[. Like I said, you never knew when you were going to catch him. So, he came up and started work and my mother stayed down there because apparently it was a little less expensive, sobut, grew up in this area. ", NEIL WILLIAMS: In fact she talked about when she was young and smoking all the time, she would have to stop and smoke and stop and she realized, "Oh my god." And eventually, one day, you look back and it's like, "Wow, okay, there's an improvement there," and it's getting closer to the feeling like, "Oh my God," sometimes, which is nice although fleeting. She was very enlightened in her time about a number of thingscivil rights, human rights. NEIL WILLIAMS: You know, I paint houses, whatever it takes. They can bebut then you can get guys in high school that can send kids, artists, students well off into significant careers. [Affirmative.] NEIL WILLIAMS: Oh yes, it was a draw for her. NEIL WILLIAMS: So we fired all the kilnsI fired all the kilns in the summers, they were gas kilns. He was like, "You know, palace-and-cottage, it's likeMichelangelo was a palace artist; Van Gogh was a cottage artist." It was really interesting. Read More. So, I don't really think about, like, proper gallery representation or anything like that anymore. MIJA RIEDEL: So, in your experience, she never drew a line and said she was done with that? They're still around. It's been a fabulous place to land for as long as it lasts. But the processes are pretty simple, and rooted in the vessel. Is the material the most appropriate used to articulate that intent? I mean, I get students that spend time with other people for two years and can't do a thing, and then in a matter of couple of quick sessions, they just blossom, and I love that. Dorothy Weiss was very generous, she gave me my first show and she was wonderful. So let's start witha description of this fantastic place that you have. And he looked, and he said, "Excuse me?" I would think they were more personal narratives. Faith grows and develops as individuals regularly and conscientiously work to build their discipleship with others, Elder Andersen taught. NEIL WILLIAMS: side. $1 Million $5 Million. How do you make that and buy yourself time and energy to do your work, your exploratory work, the celebration aspect of it? And, for some reason, clay immediately. It was like he went to some mud fest in Philadelphia, God, long time ago. NEIL WILLIAMS: Travelyeah, so I love to go to museums, I love to do that. Archives of American Art, Smithsonian Institution. That kind of a thing, and "Oh, Okay." NEIL WILLIAMS: I hope it has a certain clarity. NEIL WILLIAMS: right up until the day she died. NEIL WILLIAMS: She liked looking more at images than reading. His is still the most important private collection of COBRA painters, I think, in the world. MIJA RIEDEL: to a more color-filled, abstract painting, and how that came about. You know, that kind of a thing. NEIL WILLIAMS: Nothing that's going to be profound or, MIJA RIEDEL: [Laughs.] So they all came, and at the end of four weeks, they said, "Do you mind continuing"well, they stayed for five years. [Affirmative.] And not that they're paying off,in terms of popularity or sales or any of that stuff. And, first, the granddaughter does a little blessing and a saying, and then the mother comes out or someone does a little blessing and a saying. I do. And, she wasvoracious. So, it's been good. And if someone else wanted to pick up andat their end, and if they wanted 50 percent of what I do, then they, it would have to be right. IT consultant, Scout Leader, climber and traveller (or something like that) Milton Keynes Joined April 2009. Your testimony grows as you try to look for God and for our Savior in your everyday life, in the little things., Jada Brown shared her love for a painting titled Hand in Hand which depicts a little girl walking hand in hand with the Savior. So that's whatyou know, you stay in complete embrace with it, you make something, paint something, you spill your soul to it, whatever it takes, and then you have to let go. MIJA RIEDEL: Okay. And Elmer was a fantastic painter but heit was real interesting because I was really young and didn't know a lot, but I knew he was an important painter, professor at U.C. NEIL WILLIAMS: and she got them in there. But then again, I've heard there's some real idiots who have landed those positions, and have hung onto them. And the tragedies arewe all have tragedies. NEIL WILLIAMS: So hopefully it's more complimentary and