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We'll assume you're ok with this, but you can opt-out if you wish. NEIL WILLIAMS: I thought so, too. I remember we were driving back from installing her Crocker retrospective [ph]. NEIL WILLIAMS: That's one thingthat's one thing that I realized that I do well issince I was 14, is I was able to throw very well. NEIL WILLIAMS: That'sthat makes sense to me. [Laughs.]. NEIL WILLIAMS: No, I'm justgood at that. A certain honesty and sincerity that it demands. So, again, I think they were in the column reference to give a point of context so they weren't just completely, purely abstracted non-objective shapes. NEIL WILLIAMS: because he worked so hard and so careful on it, but they looked magnificent. The website cannot function properly without these cookies. "I'm sitting here in Barcelona Modern Museum fighting, arguing with the curators about what I want to do. Neil Williams. NEIL WILLIAMS: And then it's lightly water-polished with a damp sponge, NEIL WILLIAMS: after it's sanded, which is the excruciating part, because you're sanding these little fine, fine tines or fine, fine feathers without breaking them. Basic survival stuff. Is that correct? NEIL WILLIAMS: That'syeah that's just it. It would be nice to be included more in some of these things but I don'tit's my fault, I don't make the effort, and I don't have the energy for it. MIJA RIEDEL: Did youand that that was part of that whole dynamic and part of what made it unusual? 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. NEIL WILLIAMS: Itmaybe demands might be a little bit too critical. Berkeley.". I've stuck with a theme for a long time. NEIL WILLIAMS: And completely supportive, 110 percent. MIJA RIEDEL: How did you see that evolve? NEIL WILLIAMS: Oh, writers, you know, all kinds of writers, yeah. Do a four-week summer workshop. NEIL WILLIAMS: And it didn't make sense to me right away, but there's no reason why it alldrawing and painting color can't apply to a simple vessel. The good, the bad, and the ugly. But, as far as thinking about deep, life-altering subjects, questions about the universe and how we fit into it or not, I mean, there was some heavy hitters back then. There was nothing real morose about her work. [Laughs.]. You know, and I knew Rena was fascinated by her, and intrigued by her because she told me onceshe said that it was so interesting to look back when she was younger and to see how different her and Viola's lives where. And if somebody connects with it, that's great. To use social login you have to agree with the storage and handling of your data by this website. I've always had a fondness for him. Well, we'll see. I think Manuel was there in the late 50s, early 60s, too, wasn't he? MIJA RIEDEL: So this must have been early on, before she had. MIJA RIEDEL: But, I mean for the clay to hold those kind of curves and that kind of thinness. MIJA RIEDEL: I'm thinking culturallyhow you learned ceramics so early on and worked with a fellow who studied in Japan, the feeling about ceramic pots there is completely different. 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. NEIL WILLIAMS: You know, it wasit seemed like a really good fit. MIJA RIEDEL: You've taught at many different places over many different years. They want to review their life so that they have a sense that it had some meaning, that we had a cause that we at least embraced and tried to fulfill. Agree Sporty, what a loss N Williams was mate, when he was riding IN Brissy. Mija Riedel has reviewed the transcript. NEIL WILLIAMS: I think. MIJA RIEDEL: This is Mija Riedel with Neil Williams at the artist's home and studio in Auburn California on June 6, 2014 for the Smithsonian Archives of American Art, card number two. So it makes the diversions or distractions much more digestible and tolerable. It's all pretty simple. MIJA RIEDEL: They started in the early '80's, yeah? 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. But I like them. Duchamp said that art was a drug, and I think Viola was a premier, thank God, example of that. WebNeil Williams: After his suicide in 1999 his widow said hed come to hate racing after a close friend had been killed in a race at Canterbury six years earlier Stathi Katsidis: The 31 MIJA RIEDEL: Mm-hmm. I mean he'd chew you a new one if you did something wrong that he didn't agree with, or you were in his space at the wrong time, like trying to photograph when she set up a photography session in her living room when he was trying to have dinner and it interruptedI mean, there was some toilet lid slamming going on there. NEIL WILLIAMS: Yeah, some of the people who have come out of that program areit's just silly. Her Oakland retrospective was getting reviewed by Thomas Albright at the time, and he could be a realI mean he could be a nasty reviewer [Laughs.]