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64 - WILLIAMS SUE (b. 1954) PIGLET. 1996. Oil on canvas. 46 x 38.50 cm. On the reverse: signature, date, title, and label from Gian Ferrari Arte Contemporanea, Milan. The work is registered with the 303 Gallery, New York, which maintains the archive of the artist’s works.PROVENANCE: Claudia Gian Ferrari Collection, Milan; Jytte & Jarl Borgen Collection, Copenhagen; Private Collection, Italy. EXHIBITIONS: Nudo e Crudo: Sensitive Body / Visible Body, Claudia Gian Ferrari Arte Contemporanea, Milan, 1996. Created in 1996, *Piglet* belongs to a significant phase in Sue Williams’s artistic exploration, in which the explicitly narrative figuration of her early works gradually gives way to a freer and more fragmented language. The human body, sexuality, and power dynamics are deconstructed and reworked through a web of signs, images, and visual associations. In *Piglet*, human and animal figures, anatomical details, and barely recognizable forms are distributed across the surface without any apparent hierarchy. The rapid, nervous stroke—almost like automatic drawing—transforms the composition into a continuous flow of images, suspended between irony, eroticism, and unease. The graphic lightness of the line thus contrasts with the ambiguity of the subjects depicted, a characteristic element of Williams’s work. Frame included
WILLIAMS SUE (b. 1954) PIGLET. 1996. Oil on canvas. 46 x 38.50 cm. On the reverse: signature, date, title, and label from Gian Ferrari Arte Contemporanea, Milan. The work is registered with the 303 Gallery, New York, which maintains the archive of the artist’s works.PROVENANCE: Claudia Gian Ferrari Collection, Milan; Jytte & Jarl Borgen Collection, Copenhagen; Private Collection, Italy. EXHIBITIONS: Nudo e Crudo: Sensitive Body / Visible Body, Claudia Gian Ferrari Arte Contemporanea, Milan, 1996. Created in 1996, *Piglet* belongs to a significant phase in Sue Williams’s artistic exploration, in which the explicitly narrative figuration of her early works gradually gives way to a freer and more fragmented language. The human body, sexuality, and power dynamics are deconstructed and reworked through a web of signs, images, and visual associations. In *Piglet*, human and animal figures, anatomical details, and barely recognizable forms are distributed across the surface without any apparent hierarchy. The rapid, nervous stroke—almost like automatic drawing—transforms the composition into a continuous flow of images, suspended between irony, eroticism, and unease. The graphic lightness of the line thus contrasts with the ambiguity of the subjects depicted, a characteristic element of Williams’s work. Frame included