more an essential aspect than it is interruptions or profound experiences that change, evolve or de-evolve the work, or the intent and quality of the work, soif that answers that. And so I always liked that. And thenbut even after a time she spent with Diebenkorn and Rothko in a magnificent artists and painters, sheI know she liked being around the pot shop. That [sense of MR] abstraction that really feels like your work. The students loved them and they're getting results and. ", MIJA RIEDEL: Hmm. MIJA RIEDEL: and the evolution of the bronzes. "I'll take them." So stayed consistent as far as that approach for a long time. [Affirmative.] Andbut hetheir relationship was real unusual. He's got great stories, too, aboutfunny stories, too. 0000112045 00000 n NEIL WILLIAMS: But it was hard work, because she worked so hard. NEIL WILLIAMS: [Laughs.] Not. NEIL WILLIAMS: There's choices. We've talked about the five year, MIJA RIEDEL:steps forward, or focus on front, or backs. NEIL WILLIAMS: it just slipped her mind, because she was on to other things. So, she was inviting, you know, "Do you like that? You react to that or you embrace that object. NEIL WILLIAMS: So that kind of thing. Viola used to call them the "dead wood." NEIL WILLIAMS: that surrounds all of us, thatI mean, to me, I see the vital energy as, in context of Viola's work, it'sand why I like color so much, and her impact on me, is thatto me, it's the vital energy. NEIL WILLIAMS: and then she had electric kilns at home. Not just everyone who wanted to grab her once they saw this incredible cache of artwork in her backyard. There was nothing real morose about her work. I'll say one thing, Lucky Leak wouldn't have won at Canterbury had Jim Cassidy ridden it as programmed. But those guys still have impacts. A natural presenter and storyteller, Neil is a great client-facing guy and clients love him. MIJA RIEDEL: When I look at the list of different galleries you've been affiliated with over 20 or 30 years, there are many galleries, [that included your work MR] in a group show here or a group show there. ], NEIL WILLIAMS: But it's at the right time and slowing down, enjoying the experience. Dorothy was wonderful. I don't know. About your work? But she wasI knew she was worried about it, because I could see she was nervous. kind elderly gentleman spent the whole week hanging these plates, and he would measure each one and try and hang it so that they looked spatially balanced. Your email address will not be published. And where was that? NEIL WILLIAMS: But that's whomy childhood friend Noel Loughlin who I mentioned was theunfortunate accident is. WebNeil Williams horse jockey, racing stats, runners and news from Racing and Sports. I noticed he was very accomplished and peaceful. If the Savior has not returned, how will you keep the flame of your faith burning brightly for the next five decades?. NEIL WILLIAMS: Andso very fortunate. And they said, "Ah, I've decided I'm going to be a painter." NEIL WILLIAMS: Intent, is it intention, materials, technique, tradition equals content. MIJA RIEDEL: How about the female figures? And, like with Viola, it was color and form and the figure. So, I mean, I can go five minutes down here and be in beautiful nature surroundings. I like working hard. Completely. And I hope it doesn't lose its edge because of that, but I mean, it couldalways seek something out, some kind ofbring up the saboteur again, and get it edgy and screw up some things, andbutso the inspiration, I think, has not so much been external, but it's getting to be more of an internal, peaceful feeling about my life and it's making more sense. NEIL WILLIAMS: I thought so, too. MIJA RIEDEL: Did you have a sense about the motivation or the influence between the single figures and the cluster of figures? NEIL WILLIAMS: That'syeah that's just it. Iat a certain point, I just accepted the fact that I am going to have to do that accept of it all, in order to survive. MIJA RIEDEL: And you did many, many group shows [. There was a certain suggestion and guidance, kind of, or a guidance through suggestion. And they wheel her out there. MIJA RIEDEL: You've taught at many different places over many different years. NEIL WILLIAMS: It was a very unique one. It's getting harder and harder to find the energy, when you have the time, to make quality work. She had a very infectious giggle. MIJA RIEDEL: But, I mean for the clay to hold those kind of curves and that kind of thinness. She would sell what I gave hereverything I gave her and she would pay on time. NEIL WILLIAMS: Completely positive, radiant. %privacy_policy%. MIJA RIEDEL: Mm-hmm. NEIL WILLIAMS: I may be mistaken, butthose kinds of, MIJA RIEDEL: The density. 