. Faith grows and develops as individuals regularly and conscientiously work to build their discipleship with others, Elder Andersen taught. Either they were told not to play in the mud, or they realize that quite possibly we came from the mud. NEIL WILLIAMS: He thought it was beautiful, the little old ladies hanging up. [. And it wasit was almost like she had hunted, killed it, brought it home for display. But I knew, just to see the magnificence of color and form, that there was something very special going on here. [Affirmative.] There's a directness, a quickness to it. 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. The power of color throughout is very consistent. She added up the time one day she spend doing that rather than the action of painting or drawing, and she said, "That's enough, I'm not smoking anymore." Format: Originally recorded as 5 sound files.Duration is 4 hr., 9 min. MIJA RIEDEL: So, youbecame her assistant fairly quickly. 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. You know, it's like, "Personal experience!" 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. It reads as one form. NEIL WILLIAMS: It's not that I'm not good in that area. 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. I mean she'd give up anything to make art. MIJA RIEDEL: And they're commercial glazes? document.getElementById( "ak_js_1" ).setAttribute( "value", ( new Date() ).getTime() ); Enter your account data and we will send you a link to reset your password. . NEIL WILLIAMS: I think that's probably one of the reasons I've kind of like retreated. Lots of private, local patrons and. She nixed those, because she didn't have time for them. NEIL WILLIAMS: So, I mentioned some artists that I was still in touch with. He's got an incredible history, and he certainly deserves more attention for his work and for being a great professor of ceramics. ", NEIL WILLIAMS: [Laughs.] 1 because I know that when I do that, everything else works out.. So, visually they're fragmented, NEIL WILLIAMS: but they're also put back together physically in the process of making that, and also with color, hopefully they have that structural integrity with the color, too. They can bebut then you can get guys in high school that can send kids, artists, students well off into significant careers. They got increasingly deep andI can't think of the word I'm looking for right now. NEIL WILLIAMS: I was going to take the summer and travel and do, but they said, "No, you have to use your scholarships." MIJA RIEDEL: What was significant about Mario? I would say, "Yeah, all right Viola. Does it bringhave their been unexpected. H\@y P]% 1qt&b> B@/|&k~]JtwnvihavopS)\>rvq|6zL6?IUGw{)s\{9~7?^O|uFfhm0%$*6zM*. NEIL WILLIAMS: She was very good about directing what the good work from the bad work, and what had longer running time, and more interest, I think, in the long run as far as what would stay engaging for me. MIJA RIEDEL: Yes, she made absolutely exquisite pots. "I'll take them." There's no need to wrap it all up in a nice little bow and put it to bed just yet. About a year later, he met Kathy Williams. 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. And he would get some just fantastic readers to come in. So, he filled the word in her life, and she filled the visuals in his. And he says, "Hey, I never believed them when they told me how bad I was. MIJA RIEDEL: How were you first exposed to clay? Like I said, he was older, did a lot of her reading and herwriting for her, and was the premier voice behind her of how good she was and how great her work is, and going to be. So, there is awhat we talked about earlier, that good art should ask more answersmight ask more questions than it answers. Father was completely emotionally detached. So that's just one aspect of why clay is so responsive. NEIL WILLIAMS: Mid-80s, when Viola was there. It's just, you say, "All right, let's make it workable or manageable," and you find those small golden moments in the course of a day or an experience with someone thatit's like my brother, one of my brothers was a real talented guy. She's not a there's no excuses not to be successful, not to do your work. MIJA RIEDEL: I've heard people say that there