URBAN ELECTRIC: THE CURRENT Vol. 3
Portrait of an Artist as a Man
by Jessica Mschner | June 9, 2021

To understand Fletcher is to embrace the artistic process in all of its inscrutable and addictive and voyeuristic glory. To accept the unknown and unknowable, and to acquiesce to the power that comes when an artist asks a question that leads his audience to a personal, and often unique, conclusion. Whether or not Fletcher shares the same perspective on given work of art is largely irrelevant: where one quest for expression ends, another begins. Read Full Interview

BOMB MAGAZINE
City Block: A Tale of Two Charlestons
by Chase Quinn | May 17, 2017

Similarly, From a Distance, (retitled Private Property, 2020), creates the illusion of an interior, this time obscured by an inverted white picket fence. There's a cavity behind the fence lined with glittering, red metal flake. Through this construction, which is a pretty satisfying critique of the American dream just on its own, you can see the glow of something like blood. Like all of our most seductive fantasies, there's also an element of danger here. Is a threat being fenced in or fenced out? Read Full Review

CALLALOO JOURNAL
Interview Portfolio: An Interview with Fletcher Williams III
by Charles Henry Rowell | Fall 2016

I’m a spectator in a city of racial tension, cultural separation, and social adaptation. It’s palpable yet blanketed. Charleston is a city attempting to retain its majesty despite continued acts of racial hatred, violence, and irreverence. There is an audacious fascination and fear of the other. It is destructive and routine. Yet, I am surrounded by a captivating landscape flooded with intracoastal waterways, sea life, colossal oak trees, and blossoming azaleas. Read Full Interview