In these paintings Williams has placed an emphasis on Floyd’s Christian cross, in part to express what his church meant to him personally and his transformation into a symbol of nobility and salvation to be venerated by the community. It’s also noteworthy that Williams engages the idea of the legend and the machinations that are at play in order to create a very intense and deeply moving experience.
Central to this body of work is the George Floyd triptych: The Arrest of George Floyd, The Death of George Floyd, and The Burial of George Floyd.
THE ARREST OF GEORGE FLOYD (left panel) depicts the arrest of George Floyd over the alleged use of a counterfeit 20-dollar bill. Floyd was arrested outside a convenience store in Minneapolis, Minnesota, taken into custody and wrestled to the ground by four policemen, one of whom kneeled on his neck for 8 minutes and 46 seconds, killing him. The painting is a combination of religious symbolism and the realism of the arrest. It depicts the laying of hands all over Floyd’s body which is set against a series of brightly colored “stained glass” windows that give way to prison bars. The figure of Floyd is framed by large purple and blue stripes that suggest wings, much like those of an angel, and above his head is a church symbolizing his salvation. Along the center right and left sides of the painting Williams has inserted prison scenes, cryptic reminders of the omnipresent fear of police entrapment whose deeper meaning he leaves up to the viewer to decipher.
THE DEATH OF GEORGE FLOYD (center panel) was the first painting that Peter Williams created in this triptych and it was an immediate response to the horrific event he saw on video which “hit me like a hammer.” (“His death would be ordinary but for the video.”) To frame and direct the eye, Williams used two strong stripes of color painted in a light red and a medium yellow to create and connect divisions in the work. Williams states that the “composition of stripes represent the hegemony of corporate thinking and the symbols of linear thinking that comes from formalism,” which combines “the organic quality of violence/race, justice and what was broadly avoided in modernist art—content.” Most of the space within the painting is taken up by Floyd’s body, framed within sections in the composition that allowed Williams to create a storyboard of highly symbolic imagery: three glaring blue eyes, a pointed ear piggy-cop, a close-up of Floyd’s upper body pinned down by the cop’s knee, a Christian cross marked “GOD” crowning his head, Floyd’s vital organs (visible as if we’re viewing his autopsy), a row of ten flush-faced white police officer heads in blue caps, and tattoo-like text emblazoned on his body proclaiming his love for his mother and father, and several racial slurs reflecting the divisive state our current situation.
THE BURIAL OF GEORGE FLOYD (right panel) was influenced by El Greco’s painting “The Burial of the Count of Orgaz,” a masterpiece of Western Art that Williams calls a “delicious opera of scenes” depicting the burial of Count Don Gonzalo Ruiz de Toledo and his ascent to the holy spirit. In Williams’s painting, the scene is simplified and, as in El Greco’s version, the composition is divided into two sections—"above and below”—heaven and earth. Below, the body of Floyd is seen lying in a coffin, his neck deeply bound by the knee of the cop; above, a silhouette of a figure surrounded by rays of light. Separating the two figures is the text “My Body is Your Fertile Lie.” The meaning of this inscription is both ambiguous and fact—Floyd lays in his coffin, someday to become fertilizer (“Fertile Lie”). The phrase is a pointed allusion to the 1921 Tulsa Race Massacre and a macabre legend that depicts large numbers of dead ground up for use as fertilizer. He has also shifted his typically bright color palette to one that is significantly darker and more somber.