No. She understood her. NEIL WILLIAMS: physically kept working. NEIL WILLIAMS: It wasI mean it was even disturbing at times, but. There'd be no more reason or motivation to keep working. You distill the depth of the experience if you conceive too long, or too much, or at all. You part with friendships of 30 years because there's no other options, whatever. NEIL WILLIAMS: and then she had electric kilns at home. I love the feeling at the end of a day. And so few people realize, oh, that's easy. That was theirthat's how they're going to keep from getting bored. NEIL WILLIAMS: I like that connection. Create your account , it takes less than a minute, Dont let the game play you; gamble responsibly. NEIL WILLIAMS: A few photos to get in, but, you know, and then they were lettingand then when I was there, they weren't screening their graduate programs very heavily, but. I mean, I learned sopalace-and-cottage artist. 0 Members and 1 Guest are viewing this topic. I just wanted a couple of specifics. It's a drive and it's a calling, it's a compulsion. Format: Originally recorded as 5 sound files.Duration is 4 hr., 9 min. So you would make pieces there. I never saw anything she was doing was morose. So Iwhere I'm trying to think about Noguchi, talking about his time element and carving away, and how itthe all-consuming and meditative. xb```"6F= ac`a&qpcaFSn`@I9Oz%uG E f[lvu>qfdn){sRiR & vtt40 0000004977 00000 n They were really good. MIJA RIEDEL: Real architectural quality, too. But, I don't know, what were the statistics when I was in school? 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. 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. [Affirmative.] NEIL WILLIAMS: Andso very fortunate. NEIL WILLIAMS: So I got to live with him and startedyeah, graduated here in June and started down there inwhenever it startedend of August. 0000053369 00000 n Probably the most profound influence there I can remember there was third grade? I said, "Okay, well I'll be right there, of course." She was trying to strip it down to the essence of just being a power suit image and an image of power; a man in a suit, NEIL WILLIAMS: with a tie; a big man in a red suit, towering over you. And it's I don't know howI mean, that dichotomy and thatthat dance is still going on, and, MIJA RIEDEL: And I'm sure there are people who would disagree with that heartily, but it's interesting, NEIL WILLIAMS: Well, I hope so, but what is interesting is that it asks those questions. And if someone goes home and they're thinking about the work that night, then it's even more successful. There's a certain clarity that happens, or a certain subtle little discovery that seems to make a difference. 0000005718 00000 n New York , NY 10010, Washington, D.C. Headquarters and Research Center. NEIL WILLIAMS: Not designing them. How would you describe her plates in relation to the rest of her work? I didn'treally think of that much. 0 So many great artists have considered their work studies, the variations. . And it's something that, if you were able tohowever they needed to work through it, who knows what could have come from them? 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. Yeah. Williams was Viola Frey's studio assistant. I mean, I always think of that wonderful Gauguin painting, Tahitian women on the beach." [Laughs.]. You got to be making work you love to look at becauseand surround yourself with because you may have to." There was a group of wonderful retired professional ladies from all kinds of backgrounds, educated ladies, and they asked methey were all doing ceramics. NEIL WILLIAMS: But I especially remember her being very patient, very thoughtful, very generous, but also very caring about Violathe bigger picture of Viola's life. MIJA RIEDEL: There was a Spark episode that was about Viola. 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: Although they were pastel until fired, there's a certain projection you had to do and prediction. MIJA RIEDEL: Did she make textiles? And I had a larger studio, and they said, "Do you do any workshops?" Consider following President Eyrings example, Elder Andersen told students. 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. MIJA RIEDEL: Or a challenge, because it brings the work into a different perspective. Isome of them you don't even meet. 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. But, it was funny becauseI think Bob and Manuel each had cigars and they were smoking them back in their cigar days, and as they left, they left cigars in the grandmother's little thing and handedthey left their little cigar butts, and then next morning Viola just, "Ugh!" She was at NCECA, and Thomas Albright and some other artists were teasing her about, "Come on Viola, let's go do" because she knew howthey knew how naive or how inhibited she was, and how awkward she was socially sometimes. She said, "It might not be very self-respectable after a few years, but". NEIL WILLIAMS: Oh yes. 0000002946 00000 n A certain honesty and sincerity that it demands. But in an education environment, I always tried to find out what their stories were, encouraged them to tell their story in some way, find images or experiences that were personal to them and share them. NEIL WILLIAMS: Just show it, just slow down and to enjoy the experience, consistent squeezing, andhaving some intent. So, I think I gravitated towards vessel-making, and connected with it immediately, and it's certainly evolved to other things, NEIL WILLIAMS: but it gave me a discipline, and it gave me sense