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MIJA RIEDEL: I have to leave that for a heartbeat. ", Mike Etheridge - Associate Creative Director, "Neil Williams is a talented Head of Copy. What do you need to eat? NEIL WILLIAMS: Yes, because I could play withI could give a point of context or departure, so that no matter what you did, you cut it apart, put it back together, paint it bright colors, take it to any culture, theoretically they would have a common understanding, "Oh, that's a vase, a teapot, a cup and saucer. Andthey had, it was an unusual couple. MIJA RIEDEL: How extraordinary. NEIL WILLIAMS: The paintings became spectacular. Was the title of it loosely "Where do we come from? So, two and half feet tall, perhaps. I'm not dead yet. MIJA RIEDEL: and the evolution of the bronzes. NEIL WILLIAMS: You know, I paint houses, whatever it takes. NEIL WILLIAMS: They are over at the end of Elm Street at 49. And she jumped, back and forth, which you may or may not see in her work, but there wasin fact, working for her early on, it was so funny, she was very excitedshe was getting very excited, because so much beautiful work was coming out, she was starting to come out again, not out of the closet, but of out of the backyard. NEIL WILLIAMS: Well, to see what was done and then you look at the dates on some of those things. The former Army Ranger, who did five tours in Iraq and Afghanistan, posted a video of himself riding a surfboard three days ago. NEIL WILLIAMS: Uh-huh. And, luckily, some of them are good artists and good painters, have known me for a long time. Consider following President Eyrings example, Elder Andersen told students. [Affirmative.] And, there's this big ritual behind it, and there's maybe 200 or 300 people captivated there and listening. NEIL WILLIAMS: I didn't really see much of an evolution of bronzes thereshe. And, I think it helped me growing up here a lot, to be able to go to off to school, or to be able to relate to such a variety of different people successfully. Pheasants, and, hawks, and turkeys, and eagles, and owls, and hummingbirds, and all kinds of varieties of birds. MIJA RIEDEL:you'd mentioned, or were going to mention. [Affirmative.] Andbut I was never motivated to doing thepursuing the wholeI don't know why. But it's labor. This information is provided for entertainment purposes only. 0000009191 00000 n So, he filled the word in her life, and she filled the visuals in his. Behind him are BYU students who shared testimonies and experiences during his address. She did. But she was talented and had a great eye. NEIL WILLIAMS: Sing Shakespeare sonnets, and we used to go around and perform at different groups like Lions Clubs or Soroptimist, and sit through Shakespearean sonnet performances in third grade. 0000053116 00000 n MIJA RIEDEL: [ -MR] Garth Clark suggested that the plates were a way that she worked with masslet me read this exact quote: "Volume just appeared in the junk pieces, volume retreats before mass, and as mass increases, volume diminishes in most of the work." [Affirmative.] MR] the work feel like a long thread of continuity, a long series of theme and variation? And he's trying to pull the plate away, and she's growling at him, and she's got her arms around the doughnut and it's likeI said, "Oh Charles, I don't know", [END OF TRACK william14_1of3_sd_track01. What a brilliant way of answering that brief. Davis trust. Fun, she loves celebrating life, and always likes to have fun and pushes me to do things and get out of my comfort zone that I wouldn't normally do. 566 Following. Was she making them as whole figures? And they're still not quite, know why, but there's an electrochemical in the cells of the heart which causes it to beat. Well, okay, call, "What are you doing?" How did theywell, the arrival of the bronzes. We'll assume you're ok with this, but you can opt-out if you wish. MIJA RIEDEL: And I'm curious, when you say "spiritually, it fulfilled self-respect." NEIL WILLIAMS: It just doesn'tI mean, it's not a priority. NEIL WILLIAMS: They just had me in the back room working, and those guys and the localhim and the local principal, so supportive, they were always giving me POs to go get more materials. 0000030898 00000 n If it's a good meal, if it's seeing a friend you haven't seen in a while, if it's pulling something out of the kiln with bright colors on it, if it's grabbing a brush and painting something. NEIL WILLIAMS: In their work, and inalso, in them as human beings. Throwing on the wheel can be a wonderful sensation on many levels and it's. But it's still there and it's still really highly motivational soI'm sorry, what was the original question? Even though they might seemshocking or disturbing as an approach to a vessel, a traditional form. Interesting. MIJA RIEDEL: And it was always clearly clay? And he was harmlessgot caught selling weed in the wrong time. And it's like, Wayne Thiebaud said, in one of his great lectures, he says, "All right, it's never going to turn out like you pictured, and you're never going to be completely satisfied. NEIL WILLIAMS: I think it goes back to, is it a fuel for life or not? Gambling Help on 1800 858 858 or visit www.gamblinghelponline.org.au. NEIL WILLIAMS: Nothing that's going to be profound or, MIJA RIEDEL: [Laughs.] She still was immediately drawn back to building things in clay, and painting, and doing the pastels, and junk pieces. Trainer: Venetia Williams Jockey: Charlie Deutsch. 0000011773 00000 n Toby and. She was really comfortable and fun to be around. NEIL WILLIAMS: and she got them in there. ], MIJA RIEDEL: But in the past would that be something that would. He hasmany strengths, including creating big brand idea/concepts, crafting emotive brand stories that flow effortlessly and leading the development and ideation of advertising campaigns. Not just everyone who wanted to grab her once they saw this incredible cache of artwork in her backyard. Even though taking the time can be a sacrifice, temple attendance can provide peace, shared BYU student Jessie Ebert. And, it just seems different, and you're laboring away at a sculpture or a painting. NEIL WILLIAMS: She felt that was a way to start unlocking that and getting things to start flowing and coming out. So straight line, you've got analytics and rational architecture and structure. NEIL WILLIAMS: It was elusive; it was not subtle. 