"Williams' landscape paintings present a uniquely focused view of the world. Her pictures do not depict picturesque views; rather they create scenes cinematic in their mood, setting, and sense of impending drama. Her paintings often depict lonely places, the air thick with isolation and dread, like an image by Hopper crossed with a scene from a Cohen brothers' movie. In her night paintings, the ramshackle buildings and storage sheds, battered signs and water towers, glow with an ominously mysterious life under the nighttime illumination. What isn't seen is as important as what is and points to the real subject of these paintings: the heavy presence of the impenetrable night.
Williams' snow paintings may seem at first like the complete opposite from her magnificent night pictures, and yet, these too reject the picturesque in favor of something more subtle and enigmatic. The evocation of bodily sensation in these scenes is remarkable-the warmth of the sun and the cold of the snow, the crispness of the air and the quiet of the earth. Buildings and cars are foils that set up the true subject of these paintings: the snow itself. In these paintings, the snow lies heavily on the earth, its surface scarred by the deep and difficult tracks of struggling tires. The snow dominates and rules these worlds, much as the blackness dominates the night paintings."
- Robert Jessup