of accomplishment and self-respect, I think, that was healthy and, NEIL WILLIAMS: it made me realize that it was possible to pursue this. Go to a museum show and say, "Oh, my God. 0000112045 00000 n Webneil williams jockeynhs low income scheme calculator. And then you practice. MIJA RIEDEL: And I'm curious, when you say "spiritually, it fulfilled self-respect." NEIL WILLIAMS: I try not to do commissions. MIJA RIEDEL: Yeah. I mean, like I was saying, he knew Frank Lloyd Wright to George Rickey toI understand, maybe, I'm not surebut I understand even Gertrude Stein in some of her Oakland years. MIJA RIEDEL: Or did they even exist? NEIL WILLIAMS: And we all have our angels but, you know, Viola had hers. NEIL WILLIAMS: Oh, they wanted a limited edition. NEIL WILLIAMS: She liked looking more at images than reading. So wheels? Is there any relationship between your production work and your one-of-a-kind pieces? I thought, "Okay." NEIL WILLIAMS: a fluidity. So there's a certain similarity and consistency, and there's a certain comfort in that. I've known them first-hand. Sowas it somehow familiar to you? NEIL WILLIAMS: It was cheaper to have me down there, apparently, even though the parents had moved up here. These seemingly invincible football players so strong and confident only a few moments before, began kneeling on the playing field, Elder Andersen related. NEIL WILLIAMS: Even Velazquez and all of those amazingVermeer and all those incredible painters. MIJA RIEDEL: Actually, I wasn't getting at anxiety, I was getting at benefits, but I'd like the whole picture. But then he would calm down, and heand I don't know, I'm sure that has to do with his also being a veteran and, NEIL WILLIAMS: you know, he nearly died from malaria and whatever other issues, but, MIJA RIEDEL: I did speak with someone else who said that the war was deeply traumatic for him. MIJA RIEDEL: Yeah, we'll deal with that story [later MR]. . They are sanded to eliminate throwing lines on the exterior, so there's the contour lines and the surface is homogenized. MIJA RIEDEL: What did she look for, Neil? But having a directdo I go and use it as a resource for my work, like a lot of painters do? MIJA RIEDEL: So when did you graduate high school? Differences? MIJA RIEDEL: She had a wonderful reputation. And they had one huge wall, and this [Laughs.] NEIL WILLIAMS: Like, "Oh, what a beautiful red" and she would layer colors like she would painting. But the pressure on those, I can't imagine some of them. NEIL WILLIAMS: And so shecollected a lot of ammo in that area. MIJA RIEDEL: Well, do we know for sure it happened at U.C. They had a wonderful one, too. 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. And I remember the first few years I was saying, "All right, I just want them to seem alive and interesting. I'm like "What?" I have to carve away certain layers as it dries, so it holds its shape and its form, and doesn't collapse. He didn't,change the""He didn't"you know, that simple, pretty simple. <<76AC6049CDCC7740A1046EC4D186D560>]>> MIJA RIEDEL: Mm-hmm. As a senior manager at The Brand Union, Middle East, he has been a continual source of inspiration to the team with his wry sense of humour and built-in positivity. Did I understand you say that? MIJA RIEDEL: That's the first time I've ever heard that. NEIL WILLIAMS: Well Stephane Janssen did the same thing, too for. I do. So, those kinds of pressures to produce, pressures to create, they're a double-edged sword. NEIL WILLIAMS: Travelyeah, so I love to go to museums, I love to do that. MIJA RIEDEL: It's interesting since we've talked briefly and we'll talk quite a bit more about this going back and forth between two and 3D. As your faith in Jesus Christ is firm, the tests of mortality will shape your eternal destiny., Faith in Jesus Christ will bring assurance in choices, happiness in good times and in challenges, and peace in knowing ones eternal destiny. He didn't like people in parties or company, was very isolationist. MIJA RIEDEL: There are a couple of columns, vase columns that we looked at that were, what, 12 feet tall, MIJA RIEDEL: from the late '90's. Please if you have any form of concern, suggestions, or query as regards this publication, kindly contact us. And those were very inspirational. He went through and he critiqued everything and he said, "Now, tear it up." And I was talking about being young and feeling the pressure of having tomy work should say something more politically and socially significant and I was a little frustrated by that. It's water-polished to reseal the surface so that it's like gessoing or priming a canvas. NEIL WILLIAMS: But I didn't. Mothers with Alzheimer's and his grandmothers with Alzheimer's. But, certainly the FBI and everyone else keeps records on it, but they won't release the records ofthe full records of why people disappeared, so many. Gambling Help on 1800 858 858 or visit www.gamblinghelponline.org.au. I said, "You're kidding me." NEIL WILLIAMS: No, I'm justgood at that. NEIL WILLIAMS: And hopefully it works on a couple other levels, too. She was always in it, for her, with all her heart. My work was being shown and sold through Dorothy Weiss at the same time. NEIL WILLIAMS: They bring a, "Oh my God, what have I done?". I mean he was a nasty critic; he just ripped people to shreds. [Affirmative.] 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. She was like one of us. So, she was inviting, you know, "Do you like that? He did all of those California specials where he'We're in Auburn, and we're'- and he goes through and interviews people about the history. NEIL WILLIAMS: Mm-hmm. NEIL WILLIAMS: because he worked so hard and so careful on it, but they looked magnificent. 