was a deep love between them, a deep respect. And so I, NEIL WILLIAMS: I do. She said, "It might not be very self-respectable after a few years, but". N-O-E-L, L-O-U-G-H-L-I-N. NEIL WILLIAMS: It's been 40, 40-plus-year friendship. She gotit was the height of making those big men, and they were enormous. New York,NY10010, Dedicated to collecting and preserving the papers and primary records of the visual arts in America, Archives of American Art, Smithsonian Institution, 2023 Archives of American Art, Smithsonian Institution, Terra Foundation Center for Digital Collections, Guidelines for Processing Collections with Audiovisual Material, Washington D.C. Headquarters and Research Center, Publications Using Material from the Archives of American Art, Oral history interview with Neil Williams, 2014 June 5-6. MIJA RIEDEL: Mm-hmm. I know you said you don't normally do commissions, and you don't like them, and there are multiple reasons for that, but you did do one in 1986 for the LA County Museum? NEIL WILLIAMS: She wasn't committed to it, but she was gracious enough to encourage me, and help. I thought his move to the Gold Coast was based on lifestyle change. And he looked, and he said, "Excuse me?" NEIL WILLIAMS: So that kind of thing. Do you have a recollection of Rena introducing Viola to Patterson? And your mother? [. He is from Saint Vincent and the Grenadines. MIJA RIEDEL: or have they stayed fairly constant? NEIL WILLIAMS: But, she wasjust extraordinary and raw, pure energy and just that her tenacious way she devoured images and devoured the process of making stuff and working with color and form, and fluidly between two and three dimensional like that was really rare. So, she was inviting, you know, "Do you like that? What is important to you to try and bring to the classes or workshops that you teach? I mean, we should be very clear. I consent to the use of following cookies: Necessary cookies help make a website usable by enabling basic functions like page navigation and access to secure areas of the website. The evolution of your work, how Viola influenced it, and then where you decided to develop. MIJA RIEDEL: Hopefully all these interviews, especially [in relation MR] to Viola, built together, will give us a much more complete understanding of her work, and career, and character. Making something that had a physical presence stayed consistent throughout. When you deal with Earth, fire and water in their most extreme elements or their most extreme ways, then, once you learn that, you can realize you can get clay to look like anything. But sheespecially if she was tired or nervous, she would jump around and, you'd never know what would come out of her mouth. NEIL WILLIAMS: And itwe talked about itthe lan vital, the vital energyI was getting that back from the pieces. Mothers with Alzheimer's and his grandmothers with Alzheimer's. MIJA RIEDEL: Some people said that Charles was gay. But the lack of detail in thatthe simplicity of it just being this eruption of massive form and color, right in your face. She had some issues in other areas, but shewas really good in some critical aspects of life that luckily rubbed off on me. Thanks for the heads up." MIJA RIEDEL: making things happen that wouldn't happen elsewhere. And they wheel her out there. MIJA RIEDEL: Did he write much about her work? 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. MIJA RIEDEL: Mm-hmm. I was content to just whoever connected with it, whoever wanted to rep it, wasRena was amazingly helpful. University systems, they certainly have their place. We had to read everything from Van Gogh's letters to Theo to Shgun to Invisible Man from Emerson [Ralph Ellison] toI mean there was a wonderful poetry series that Michael McClure at Arts and Crafts sponsored one of the Beat Generation guys. Really enlightened. She was already ill and she was working in a wheelchair. Even though they were colorful and they were kind of drawn and animated and doll-like. So would you make dinner sets? There'sI've always had intention and the whole intent-content argument, how to evaluate, the one Garth Clark borrowed from Henry Moore on how to evaluate work. 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. NEIL WILLIAMS: Yes, but not necessarily for publishing. Yeah. NEIL WILLIAMS: and afterwards, she didn't pursue that. And, I was really, very, and profoundly appreciative of that. Yeah. [Laughs.] But it goes to thethere's something special about this area and producing talent and creativity. One of them was Joseph Johnson Memorial Scholarship, which was Crocker Museum-affiliated at the time, through Bank of America. A unique soul with a great personality has an amazing sense of humour, diligent and caring. And so, I mean, not that they're in the same realm whatsoever but. 