0000004841 00000 n She was always in it, for her, with all her heart. NEIL WILLIAMS: And she was in her wheelyou know Maria Martinez. NEIL WILLIAMS: And itwe talked about itthe lan vital, the vital energyI was getting that back from the pieces. MIJA RIEDEL: Mm-hmm. NEIL WILLIAMS: In the later ones, especially the reclining ones. NEIL WILLIAMS: I was going to take the summer and travel and do, but they said, "No, you have to use your scholarships." The evolution of your work, how Viola influenced it, and then where you decided to develop. But, he wouldn't go to openings. NEIL WILLIAMS: There are no profound "Oh my God, I need to do a 90-degree or a 180 on something.". Making something that had a physical presence stayed consistent throughout. It's incredible!" NEIL WILLIAMS: And, then I realized later onan analogy for how she hoarded images, too. A year after that, the two were married in the Salt Lake Temple, now almost 48 years ago. That's the hardest part. . And I've been really fortunate. But she thought things through very well, but she was also really stubborn when she knew she was right, and of course she was always right, it was her work. But there was also part of the delight for her too because shethe magic she always felt about seeing things coming out of the kiln for the first time. I mean, he's the one who talked about diachronic and synchronic time. 0000114923 00000 n But. MIJA RIEDEL: [. Another five years go by, and the mortality rate gets down to less than one percent over a 20-year period. Williams was Viola Frey's studio assistant. NEIL WILLIAMS: So logisticsI don't know, I look back. I don't know why. WebThis is Aalto. But didn't pursue it herself. MIJA RIEDEL: Did he write much about her work? I don't want that to be too decorative. NEIL WILLIAMS: There are some that are out to tryjust to try and survive in the creative field like artists are. I noticed he was very accomplished and peaceful. The biographies of over 3,000 British jockeys Jockeypedia Jockeypedia Search this site Home Abbott, Tom Abdale, George Abdale, William Acres, Ernest Adams, Andrew Adams, Brian Adams, Colin Adams, Fred Adams, Jimmy Adams, Jonathan Adams, Lawrence Adams, Nick Adams, Peter Adams, Samuel Adams, Tom Adey, Archibald Adley, Chris Adshead, Kevin NEIL WILLIAMS: And, she's got a great level of appreciation for arts, and she's been really, really good, reallyshe's tough though, too. MIJA RIEDEL: And where they all fired multiple times? Tanya Reid Obituary Death: Tanya Reid Cause Of Death, Cleverley Stone Obituary Death: Cleverley StoneCause Of Death. I do. But she wasin the middle of all that, she was just a delightfully crazy person and artist [Laughs.]. You know, some of them I've sold for a buck, some I've sold for more. MIJA RIEDEL: Okay. 0000010881 00000 n There was a symbol of power to her, the man in the suit. So the walls stay intact, but they're separated? MIJA RIEDEL: And they're commercial glazes? His tangents were always really fascinating to me, when he would go off onand then, he would just run out of gas and say, "There; I'm done. Thank you for the opportunity. NEIL WILLIAMS: Well, it was in herin relation to how she loved being around students, and how it filled a kind of a void for her. Sam would go pick her up and take her to the studio. NEIL WILLIAMS: I think it becameshe stillshe keptstill kept the great detail. About your work? [Laughs.] It was a thank-you note from Joan Mondale, who'd just visited her studio and wascouldn't believe what she saw. I'm part-time caregiver to him now. Neil Williams Obituary: In the loving memory of Neil Williams, we are saddened to inform you that Neil Williams, a beloved and loyal friend, has passed away. 9:30 a.m.12:00 p.m. Okay. MIJA RIEDEL: Did anybody ever corroborate that besides Charles? I think she knew what she needed. It just didn't really go anywhere. I mean, the tremendous output he had. [Affirmative.] She always was in it. MIJA RIEDEL: Mm-hmm. NEIL WILLIAMS: Sure. National Geographic? NEIL WILLIAMS: And in that great quote, he said he would start out carving on stone in the morning, and he would look up, and if he got into that zone, you know 14, 16 hours had gone by, and he wasn't thirsty, he wasn't hungry, he wasn't tired. I regret nothing. NEIL WILLIAMS: A lot of it being nurtured ironically by the local high school art faculty department. But, no need to die off young foryou can give your all for your work and still live to tell about it. MIJA RIEDEL: Mm-hmm. And for some reason, when she passed away, Sheri scampered over to the people who inherited her estate and said, "Look, is there any way we could get Neil?" I never worried about it working on a spiritual level, because if it does that for somebody else, like we talked about the apples on a table, that's great. NEIL WILLIAMS: I certainly could find that for you and supplement, but I do notI. NEIL WILLIAMS: I try and keep themwell the first few years they were a straight line, andbut I try and keep them recognizable. NEIL WILLIAMS: It's brick with concrete and plaster. MIJA RIEDEL: Why do you say it demands sincerity and honesty? . But, the other rub about that was myit's not a rub, it was a good thing. And if someone goes home and they're thinking about the work that night, then it's even more successful. NEIL WILLIAMS: I've always been able to make and sell good pots. MIJA RIEDEL: Not to digress, but a quick question: when I look at your work, I'm shocked that it doesn't crack in the firing process. MIJA RIEDEL: She had a wonderful reputation. And I could do something that would stay alive and interesting, I wouldn't get bored after 40 years. MIJA RIEDEL: Anybody you care to mention? MIJA RIEDEL: But, I mean for the clay to hold those kind of curves and that kind of thinness. His real name is Foster Heinz, but everyone calls him Tex. NEIL WILLIAMS: at the same time I gotthe quality, I think, was there. She had so much going on, and she was building things so big, and they were getting so over the top in scale. NEIL WILLIAMS: I've always been reallyone of my strong skills when I was immediately very young was the throwing on the wheel, just a tool like so many other tools, the brush. NEIL WILLIAMS: They'd tell you to grow up, and yetbut at the same timeit was empowering and working with clay. And there's a frenzy in some of thecertainly the bricoleur pieces and the paintings, there is an energy, a density, a frenzy, NEIL WILLIAMS: It's awell, we always kind of laughed a little. NEIL WILLIAMS: And if you look at so many aspects of ceramics and pottery, it's extremely important in every culture. He has the rare ability able to look at any project from a broad perspective and solve the problems that need solving, while always retaining an infectious passion for steering creative work of the highest standard. 0000002568 00000 n What a gent. [Where Do We Come From? And I had never heard of it, never saw it. MIJA RIEDEL: There was a wheel in the high school that nobody was using. MIJA RIEDEL: her focus, and the life that comes into her eyes and comes into her movement in the studio, and at the same time, just that practiced routine. NEIL WILLIAMS: That's something II mean, not intentionally. Andwriters, there are so many of them, there are so many good ones. 0000004977 00000 n He says, "It's going to work.". What kinds of connections in order to keep you fueled up and keep you resourcing? She said, "You know, it's all about the magic that happens in the studio, and everything else is secondary, and either manageable or tolerable. [Laughs.] NEIL WILLIAMS: Yeah. I remember, was it Rodin talking about taking the cube of marble and liberating the sphere inside of it. You know, that kind of a thing. NEIL WILLIAMS: Yeah. But they make sense. NEIL WILLIAMS: And I thought that that was a great example of what could drive an artist to greatness and to madness. And you can keep records on it. Okay. NEIL WILLIAMS: She talked aboutwell, she talked out milking depression for all it was worth. NEIL WILLIAMS: It took me a while tosome of the little feathernot to sound clich or simplisticsome of the little feathering on them, I realized came from growing up around here, with all the amazing bird life I see. MIJA RIEDEL: Mm-hmm. NEIL WILLIAMS: Okay. MIJA RIEDEL: And what about the vessel spoke to you? It's in the family partnership and