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. 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. MIJA RIEDEL: They started in the early '80's, yeah? MIJA RIEDEL: Mm-hmm. NEIL WILLIAMS: Not so much. NEIL WILLIAMS: It's brick with concrete and plaster. NEIL WILLIAMS: Well, it was always, like she saidagain coming out of the Crocker retrospectivewhich was our first major, like, together, helping her install pieces because there-she had stuff delivered there that I hadn't seen before, and was like, "Will you put all this stuff together?" [Affirmative.] This passion naturally rubs off on his wider team, and the fact he's also a great guy and a pleasure to work with, made him a great mentor to me during our time working together. NEIL WILLIAMS: And his writing, too, especially about her work, was very strong. 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." NEIL WILLIAMS: And I wanted to keepso the compulsion was there. ), digital, wav; 101 Pages, Transcript. Maybe I should be. She had some issues in other areas, but shewas really good in some critical aspects of life that luckily rubbed off on me. And Viola finally just said, "Let's play with clay", MIJA RIEDEL: and took out the clay, and they all just sat there at the kitchen table, MIJA RIEDEL: working with clay. NEIL WILLIAMS: Well, and when you need it, like Duchamp said, if art is a drug and you need your fix, NEIL WILLIAMS: I mean, Van Gogh said that, art is a jealous mistress; she doesshe prefers herself to ill health or anything else. The way you're describing it, it's clearly been there for years and years and years. [Affirmative.] MIJA RIEDEL: How extraordinary. She wanted to keep things focused on her, and her work, and her love of color and form, and her images, andsoand also, it kept her isolated in a sense that sheunless you had something to do with the direct aspect of production of her work, or assisting in that, youshe didn't haveshe had little time or energy for. You know, some of them I've sold for a buck, some I've sold for more. How do you survive as a creative energy and keep growing? And so, and she, I think, got a lot of it. NEIL WILLIAMS: So, in other words, you got to be making things you want to keep. And, I'm still stuck in that, that mode. NEIL WILLIAMS: and of course having her daughter Trish and Calvert working for so long for her. How do you make that and buy yourself time and energy to do your work, your exploratory work, the celebration aspect of it? Required fields are marked *. And, I would get up and I would go out and leave my keys sitting on the table, that kind of stuff. I don't know, floral or feathering. NEIL WILLIAMS: I alwayscertainly positive energy. MR] the transition from the more patterned painting on, for example, the women's dresses. Because he moved out of L.A., NEIL WILLIAMS: because there was an earthquake and they were rude to him. [Trials] just come, Elder Andersen said. So it was a completely different sense. And, for some reason, I always knew what the thing was. MIJA RIEDEL: Did you ever have that kind of experience? Its brightness will remind you that in the gospel there is always, every day, a new chance, a new life, a new year. I'm part-time caregiver to him now. My father was a county exec to the Board of Supervisors for Placer County. NEIL WILLIAMS: So, there are a few out there. And then he called one day and said, "Neil, I'm opening a little small gallery in Carefree, outside of Scottsdale. But I hope there's somethere's always, to me, some areas that need work. So, long before you were graduating high school, and there are, MIJA RIEDEL: dozens of them, and clearly the Japanese influence is very. 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. She loves testing situations, and may have more to offer. NEIL WILLIAMS: I remember when it showed up, it was all bright and it was a metal bronze thing and I mean, they were okay. MIJA RIEDEL: Right. D, all of the above. NEIL WILLIAMS: And that happened on occasion. Hadlock related how her parents divorced when she was younger, which tested her faith. 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. Quotes and excerpts must be cited as follows: Oral history interview with Neil Williams, 2014 June 5-6. Faith grows and develops as individuals regularly and conscientiously work to build their discipleship with others, Elder Andersen taught. NEIL WILLIAMS: There have been lulls, but I've always known it's okay to just keep working through them. NEIL WILLIAMS: I haven't doubted it since, but I've had moments of, you know, 'what the hell am I doing,' but at the same time I've always known that's what I was going to do. I remember, was it Rodin talking about taking the cube of marble and liberating the sphere inside of it. Duration is 4 hr., 9 min. 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.. NEIL WILLIAMS: And she was in her wheelyou know Maria Martinez. The evolution of your work, how Viola influenced it, and then where you decided to develop. She was tough in the first place, but I also know that it helped her toughen her up in a number of ways because it helped her with thehe helped her with the identifying and articulating the verbiage behind her imagery. All this stuff can be going on around you in the world, and things falling apart or celebrating.

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