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. This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators. 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. And he built them, and they were the original administration buildings. But. NEIL WILLIAMS: That's because I'm not going to give up. So city has the city manager. 2 from 2, goes better with less fingers apparently. NEIL WILLIAMS: Well, the people around Arts and Crafts there at the time. She'd say, "On the thing, on the thing, on the thing, you the thing, the thing, the thing." He said, "I always considered these, or conceived these as individual." MIJA RIEDEL: And do you think she did not either? I was just a kid. I think about that still when I work, little things. NEIL WILLIAMS: But he's one of our pride and joys, and we still think about him and talk about him a lot. That [sense of MR] abstraction that really feels like your work. Used to get overwhelmed by it. NEIL WILLIAMS: so she worked fluidly if we had 10 or a dozen going in molds. Your email address will not be published. WebNeil Williams. 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. There's a great one. Then they can be wonderful and enriching and motivational experiences, or they can be make you want to crawl back into your studio and be left alone experiences [Laughs.]. And there were some of those sections, were 150 pounds and they were 10 feet in the air, all in sections, and I had pull them apart without breaking or chipping anything, get down the ladder, get them in the kiln. Just simple little techniques, pressure, consistent squeezing. Any student I talk to, I want to know more, as much about their story as about what they want to make. A little morenot overblown, but unfinished and a little more amorphous. And so, I detached from trying to identify how I fit in that. 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. But, he gave her a really good review. And also the palliative qualities of color context, andit was all very fascinating to me. They got very pronounced. NEIL WILLIAMS: I hope it has a certain clarity. "Neil is a great person to work with on every level. It was hard work, physically, but I knew it was special. I've met some artists that are pretty bitter over that stuff. [END OF TRACK william14_2of3_sd_track02. MIJA RIEDEL: Just female, or across the boards? And, I would get up and I would go out and leave my keys sitting on the table, that kind of stuff. Yeah, so, but that's just another recent friendship that's been real important. So, he was very involved with the light railway station down there, and he alsothere's a series of domes, a cluster of domes over here that were built, NEIL WILLIAMS: some time ago, over. No, I just herwas in her gallery and group shows. MIJA RIEDEL: Mm-hmm. You'll be redirected to related page soon Don't have an account? 0000053437 00000 n It's not art." MIJA RIEDEL: And you were married 10 years ago roughly? Let's talk about some of your early days. Like, certainly Betty AsherAsher Faure and then in L.A, and then Rena. NEIL WILLIAMS: So there was a functional aspect to production pottery that certainly helped. NEIL WILLIAMS: Oh, seeing in terms of a painting, a canvas. 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 just looked at me and said, "I don't know." A woman said there was a box, there were 300 applications in them, and there were a dozen of them with Ph.Ds., and there was 12 in-house masters waiting for someone to roll over so that they couldyou know, it's so political, even in these community college systems. Very unusual. He was one of the many riders who take their worst tumble after they hang up the saddle. NEIL WILLIAMS: But there's differentcertainly different levels of them. She was a little nervous of whether she was going to have that kind of aand I said, "Absolutely, we wouldn't miss it." 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. 0000100839 00000 n And so I always liked that. MIJA RIEDEL: I'm thinking about the difference between going to the studio to make your own work and, NEIL WILLIAMS: I've done a lot of work on the class, NEIL WILLIAMS: but as far as, some of them, MIJA RIEDEL: How does that affect the process? There was a group of wonderful retired professional ladies from all kinds of backgrounds, educated ladies, and they asked methey were all doing ceramics. Museum, is through Stphane and his donations, too. So, NEIL WILLIAMS: Yeah. [END OF TRACK william14_1of3_sd_track02.]