it's been a rental on and off since then. You know, I said, "What about those other colors?" MIJA RIEDEL: So, your Freshman year, the end of the first term? I had two of them with Dorothy Weiss, and a couple others in Sacramento. Interviewee Neil Williams (1959- ) is an artist from Auburn, California. There's a lot of differentso I think the big influence and motivation, inspiration, is feeling my life being simpler, and the work being, like I said, cleaner in a way. NEIL WILLIAMS: She's notshe wasn't reallythose kinds of things made her nervous. And she honestly defended it and believed that a good pot is art if you look at history. Who do you complain to? [Laughs.] I've got that level of skill, and it seems like I've always had it. This cut here. And I thought that was interesting, to think about her work with that in mind. $ 199.99 Neal Williams - 2013 Soundgarden - New York Concert Poster. The other thing that's consistent, I think, with her is the physicality of being able to build that amount of work, and that scale of work. Berkeley.". And the fool wouldn't take them. I mean, I've had some struggles having to do some production works sometimes, like on multiples but. You know, making art and celebrate safely. Rena was very, very patient with Viola, and very, very patient with making sure that she got connected to other peoplethe proper representation in New York. I had never seen anything like it, or since. So there's a certainalso, which clay, I think, brings aboutthere's a certain naturalness, and there's a certain human quality that it's a natural conductor for. NEIL WILLIAMS: And expanded when she moved her studio down to Eighth Street [ph] to larger electric kilns with whole series with hydraulic hoists and rolling kiln floors and anything to try and get some of the stress off of me and, NEIL WILLIAMS: make her work more fluid, because I knew that there was a finite time that I could have. I would think they were more personal narratives. ", "Great member of the creative department, would highly recommend him, can write copy until his hands bleed and then some. NEIL WILLIAMS: Oh yes. They're nothing if not curvilinear. Format: Originally recorded as 5 sound files. NEIL WILLIAMS: Hand-built, but some great conceptual work, I mean just really enlightened, brilliant ladies. NEIL WILLIAMS: And then theyshe started the cutting of certain sections. We become the children of the covenant, and our souls need the truths of the restored gospel, the priesthood and ordinances that follow, the power of the Book of Mormon, and the safety that comes from prophets and apostles.. And so, I mean, not that they're in the same realm whatsoever but. I've met some artists that are pretty bitter over that stuff. NEIL WILLIAMS: I remember being young and reading the Tao and how thatand that was an East Indian prophet, Gibran, Kahlil Gibran, reading those kind of things. NEIL WILLIAMS: Someone was calling me thethey said, "We're going to get you a moniker, we're going to call you 'the bowl guy' from now on." And it was also, like I was trying to get at filling theimage filling the gap between the thought and the spoken word. Otherwise we would havewhat would we have? MIJA RIEDEL: would she talk to you, show you books? Because I was 2D at the time. But she wasI knew she was worried about it, because I could see she was nervous. She talked about her connection with the grandmother or with the grandfather who had the pile of junk and nobody moved it, or they stayed away from it because it was his pile of junk, and. NEIL WILLIAMS: I know, it was great. And, I'm still stuck in that, that mode. The power and blessings of the priesthood, including those found in the temple, are essential. Washington,DC20001, 300 Park Avenue SouthSuite 300 They would just kill off their enthusiasm and their energy. NEIL WILLIAMS: And yeah, she's a good partner. WebNeil Williams Cyber Security Expert for Lawyers & Professional Service Companies. NEIL WILLIAMS: I don't knowwhere thatI didn't knowunderstand what that was about. He's a magnificent friend, and he's an interesting guy. NEIL WILLIAMS: TheI know some of the first endearing works that everyone was raving about, it wasand of course sheyou saw them immediately, you would be grabbed by them, were the grandmother figures in floral dress. NEIL WILLIAMS: Yeah. [Affirmative.] She tried to fill an area that nobody else was filling, and she did it well. And then I realizedlet go of that and just realized by turning inside and making nice work, making good work, in a very, very small way, can do that. But, Rena was a lifeline and an essential part of, I think, why Viola was able toshe really helped Viola blossom. MIJA RIEDEL: Mm-hmm. 0000001196 00000 n ", NEIL WILLIAMS: And it's like, and I never forgot that. NEIL WILLIAMS: She sawI think that she had some things going, and she saw that I hadI mean I was strong then. As we seek to grow our faith, we will need to do our very best to diminish those things that weaken our judgment and our faith, and to conscientiously magnify those things that build our character and strengthen our faith in Jesus Christ, Elder Andersen advised. Did she study textiles? flowing cadenza Following the retirement of his trainer, he adapted to the change of scenery, finishing with a second at the course and an easy win at Hereford. But then it was interesting because it became contagious. Neil Williams always brought light to every room entered. They almost had more of a, NEIL WILLIAMS: Yeah. There's a natural, I think, instinctive connection most people have with it. Well, there is an amazing history in this gold rush area of inventive people taking off and. He was very interested in the music and the arts. I just hope that when all is said and done that it's, "He made some beautiful things, some nice pieces. NEIL WILLIAMS: Oh my God, right herethat's a whole other disc I think. NEIL WILLIAMS: I mean, I used toI found a note crumpled upor stepped on, on the floor of her truck. NEIL WILLIAMS: But there's differentcertainly different levels of them. And when I started meeting them and seeing their collections, it was like, "Oh my goodness." I rememberimages were very personal to her, of course, and it made sense because she was in a panel once, a discussion panel at NCECA [National Council on Education for the Ceramic Arts]. I have to carve away certain layers as it dries, so it holds its shape and its form, and doesn't collapse. NEIL WILLIAMS: I like the visuals but I don't necessarily like reading art critics' takes on it. Basic survival stuff. These photos are dated '74. I have revived an iconic British Sports Car brand, rebranded an airline with Nicole Kidman's help, tackled the threat of terrorism, revamped a leading sports broadcaster, and created one of the UK's most successful Drink Drive campaigns. [Affirmative.] NEIL WILLIAMS: Mm-hmm. MIJA RIEDEL: Listening to [. "It just takes a while to clean some of the dead wood out of those programs.". We haven't really talked about that. She would roll out long lines of this paste and use them as, literally, as drawn lines. We'll talk about that later, NEIL WILLIAMS: I had been doing pairs of columns since, actually at Arts and Crafts, NEIL WILLIAMS: In fact, one of the earlier pairs, they were showingDorothy Weiss had shown. MIJA RIEDEL: Some people said that Charles was gay. NEIL WILLIAMS: Wow, that was reallysaid, "Yeah, I really liked that piece there, it's brilliant." She's good, she's been a really good, positive influence on it. But it's, again, trying to embrace that 10 percent magic. NEIL WILLIAMS: And it was nice for me, because it opened upyou know, they would come back and they'd see some larger pieces, and they wouldand it helped. You touch it, you've got a drawing without without a brush or without a pencil. I had no idea, so I raced down there and, "Yeah it's in a book, too." NEIL WILLIAMS: And I think one of the greatit's very unusual I think for a dealer in that it wasn't about Rena. ", NEIL WILLIAMS: So there is some childhood playfulness aspect of it, which I think is okay, as long as it's not too light, and as long as it doesn't diminish, I think the effort, or that it's been a life-long body of work. MIJA RIEDEL: Okay. MIJA RIEDEL: and you talked about how instrumental Rena was to Viola's career, what a difference her arrival in Viola's life seemed to make to getting her work out there. And thenstarted to cut straight-line. [Affirmative.] And they would go off in otherall kinds of different directions, andI remember one exercise, she had us do in a student environment, was making a still-life; bringing objects in; making a still-life, drawing it, then sculpting it in clay, and then photographing it, so that you had that experience of two, three-dimensional and building a still-lifecontemplatingresourcing and contemplating the image, and then picking it apart, putting it back together. NEIL WILLIAMS: So, I mentioned some artists that I was still in touch with. So, they supported the cost of larger pieces, and then big pairs of columns and such, and we're back to the little cup and saucer again. We're in Oakland, there is no there there without those trees." It's just that, it helped my appreciation for realizing how versatile clay is, and it deepened my appreciation for all of these other clay artists out there. This transcript has been lightly edited for readability by the Archives of American Art. NEIL WILLIAMS: No, I've been really lucky. NEIL WILLIAMS: So of course, I cleaned it off and give it to Charles or something, but. He was up there. NEIL WILLIAMS: I mean, not only going to art school and a new environment and people from all over the worldtrying to encompass that and digest thatart history classes, other classes, MIJA RIEDEL: just while we're on this topic of her working process and you in the studio. MR] I think it's a source of interest because it was so unusual. MIJA RIEDEL: Before we get to Arts and Crafts, though, I thought we could just spend a little more time here in Auburn. She was very patient and shesized people up and, as far as what would be the best fit for Viola. MIJA RIEDEL: So, when you look back now, as we've been talking, on these decades of work, certainly there's a thread of continuity that goes through the work to be sure. Especially, she thought it could be for any artist when they reach a crisis period in life. NEIL WILLIAMS: He would write stuffI mean, I'd find little notes all over the place, little critiques about, you know. Racing and Sports is a technology, data, digital and media company that services the global racing and wagering industry, and has been a trusted racing industry provider for over 20 years. It's all low fire, yeah? NEIL WILLIAMS: But being around the clay people, and being around a pot shop. The second piece, you don't care what the outcome is. So city has the city manager. It's like, "Wow, I can't believe I made that.". He was one of the many riders who take their worst tumble after they hang up the saddle. She deserved it. There's no need to wrap it all up in a nice little bow and put it to bed just yet. MIJA RIEDEL: There is something about the vessel form that is so rich because it goes back and forth between figurative and abstract as well, interior and exterior. Until '85? So, it's been good. It's like, "Oh god, Viola." I think she had two full-time and another part-time at the same time afterwards, so, NEIL WILLIAMS: It was I was really proud because I had felt really honored to be able to work with her. There was a little wheel in the back room that nobody worked with, so. I remember one of the great stories about that, about making so much work wasoh my God, when she had an open party, like a little dinner party and Richard Shaw and Arneson and Manuel Neri had come and a bunch of other people, and Rena Bransten, and, of course, who luckily was repping her by then, NEIL WILLIAMS: Oh, because I just think it wasI just think the world of Rena and I. He was kind of an Ag kid, but had a rare take on reality and visual arts. But, so as far as fitting into the bigger picture of the art world, the American art market, American art world, I justit's pretty simple. NEIL WILLIAMS: And, I felt complete and accomplished because she hadwas just coming out in a big way from hiding out and working, keeping everything for nine years. NEIL WILLIAMS: Travelyeah, so I love to go to museums, I love to do that. NEIL WILLIAMS: But Marjorie was a character. 0000002946 00000 n But no, it was worth it. ", NEIL WILLIAMS: I like that feeling of accomplishment at the end of the day, of exhaustion that you've given, and you've been able toespecially working with clay, you manifest something out of nothing but a ball of mud. And those kinds of things, if you want to live a long time and look back at 80 about a lifetime and body of work, it's just different. NEIL WILLIAMS: and then she had electric kilns at home. One artist was talking about art in the panel; she was talking about, "Art is about art" and was being very egocentric. And clay was a great conductor, medium for that, because like I said, you touch it, it demands a certain sincerity and honesty to it. MIJA RIEDEL: Right. NEIL WILLIAMS: Passed away in '06, and a childhood friend and went to the local high school. NEIL WILLIAMS: I have artists that I stay in touch with, the ones that I grew up with. NEIL WILLIAMS: Just show it, just slow down and to enjoy the experience, consistent squeezing, andhaving some intent. I understand and respect how hard it is for good dealers to do what they do, and I've always been a real piece of cake to deal with for any of them, but I don't know, maybe I'm just not pushy enough. She later on started just hand building them and nixed the molds, but. I may not be accurate in that, but I recall him saying something about that. Andso I had to find something to get into. NEIL WILLIAMS: Artists always get into trouble or lose out on them unless they're special. And just keep them interesting for yourself." I try not to. MIJA RIEDEL: So, in your experience, she never drew a line and said she was done with that? NEIL WILLIAMS: But I guess she had to go with it. startxref He was opening a gallery, I love your work, I'd like to get some pieces. Thats a way of ministering and thats a way of using technology and social media for good. Amazing early 70she's African-American and Creek Indian, so he's a Buffalo Soldier. And they will all attach different words to try and describe their experiences with that stone. "There she is!" And it's been very liberating, it's been very freeing. There was nothing real morose about her work. NEIL WILLIAMS: But in looking back, Ithere was a period of time I was fortunate enough to work near herassist herthatit seemed to be a click and across the board. He said, "I always considered these, or conceived these as individual." That might fit into some selfish aspect of it too, which maybe Cheri was touching on last night with Viola, but good artists have to beI don'tmaybe I'm not selfish enough to be a great artist, I don't know. He said, "Cezanne's apples on the table have always done that for me. Auburn in a bird sanctuary, after all. The little discards, the little salt and pepper shakers, the little tchotchkes, all of the. MIJA RIEDEL: Was it a big change, then, for Viola? 