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. How do you survive as a creative energy and keep growing? It's overwhelming. They surrounded her, and there was this big huddle, and then I guess they got her calmed down, and then she said a little something like "Okay, I'll," you know. I would certainly buy it as a reader but. But that wasn't my interest. Neal Currey likes to say adventure is in his blood. 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. "No." NEIL WILLIAMS: And I thought that that was a great example of what could drive an artist to greatness and to madness. But she was talented and had a great eye. MIJA RIEDEL: What we're hoping for are your candid thoughts and memories of your experience. He hadI mean, every time he would do a show, the Germans who loved him, the young Germans, would write a book on him. She was very active, and I really was grateful for what she did for me. But he gave her a glowing review on Myth Maker Art and Fantasy and he was, she saidoh she came and she was so relieved, I think. It's all pretty simple. And, like I say, thrown, but I get them off the wheel as soon as possible to reshape and rework them. NEIL WILLIAMS:I'm not out there to rile anybody up or anything. But if you can accept that and put yourself in a real healthy working space, you can do some good work, you can make some nice stuff." MIJA RIEDEL: Well, do we know for sure it happened at U.C. MIJA RIEDEL: and then did you go directly to CCAC? Were the plates the same process as the figures, same process as the junk pieces? He said they were crying and hanging on each other and weeping. NEIL WILLIAMS: It wasas it is in the sense that the clay environment can be very comfortable, and Viola used to talk aboutand I agreethat clay people are more of friends and family, and it's more of a communal thing, pot shops are. NEIL WILLIAMS: And the redwood beams that were from the old timbers, which thank God they don't cut down anymore, they're protected. NEIL WILLIAMS: Well Stephane Janssen did the same thing, too for. MIJA RIEDEL: Did youand that that was part of that whole dynamic and part of what made it unusual? [Laughs.] And if they don't, then that's okay, too. 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. It's like, "Wow, I can't believe I made that.". Is there respect for it? NEIL WILLIAMS: And to me, color is that vital energy that can bring a piece to life, or it can kill it. R&S takes all care in the preparation of information appearing on the site, but accepts no responsibility nor warrants the accuracy of the information displayed. Like, "Viola, it's really great, it's really beautiful, but if you did this, we'd save me a couple hours of work here." It was a little vanity gallery and. And she hadof course, she said "ideas are 10 years ahead of execution sometimes," and shewas jumping ahead, and then jumping back and, NEIL WILLIAMS: you know. He says that, "Volume has gone to her paintings, and the plates were the bridge." Like, certainly Betty AsherAsher Faure and then in L.A, and then Rena. WebWilliams was born in 1934 in Canada and educated in Wales, where he first learned to fly in 1951. This information is provided for entertainment purposes only. And she would start in on a certain story or a certain thing, and then it would jump to something else, and I would be able tobecause we had work to do. What a different way of thinking about an audience. [Laughs.]. MIJA RIEDEL: would she talk to you, show you books? We can send them to wherever school. And then it came up and I said, "Oh, those are from Dorothy.". Format: Originally recorded as 5 sound files.Duration is 4 hr., 9 min. And so, I detached from trying to identify how I fit in that. NEIL WILLIAMS: And I thought it was much simpler than that, and muchnot that it hasn't been a rich life, butI've never been one to draw a lot of attention to myself, like consciously. I just hope they say I've made nice stuff, and it holds up over time. But he did it elsewhere. And she honestly defended it and believed that a good pot is art if you look at history. You know, making art and celebrate safely. 