In 1989, Williams was awarded the Tylee Cottage Residency in Whanganui, a position administered by the Sarjeant Gallery Te Whare o Rehua, and he continued to live in Whanganui until 1991.
He collected wooden detritus washed down the Whanganui River from beaches around the river mouth, and with the aid of a local joiner created subtle geometric compositions.
Williams was attracted to the natural textures, tones and patterns of the weathered wood, and he has said that their “surfaces had an eloquence about them that had evolved spontaneously, rather than been laboured over with modelling paste.”
Notable examples are Odyssey (1989, Auckland Art Gallery Toi o Tāmaki) and Organon 1 (1989, Sarjeant Gallery Te Whare o Rehua).

The wooden constructions were exhibited at Gow Langsford Gallery, Auckland, in July–August 1989, and later that year under the title Points of Departure at the Sarjeant Gallery, where Williams also made a large sculptural installation in the central domed space.
In 1989, Williams was awarded the Tylee Cottage Residency in Whanganui, a position administered by the Sarjeant Gallery Te Whare o Rehua, and he continued to live in Whanganui until 1991. He collected wooden detritus washed down the Whanganui River from beaches around the river mouth, and with the aid of a local joiner created subtle geometric compositions. Williams was attracted to the natural textures, tones and patterns of the weathered wood, and he has said that their “surfaces had an eloquence about them that had evolved spontaneously, rather than been laboured over with modelling paste.” Notable examples are Odyssey (1989, Auckland Art Gallery Toi o Tāmaki) and Organon 1 (1989, Sarjeant Gallery Te Whare o Rehua).
The wooden constructions were exhibited at Gow Langsford Gallery, Auckland, in July–August 1989, and later that year under the title Points of Departure at the Sarjeant Gallery, where Williams also made a large sculptural installation in the central domed space.
Mervyn Williams (artist)