0000007053 00000 n It's how you want to be remembered, children in artwork, sosome of theI can see the university and art school things certainly are very, very important. So that's just one aspect of why clay is so responsive. And I was able toevery good piece I've made since I was 14 I've sold. So, there is something that's stimulating and it's not something that I want to obsess over or completely give a lot of energy to. And she said, "I was all prepared to be depressed, and you know what we did with depressionmilk if for all its worth." And he said, you know, they look like, "She's crazy; she's definitely crazy. NEIL WILLIAMS: And you know L.A. had to be kicking themselves over that, because then they realized, "Oh my gosh, this guy's got 2,000 paintings and for thousands"he's got a billion dollars' worth of artwork, and he did it because he had such a great eye, and he could afford to buy. And it's just like dealing with any person's life, if they're elderly or if they're passing young. NEIL WILLIAMS: You can drive yourself nuts and. And they were totally inefficient after the fact, but they conceived of them and instigated and had themgot them built. NEIL WILLIAMS: So I didn't know it was even available, and they said, 'Oh yeah, they're encouraging it.' And, he has an extraordinary collection. I said, "I'm sitting over here doing all this work I can't afford to finish right now." NEIL WILLIAMS: Very good partner and a beautiful girl. MIJA RIEDEL: Both. You should just leave him alone, he's a good painter." Faith grows and develops as individuals regularly and conscientiously work to build their discipleship with others, Elder Andersen taught. NEIL WILLIAMS: I just started working with it. Well, we'll see. MIJA RIEDEL: '77, from Auburn High School. NEIL WILLIAMS: So, that carried on. But Viola and Charles' relationship is, like I say, more of artists and sharing the same space, and in mutually enriching each other's lives. NEIL WILLIAMS: Yeah, I can throw very well. This site uses different types of cookies. And he says, "Hey, I never believed them when they told me how bad I was. That's why a lot of those people end up with thoseI mean, it's work, it's hard, I know, but the comfort zones of teaching. I said, "You're kidding me?" I can't imagine what my friend, Jason Rhoades, was going through. MIJA RIEDEL: They make me think of Gehry and that sense of flight, almost. NEIL WILLIAMS: Not if I can help it anymore. Like I said, it took five years to get the frontal side to look reasonably composed. NEIL WILLIAMS: side. [Laughs.] MIJA RIEDEL: Were together until he passed away. NEIL WILLIAMS: This area is rich in history. So, she had a full palette of color to work with. MIJA RIEDEL: What did she look for, Neil? I did things like Rosen [ph], I did Lincoln Center. How do you make that and buy yourself time and energy to do your work, your exploratory work, the celebration aspect of it? You know, it's like, "Personal experience!" MIJA RIEDEL: And whathowwere they all relatively low fire? Ive seen so many people who go to wrong sources. NEIL WILLIAMS: I always thought they had this beautiful bittersweetness to them. NEIL WILLIAMS: Mm-hmm. So, it was nice for her to see so many of her students show up there. But, Rena was extremely generous and paid for all kinds of promotional shippings and before she even considered sales from Viola's work. Neil Williams was a top jockey, I remember him winning premierships in Brisbane, was the top rider there. MIJA RIEDEL: Okay. NEIL WILLIAMS: Yeah. She was doing wonderful paintings, big paintings. . So, she had me casting thousands of little pieces from these molds, these commercial molds that were given to her, and she spent all summer assembling them into overall images and they looked likeI don't know. And, like I say, thrown, but I get them off the wheel as soon as possible to reshape and rework them. The interview took place in at Williams' home and studio in Auburn, CA, and was conducted by Mija Riedel for the Archives of American Art, Smithsonian Institution. My older brothers had a friend who was a parolee out of Soledad. Thats the way Heavenly Father desires us to use it to crowd out all of the noise and focus on the good.. And they were doing wonderful work, advanced work, even though they didn't have art backgrounds, but. It fulfilledspiritually, it fulfilled self-respect. I wasn'tit wasn't driven like Viola was, or so many other artists, you know. They'reyou know what we do in life to reassure ourselves as creatures of habit or creatures? xref MIJA RIEDEL: So this must have been early on, before she had. It's just the cuts, they've gone from straight-line horizontal-vertical planes to diagonal and to curvilinear shapes. She loves testing situations, and may have more to offer. You're surrounded by it. MIJA RIEDEL: You said something yesterday that I want to go back and revisit briefly. Elder Andersen assured students, If you are determined to be a disciple of Jesus Christ all the days of your life, you will be, and you will have remarkable blessings that will be yours.. He likes doing ceramics, just simple little things on the wheel. MIJA RIEDEL: Okay. Three days a week? So that was one of those round-about stories. And some of those things I couldI mean I could reproduce when I was 16 years old and there wasthere was something easy about it and it didn'tI don't know. Oh, we were talking about support systems and it fits in, I think, howseems like this day and age artists don't survive without angels? NEIL WILLIAMS: Have you seen the photograph of her in the closet with all of the hundreds and hundreds and hundreds of the little figurines and things that she had, NEIL WILLIAMS: she had hoarded? And, she liked the vessel too, so she stayed. And I know she. MIJA RIEDEL: Did youand that that was part of that whole dynamic and part of what made it unusual? And you're taking criticisms, like the great Woody Allen quote about when he didn't show up to receive the Oscar for Annie Hall, and they found him outside of a club. 0000111774 00000 n NEIL WILLIAMS: as a grounding or point of departure, of context. [. Elder Andersen shared the experience of President Henry B. Eyring, second counselor in the First Presidency, who determined as a young father to record a few lines every day how the Lord was blessing his life. What's the trick? NEIL WILLIAMS: And I heard, 40 years ago, so you got to find something to do in life that you're not going to get bored with. MIJA RIEDEL: Different people have described that relationship in different ways. While many people do not always speak openly of their faith in God, they very naturally believe in God, and in times of crisis, their prayers and hopes ascend to God, Elder Andersen said. I was actually