0000005828 00000 n 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. Was there a wheel? And very asexual, NEIL WILLIAMS: andbut also very intriguing, NEIL WILLIAMS: because he was a brilliant orator when he wasn'twhen he was stable, and when he was fluid, amazing source of information, historically. You approach it from a different way than you might otherwise. I can do that painting. MIJA RIEDEL: Mm-hmm. It was her first big coming out show since she'd hid out for nine years and just made work, put it in your backyard or up your attic orand, she was talking about the opening, "Well, I hope so-and-so's going to be there." 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. There was no issue there, and shewas a very good person, and. But thank God it is. But, it was an area that I just felt I was strong in. There was something about the big block of color, although there was good color change and wonderful painting in it. Some cookies are placed by third party services that appear on our pages. And were together for some years before that. That was from when she was studies at U.C. But she wasin the middle of all that, she was just a delightfully crazy person and artist [Laughs.]. [Affirmative.] [Affirmative.] And my own inclination to seeing and knowing that color could bring something to life. 0000112404 00000 n MIJA RIEDEL: So there is some level of functional work that has helped fuel the. So there was a certain contagiousness aboutyou know, you're around with someone, I don't know if the molecules meld or morph or whatever they do, but there's some transference going on there. My God, certainly it's the chromatic abstractions in Rothko andGod, there's so many great periods in history. So, I don't know if hoarding is generational? NEIL WILLIAMS: If you like the attention, if you like the advantages, great, but if it's at the cost of your life, or if it's at the cost of your work going soft or losing its edge, I mean all artists have ebbs and flows, right? And it was also, like I was trying to get at filling theimage filling the gap between the thought and the spoken word. A presentation of a bouquet of flowers is a special way of showing youre thinking of them and their loss, as the bright colours reflect the personality of the passed loved one. [Affirmative.] ", Mike Etheridge - Associate Creative Director, "Neil Williams is a talented Head of Copy. How would you describe her plates in relation to the rest of her work? Washington,DC20001, 300 Park Avenue SouthSuite 300 She understood her. [Affirmative.] 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. There was a little wheel in the back room that nobody worked with, so. Because I know the dad had a huge collection of junk, too. NEIL WILLIAMS: Right. And we sat with himbecause Lee forgot some equipment, had to run off. I mean, I learned sopalace-and-cottage artist. NEIL WILLIAMS: And luckily I wentgot connected with her, and not some other instructor at the time who could have impacted it elsewhere, because they would have said, "Ah"so many of them would say, "Ah, the vessel. MIJA RIEDEL: Did the figurine that she was drawn to need to have anything in particular, or was it just to build a range of things that spoke to her for a reason she wasn't even clear about? NEIL WILLIAMS: I mean it's spectacular. NEIL WILLIAMS: Yeah, with a great deep love of art history throughout every culture. I mean, she wasso nice to me and sobecause the vessel wasn't her thing really. New York , NY 10010, Washington, D.C. Headquarters and Research Center. xb```"6F= ac`a&qpcaFSn`@I9Oz%uG E f[lvu>qfdn){sRiR & vtt40 And then he called one day and said, "Neil, I'm opening a little small gallery in Carefree, outside of Scottsdale. [Affirmative.] NEIL WILLIAMS: and Marjorie, before she passed away, a few years agomy mother passed away nine, 10 years agoand Marjorie passed away just last year. She loves testing situations, and may have more to offer. NEIL WILLIAMS: So they're in thethey're already in the collection there. I got to see you. And it was nice for her. It was one of the grandmother figuresI didn't think it it's not like followed up and said, "Alright. But, Rena was a lifeline and an essential part of, I think, why Viola was able toshe really helped Viola blossom. And it'sI don't run around feeling proud of it, but I guess I am. [Affirmative.] So, what's the scale on these, roughly, from what to what? N-O-E-L, L-O-U-G-H-L-I-N. NEIL WILLIAMS: It's been 40, 40-plus-year friendship. Thing, too, aboutfunny stories, too, aboutfunny stories,,... Because I could see she was talented and had a great client-facing guy and clients him... 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