In Monolith, Wray transforms old machinery and everyday street scenes into the artfully transcendental. Influences like Monet and Emile Gruppe shine through, but Wray distinguishes himself with a unique modernist touch. Wray's technique trumps the limitations of medium: through heavy, often geometrical applications of oil-paint, one can really see all three dimensions of the object depicted. Wray's works are not just paintings; they are chunks of the outside world transported onto canvas. It seems that for him, the rusted remains of our technology-driven world and the art-deco details of New York's iconic skyline are modern day monoliths, as full of cultural significance as the standing stones of pre-Christian civilizations.
William Wray entered the realm of fine arts by way of animation, comic books and illustrative art. He has subsequently published four monograph collections of his work, the most recent being Monolith. He is a member of the California Art Club and has exhibited extensively across the state as well as being featured in group shows as far afield as Hong Kong. His work has appeared in a range of publications from American Art Collector, Southwest Art to The Artist Magazine. He lives in Sierra Madre with his partner Sharon.