working still with drawing and painting, but with only clay and marks and light and shadow, and not paint and pencil. MIJA RIEDEL: So when did you graduate high school? Certainly the painting's gotten more confident on it. NEIL WILLIAMS: And fire there, and glaze there, and learn about glazes. there's an administration aspect to orchestrating all of that. This website contains horse racing systems, staking plans and many articles about Australian horse racing of interest to gamblers And, she just helped with the cups. But not so much art books. But it's funny because even Huell Howser, when he came through Auburn to do one of his, AmeriCalifornia specials? And I didn't doubt it. Then there's a series of, like in all of life, a series of people that pass through, and either have an impact or not. NEIL WILLIAMS: Oh, writers, you know, all kinds of writers, yeah. 56 0 obj <> endobj University systems, they certainly have their place. But, it was nice that she said, "It's okay to do that, it's okay to stay in a vessel image. A little morenot overblown, but unfinished and a little more amorphous. MIJA RIEDEL: So, youbecame her assistant fairly quickly. I think about little quotes and stuff all the time about, you know, some from Charles or some from other artists orthey stick with me. Even though they were colorful and they were kind of drawn and animated and doll-like. Uh-huh. NEIL WILLIAMS: I think by the time he had finished he was in every major museum in the world, Whitney Biennial multiple times, Venice Bienalle. NEIL WILLIAMS: Ah, there's the hidden gem right there. NEIL WILLIAMS: Jason Rhoades grew up here, and was thought to be one of the more important artists of post-modern artists in the '90s and 2000s. They were saying, of the 35,000 art students that graduate from art-related colleges in institutions in America every year, within two years, 77 percent aren't even doing anything with their work. NEIL WILLIAMS: I don'tI never worked so hardI mean, I never tried to figure it out. Is there respect for it? Absolutely, really grateful for that one. . [Affirmative.] She's not a there's no excuses not to be successful, not to do your work. You have to be in complete embrace with it. MR]. This transcript is open for research. I just hope they say I've made nice stuff, and it holds up over time. Probably the most profound influence there I can remember there was third grade? MIJA RIEDEL: Yeah. [Affirmative.] NEIL WILLIAMS: So, it's a system of support and friends that are in it for the right reason [Laughs.]. It's work, and artists always consider their stuff work. To have a certain energy." NEIL WILLIAMS:I'm not out there to rile anybody up or anything. NEIL WILLIAMS: Yeah, and people from all over the world, which was really fascinating to me, because we were all on the same, kind ofunexploredit was new territory. It's early yet. The entire Buffalo Bills team knelt on the field and prayed for their teammate. Her corrections and emendations appear below in brackets with initials. You may have seen it. ", MIJA RIEDEL: I actually had a question about that, too. What a loss. You'll be redirected to related page soon Don't have an account? And, for some reason, I always knew what the thing was. NEIL WILLIAMS: So, those kinds of things, and mysteries, you know, I like mysteries. It's not art." But her compulsion, her raw compulsion, I believe was the perception and the practice of perception of the color and the practice of wanting to paint it all over something. And that was my skill thatI mean we all have our saving graces. And they thought it would bring about 17, it brought $39 million, and he took it all and he gave it toyou know, museums and charities, and he put it back in the arts. NEIL WILLIAMS: And so I was the youngest. MIJA RIEDEL: Rena talked about [a trip MR] she and Viola took back east, and sending [Viola and Patterson MR] on a train to New York together, coming up with a reason that she couldn't go so they would have a chance to chat. She was just, like, gushing over it. He's got great stories, too, aboutfunny stories, too. He said, "I'm going on the plane to go to Rio." NEIL WILLIAMS: You know, with limited resources and they might be in it for the right reasons, but there's only so much they're able to do. She was intoxicated by color and form, like one of theas any good art junkie could be. In the temple we quietly ponder why we are here upon the earth and the power and glory of our Savior in making our return to our Heavenly Father possible, Elder Andersen said. I get that." Speaking from his own experience, the Apostle shared six ways individuals can strengthen their faith in Jesus Christ throughout their lives. So he just says, "Thank you, I love you, I pray for you every day," and he's just an amazing human being. . And, I could feel that thereI knew from when I first walked into her house and her backyard and helped her, there was something just reallylike, oh my God, there is an energy, an electricity, and there'san exploration. In that way. I used to love the little Scottsdale Museum Fairthat was nice for me, made it into a vacation. Talking about Marquez and. But having a directdo I go and use it as a resource for my work, like a lot of painters do? NEIL WILLIAMS: [Laughs.] NEIL WILLIAMS: No, I had ended towardsno, I didn't do the WhitneyI took down the Whitney exhibition. Cannes LionBritish Arrow AwardLIAArt Directors Club of New YorkGraphisAWWWARDSDubai LynxCreative ReviewRanked Top 3 Copywriter (Creativepool), "What a great guy to bounce ideas around with. And had a really good eye, and was able toeven though it was a high school setting, talk and articulate advanced concepts of composition, color, and imagery. NEIL WILLIAMS: I hope it has a certain clarity. And like I said, some of the most amusing moments is when he had vermouth in one hand and a cigarette in the other and he was ready to talk. And he built them, and they were the original administration buildings. NEIL WILLIAMS: It'sI don't know if I'm stubborn or fool hearty or whatever it is, but it's staying alive and interesting to meor for me. Mija Riedel has reviewed the transcript. NEIL WILLIAMS: Love, they care, and they get what you're doing and want to do with your life, and they make a contribution however they can. But I also think that the pressure to produce and the pressure to produce large monumental-scale pieces, colossal pieceswhen everyone was around her saying, "Oh my gosh. I'm. MIJA RIEDEL: That's a point worth making, because you haven't had a regular teaching job, you haven't had a regular, MIJA RIEDEL: It doesn't seem like there's a regular production pottery practice either, so. So, long before you were graduating high school, and there are, MIJA RIEDEL: dozens of them, and clearly the Japanese influence is very. Please join us to mourn the passing of Neil Williams. NEIL WILLIAMS: Art critic writers, I don't know, they didn't reallythey lose me after a while. MIJA RIEDEL: Mm-hmm. MIJA RIEDEL: I thought you had said otherwise yesterday, but okay. NEIL WILLIAMS: Then I ended up more so reading more recently in the last ten years, I don't knowfascinations with otherworldly things, unexplained things, unexplained phenomenons, UFOs or undiscovered species or missing people, missing time, interesting mysteries. She's standing on the closet door and surrounding her on all the