As Glen himself states, 'Growing up in South Yorkshire most of my family were either miners or steelworkers or married to miners or steelworkers and a lot of my work reflects that working class background.' This deep-rooted connection to his upbringing in Rotherham during the 1950s and 60s forms the bedrock of his evocative creations. A lot of the imagery has long since disappeared, replaced by luxury apartments, gentrification and shopping malls, but the memories are still strong reflecting a time when manufacturing was abundant. Williams offers a window into his memories and social observations. He explains, 'I like to think that my work has some sort of social commentary running through it, from my industrial paintings through to work I've been creating around homelessness and mental health." His pieces are often sparked by personal recollections, such as family outings to Skegness and Cleethorpes, where 'all the women would always be in the coats and hats… their ‘Sunday Best!' Williams' artistic approach is diverse and experimental. He enjoys 'to draw a hell of a lot,' often utilising charcoal on unconventional surfaces like the back of wallpaper, appreciating the texture it provides and how it prevents over-detailing, forcing him to 'just make a few little marks and try and give the impression of faces and figures.' Memories of his early working life also find their way onto the canvas, as seen in his piece, 'Payday', recalling the 'little brown people envelope' and the subsequent trips to the pub. The vibrant atmosphere of the era is captured in 'A Saturday night at the Working Men's Club in Rotherham', a significant social hub that even hosted big-name stars like Tom Jones and Dusty Springfield.A devoted supporter of Rotherham United, Williams' painting, "eight bloody nil", humorously depicts the familiar woes of a football fan. Another evocative piece captures the sensory experience of "standing outside the tap room" as a child, waiting for lemonade and crisps, met with the "smell of beer and tobacco." While he earned a degree in fine arts in the 1970s, life took precedence for many years. However, during a challenging period with his mental health, Williams rediscovered art as 'fantastic therapy.' This led to a powerful series of drawings on tissue paper and cardboard, expressing the "paranoia" and "isolation" he experienced. He passionately advocates art as a tool for mental well-being.More recently, Williams has ventured into sculpture, starting with smaller figures using tissue paper and wallpaper paste. He is currently working on "really huge heads," utilising recycled materials like cardboard boxes, aiming for a raw and expressive aesthetic, akin to a "rough drawing" in three dimensions. Through his diverse body of work, Williams masterfully combines personal narratives with astute social commentary, inviting viewers to connect with the rich tapestry of working-class life and the complexities of the human experience. Stephenson's Gallery is honoured to present an artist whose vision is both deeply personal and universally resonant.