Exerpted from: Alarm Magazine

November 2007

William Fields started having visions of alien spirits when he was seven years old and living in a house with his mother and grandparents in Winston-Salem, North Carolina. As a child, Fields wasn’t fearful of the spirits that appeared, spoke to him, and took him outside of his body, but he did wonder if their arrival meant he was crazy, and therefore didn’t tell anyone about the regular occurrences.

Without much in the way of a formal education, Fields is a voracious autodidact and seeker who does not limit himself to a singular path. The alien spirits, as he considers them, that first visited him in early childhood and returned in adulthood inspired Fields to study a great many beliefs and traditions, and today his practice incorporates teachings from Tibetan Buddhism, Egyptian mythology, Gnostic Christianity, the Kabbalah, Theosophy, hermetic science, pagan goddess worship, and Hinduism.

While communing with spirits in the ecstatic state of a vision — which lasts about two hours — Fields perceives the subject of the composition as well as its formal qualities and color palette. From inception, each work takes as long as three months to complete.

Fields attributes much of his receptivity to his proximity to Pilot Mountain, a mountain of resistant rock that has survived millions of years and Fields considers a “cosmic energy center." Pilot Mountain appears on the horizon line in many of Fields’ works, and is the focus of a few.

Fields perceives both “light” and “dark” sides to his work. Though he identifes more with the light and engages with spirits and teachers that are “pure hearted,” Fields does recognize some of his drawings to be “ferocious,” and accepts that there can be no light without darkness.

Though Fields has experimented with hallucinogenic drugs and credits them with helping him reconnect to the spirits after a long absence during his teenage years, he currently abstains from all mind-altering substances, so as not to interfere with the visions that now come clearly and consistently about twice a week.

- Amber Whiteside

Education

1962-7
Duke University
Kunst Ka Faber, Zurich, Switzerland
Wingate Junior College

Selected Solo Exhibitions

2006, 02
New York, NY; Luise Ross Gallery
2005
Atlanta, GA; Orange Hill Gallery
2002
High Point, NC; Theatre Art Galleries
2000
Winston-Salem, NC; Wake Forest University, Fine Arts Gallery
Winston-Salem, NC; Milton Rhodes Gallery, Sawtooth Building
1990
Winston-Salem, NC; Clearing House Gallery
1980
Charleston, SC; Dock Street Gallery
Charleston, SC; The Gibbes Art Gallery
1979
Charleston, SC; Dock Street Gallery
1977
Winston-Salem, NC; Wake Forest University
1966
Durham, NC; Duke University
1962
Winston-Salem, NC; Hanes Community Center Gallery

Selected Group Exhibitions

2005
New York, NY; Luise Ross Gallery, New Location
New York, NY; Luise Ross Gallery, Visual Glossolalia
2004
Greensboro, NC; Weatherspoon Art Musuem, Art on Paper 2004
New York, NY; Luise Ross Gallery, Dopes, Dupes, and Demagogues: Viewed by Outsiders
2002-3
Baltimore, MD; American Visionary Art Museum, High on Life: Transcending Addiction
2001
Little Rock, AR; Arkansas Arts Center, 2001 Collector's Show
Greensboro, NC; Green Hill Center, Autonomous: Inventions, Expressions, Simulation and Rendered Visions (curated by Tom Patterson)
1993
Danbury, NC; Danbury Community Arts Center
1990
Winston-Salem, NC; Clearing House Gallery
1979
Columbia, SC; Columbia Museum
Florence, SC; Florence Museum
Charleston, SC; Exhibitors Gallery
1978
Winston-Salem, NC; Art Gallery Originals
1978, 77
Winston-Salem, NC; Chameleon Gallery
1977,76,66,65
Winston-Salem, NC; Hanes Community Center Gallery
1965,63,62
Winston-Salem, NC; Winston-Salem Gallery of Contemporary Art

Museum Collection

Arkansas Arts Center, Little Rock

Reviews

Tom Patterson, “Looking Into the Workshop of Divine Providence.” Raw Vision,
  Winter 2006, pp. 62-67.
Michael Amy, "Review: William Fields at Luise Ross," Art in America,
  February 2003, p. 118.
Jenifer Borum, Review: "Autonomous: Inventions, Expressions, Simulations,
  and Rendered Visions," Raw Vision, Spring 2002, p. 61.