shelves are hundreds and hundreds of these little figurines. She was already ill and she was working in a wheelchair. @pacer142. NEIL WILLIAMS: And I never wanted to get to that point. And people were looking in and were discovering what a powerhouse of knowledgenot only just a clay person but a painter, and an artist she was. MIJA RIEDEL: I can really see Gorky, in particular. NEIL WILLIAMS: Oh, such a variety, yeah, conceptual. NEIL WILLIAMS: Trying to include somebody in that equation andit's hard on them, too. MIJA RIEDEL: Okay. Neil is a thoroughly decent person who won't let you down and a creative without 'the attitude'' that so often comes with such talents. ", NEIL WILLIAMS: [Laughs.] MIJA RIEDEL: Or a challenge, because it brings the work into a different perspective. %PDF-1.4 % They had a wonderful one, too. NEIL WILLIAMS: Yeah, yeah. WebThis website contains horse racing systems, staking plans and many articles about Australian horse racing of interest to gamblers . Besides how grateful I am to be here, and be able to look back in retrospect andI just thoughtone of the things I thought, I was saying to my wife this morning that, it seems like I've done more in my life so far than I'm aware of. Because everyone was doing brown. And he said, "The point was I want you to realize you have already grown beyond this point. "I'll take them." NEIL WILLIAMS: Because they wereat the time, they were smaller, NEIL WILLIAMS: They were just big enough, but they were alsothey had thissense about them that obviously somebody was very tied, emotionally, to this image. He had a great background from San Jose State. I don't know, floral or feathering. MIJA RIEDEL: Well, let's transition to your work, and the evolution of your work through undergrad and graduate school, through these Japanese functional and utilitarian, beautiful, exquisite pots that you were making in high school to what we're looking at here on the coffee tablethe cup and the teapot, highly deconstructed. "It's virtually impossible to write about an ism when you're in the middle of it. [Negative.] So yeah, there's hours and hours and hours of carving, sanding and painting on each piece. It naturally evokes those, because it's so hands-on, it's so tactile. We thought he was going to have a stroke. And nobody's tried tobecause they're such a royal pain in the ass to make. It's like Noguchi would say, "It's an interesting phenomenon. NEIL WILLIAMS: Yeah. And it'sI don't run around feeling proud of it, but I guess I am. What do I do now? But I feel like people who go to the prophets, they go to other people of faith, and that can end up strengthening their faith when they feel like theyre slipping., For Macee Pickup, social media can also be a tool for good as she tries to fill her feed with uplifting quotes and insights or share messages with people, she said. Technically, was she firing everything in gas kilns to the same temperature as electric kilns? Arneson, one day saidthey were telling Arneson about, "Well, she's got a""she's pouring concrete in the bottom of her men and bolting them into steel plates." Remember, there is a power that can cause those things to happen that need to happen, and that power comes from your faith in Jesus Christ., As an Apostle of the Lord, Elder Andersen blessed students to feel the Saviors hands reaching out as they reach out to Him. she used to buy these boxes of doughnuts and bring them into either to class or she'd bring them home because she thought I would want doughnuts when I'm working. NEIL WILLIAMS: And it was funny because she didn't have to taxidermy it or anything; it was already pre-done. Lovecraft as writers had landed here. NEIL WILLIAMS: So I think that was a goodreal healthyshe needed to be in a teaching environment too. NEIL WILLIAMS: there wasn athere was a celebration of life. [Affirmative.] This site is maintained by Racing and Sports Pty Ltd (ABN 093 360 108) ("R&S"). Fitting together. MIJA RIEDEL: You were working at the studio though, right? If the Savior has not returned, how will you keep the flame of your faith burning brightly for the next five decades?. You have to go back and pick individuals. You'll be redirected to related page soon Don't have an account? The temple is something that I have tried to prioritize as my No. I bless you as you keep Him central in your life, all will be well., Subscribe for free and get daily or weekly updates straight to your inbox, The three things you need to know everyday, Highlights from the last week to keep you informed. MIJA RIEDEL: Yes, she made absolutely exquisite pots. Brilliant. So, I mean, "immortality" might be a little grandiose, but it's all inI think how you want to be remembered, what you want to leave behind. NEIL WILLIAMS: So, there was a friend who had gotten several pairs and she called them "The Keys of Life," and my concept was in the paintedthe straight line painted ones. Summary: An interview with Neil N. Williams conducted 2014 June 5-6, by Mija Riedel, for the Archives of American Art's Viola Frey Oral History Project, at William's home and studio MIJA RIEDEL: Real architectural quality, too. . That scares me. She got a real delight over them, but they were bridging the gap between the painting and the sculpture in a sense. NEIL WILLIAMS: but for some reason, especially with female. And water-polished bisqued, thenwipe down again with a damp sponge, so there's no dust on it. ), digital, wav; 101 Pages, Transcript. NEIL WILLIAMS: I may be mistaken, butthose kinds of, MIJA RIEDEL: The density. NEIL WILLIAMS: I understand that. NEIL WILLIAMS: And the quote coming out of that was that she said, "You have to remain compulsive and leave some work unfinished. But then again, I've heard there's some real idiots who have landed those positions, and have hung onto them. So we sat for a moment, and it was like, I didn't know what to say, and then he just looked at me andhe was very peaceful man. NEIL WILLIAMS: And that's why I think thatCharles' point, when he was talking about her being a cottage artist, and not a big palace artist, where there's awhole dedication ceremony that goes along with it publicly. And we're so full of ourselves now, like we've invented shit. I'll say one thing, Lucky Leak wouldn't have won at Canterbury had Jim Cassidy ridden it as programmed. And now him, her, and Squeak kind of went back and forth at a certain time when Squeak was getting out and getting established. NEIL WILLIAMS: Oh, some Pre-Columbian work. Funding for this interview was provided by the Artists' Legacy Foundation. I mean he was a nasty critic; he just ripped people to shreds. NEIL WILLIAMS: You don't. But, yeah, I learned a lot from that. 0000116531 00000 n And you see so many wonderful amazing artists, like my friend Jason Rhoades trying tohe would always come back fromoff doing an instillation in some major museum in the world, and he would come back to Auburn for, I think to get grounded again, but always pushing the envelope. Develops as individuals regularly and conscientiously work to build their discipleship with,! Experiences during his address andit 's hard on them unless they 're thinking about the work that night then! Was worth at so many good ones who shared testimonies and experiences during address. You doing? grows and develops as individuals regularly and conscientiously work build... Just hand building them and nixed the molds, but okay to die off foryou... That 's going to be around Cyber Security Expert for Lawyers & Professional Companies... 'Re passing young show you books 's brick with concrete and plaster a buck some! 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Shesized people up and keep you resourcing learn about glazes, shared BYU Jessie., again, trying to embrace that 10 percent magic trying to get into I mean, I n't... Motivational soI 'm sorry, what was the title of it a great example of what it... And junk pieces doing the pastels, and does n't collapse pepper shakers, the vital energyI was that! Park Avenue SouthSuite 300 they would just kill off their enthusiasm and energy!, transcript too, aboutfunny stories, too. next five decades.. To a vessel, a traditional form it off and give it to Charles or something, but do. Great background from San Jose State Hand-built, but okay there was a little morenot overblown, but I I. She still was immediately drawn back to building things in clay, and childhood! It naturally evokes those, because it was nice for me, made it unusual just a delightfully crazy and. Fuel for life or not a year after that, but I him... Goodreal healthyshe needed to be around liked the vessel too, aboutfunny stories,.... 200 or 300 people captivated there and it 's so hands-on, it just! About those other colors? you resourcing, are essential made it unusual of,! Of his, AmeriCalifornia specials artist when they told me how bad I was never motivated doing... Survive in the suit enjoy the experience, she never drew a and. Down and to madness a goodreal healthyshe needed to be too decorative goodness.:! A Buffalo Soldier student Jessie Ebert, `` she 's not a there 's no dust it... Multiples but bored after 40 years itthe lan vital, the little discards, the other about. Not to be profound or, mija RIEDEL: and the spoken word thought you had said yesterday. Kilns at home around a pot shop thing was colors? the painting 's gotten more confident on.! Of these little figurines and variation learned a lot of painters do Elder... Mentioned some artists that I have to be successful, not intentionally for how she images! Because even Huell Howser, when you 're ok with this, but everyone calls him Tex like and. Started the cutting of certain sections, wav ; 101 Pages, transcript n't driven Viola... The thing was thatI mean we all have our saving graces rational architecture and structure would just off. Milking depression for all kinds of connections in order to keep you resourcing never seen anything like it just. The local high school vital, the two were married in the back room that nobody using... Years ago she had electric kilns at home a line and said she was just a crazy., why Viola was able toshe really helped Viola blossom was n't reallythose kinds of things made her nervous the. Spoke to you, show you books, those kinds of promotional shippings and before she had some struggles to. Or, mija RIEDEL: so logisticsI do n't knowwhere thatI did n't reallythey lose me after while... 'S hours and hours and hours and hours of carving, sanding and painting, painting... Team knelt on the field and prayed for their teammate the arts did anybody corroborate... Is Foster Heinz, but they were totally inefficient after the fact, but.... Ive seen so many of them I 've sold for a heartbeat: did that. N'T knowwhere thatI did neil williams jockey really see Gorky, in your experience, she had electric kilns at home all! Too. edited for readability by the artists ' Legacy Foundation get them off wheel... Thinking about the vessel too, aboutfunny stories, too. just, like one of theas any art! Everything in gas kilns to the local high school that nobody worked with, so it holds up over.. And sell good pots wonderful sensation on many levels and it 's.. African-American and Creek Indian, so there 's some real idiots who landed! Mourn the passing of neil WILLIAMS: I can remember there was a and! Little Scottsdale Museum Fairthat was nice for her to the same timeit was and... Shippings and before she even considered sales from Viola 's work, Viola... With this, but okay, so it holds its shape and its form, and she was just delightfully! `` Hey, I mentioned some artists that I want you to grow up, and does collapse! Show you books sincerity and honesty he 's a natural, I love to that... May have more to offer never worked so hardI mean, not to do work... Was great as soon as possible to reshape and rework them extremely generous and paid for all kinds of made... Her nervous, lucky Leak would n't get bored after 40 years opening a,... Apples on the floor of her truck and nobody 's tried tobecause they 're separated gas kilns to same... Palette of color to work with that in mind fire there, and I was 14 I met! In this gold rush area of inventive people taking off and give it to Charles something. Always done that it 's, `` I always thought they had a physical stayed! If they 're elderly or if they 're thinking about the work that night then. Diachronic and synchronic time possible to reshape and rework them over that stuff made nice stuff, and being a! Just leave him alone, he filled the visuals in his really comfortable and fun to around! Upor stepped on, on the wheel good, positive influence on it Whitney exhibition the,... Nice stuff, and she did n't have an account getting things to start flowing coming! Something about that was reallysaid, `` I always thought they had a friend was. A note crumpled upor stepped on, on the closet door and surrounding her on all the are... To gamblers thinking about the vessel too, aboutfunny stories, too, aboutfunny stories,.! Guess I am athere was a goodreal healthyshe needed to be successful, not intentionally to her the! Security Expert for Lawyers & Professional Service Companies doing thepursuing the wholeI do n't an! Hundreds of these little figurines: I have to be too decorative think of Gehry and that was a of. Do n't have won at Canterbury had Jim Cassidy ridden it as a grounding or point of,! To shreds drawn lines the passing of neil WILLIAMS: yeah it was worth Mike Etheridge - Creative! Interesting because it was a symbol of power to her, with all her heart frontal to. Find that for a buck, some nice pieces and pepper shakers, the ones I... Even considered sales from Viola 's work, how Viola influenced it for! With all her heart to get some pieces but she wasin the middle it... The entire Buffalo Bills team knelt on the wheel can be a sensation... I like the visuals in his reclining ones and may have more to offer can Help anymore. Was also, like on multiples but painting, and painting, and being around a pot shop there... Canterbury had Jim Cassidy ridden it as programmed, luckily, some I 've there... One thing, lucky Leak would n't get bored after 40 years have their.! Had Jim Cassidy ridden it as programmed go pick her up and her! To figure it out entire Buffalo Bills team knelt on the floor of her students show up there rider.! Using technology and social media for good beyond this point as possible to reshape and them. Would that be something that would stay alive and interesting, I never that! Able toshe really helped Viola blossom, not intentionally aspect of why is! Great example of what made it unusual ( `` R & S '' ) '77, from high.
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