. But the processes are pretty simple, and rooted in the vessel. It's loneliness. She would do that, during the bulk of the day, and then she'd go in the house and paint and draw all night, and get right back up and do it again. 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. NEIL WILLIAMS: Yeah. Sowas it somehow familiar to you? He had a really good background fromin painting. NEIL WILLIAMS: But I guess she had to go with it. And thenstarted to cut straight-line. Like even when I do production work, or picturing other pieces I'd like to explore. Viola used to call them the "dead wood." Said he knew he had no problem at all diving into somebody's chest who was wounded, to try and save him, when they were trying to shoot him, too. MIJA RIEDEL: Why do you say it demands sincerity and honesty? 0000002568 00000 n Is the proper technique used to exemplify that intent to its maximum effectiveness? September first? She was always in it, for her, with all her heart. NEIL WILLIAMS: He would write stuffI mean, I'd find little notes all over the place, little critiques about, you know. MIJA RIEDEL: Do you think of yourself as part of an American tradition? And I also remember something funny about the Thomas Albright. I had no idea." MIJA RIEDEL: They're extremely competent. . [Laughs. So that's what I thought I mean, you, being a writer, would know that great visualscan be great food for great writers, too. trailer Community college, high school, university. 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. NEIL WILLIAMS: Not ACC. But, I don't know, what were the statistics when I was in school? NEIL WILLIAMS: I think it goes back to, is it a fuel for life or not? NEIL WILLIAMS: She's notshe wasn't reallythose kinds of things made her nervous. What a gent. Represent employers and employees in labour disputes, We accept appointments from employers to preside as chairpersons at misconduct tribunals, incapacity tribunals, grievance tribunals and retrenchment proceedings, To earn the respect of the general public, colleagues and peers in our our profession as Labour Attorneys, The greatest reward is the positive change we have the power to bring to the people we interact with in our profession as Labour Attorneys, Website Terms and Conditions |Privacy Policy | Cookie Policy|Sitemap |SA Covid 19 Website, This website uses cookies to improve your experience. Uh-uh. NEIL WILLIAMS: No, I got hooked up with a local potter up the road here. It could work with you or you could work against it. NEIL WILLIAMS: I mean that whole wallI don't know if you have seen an old photographs of that, but you walk into the second floor in the earlier Crocker and it wasoh my God, it wasyou know, they looked like little moons, little colored moons everywhere. So throwing was a very strongso I used it as a base tool to explore other things on, so process of pieces are usually thrown. You know, in that relationand how an ism is born when the art world is going one way and somebody does a 90 degree, that's where isms come from. NEIL WILLIAMS: And what was the last word he said when he sat up? 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. NEIL WILLIAMS: She was very greedy. NEIL WILLIAMS: And that makes sense to me, too. They were magnificent pieces. Does that resonate with you? So yeah, there's hours and hours and hours of carving, sanding and painting on each piece. But I know he really fed her a lot of reinforcement in what she was doing. She always was in it. I never saw that it was an effort to work outthe dark side or her dark past, whatever it might have been. MIJA RIEDEL: [. NEIL WILLIAMS: some teenagers and some adults. Fear of failure. And like I said also, he was the first one to encourage Peter Voulkos to hand build when he was at Arts and Crafts in the '50s. I mean he was a nasty critic; he just ripped people to shreds. NEIL WILLIAMS: But he liked them and started buying them from Betty Asher. 0000053116 00000 n NEIL WILLIAMS: She might not want to have admitted it, you know. [Laughs.] NEIL WILLIAMS: She hadfinishing up the beautiful little, smaller grandmother figures which were my favorite, will all the really nice painting and the fine china paint and lines. NEIL WILLIAMS: Yeah. They were trying tothey had a healthy rivalry of who discovered which image first, who used it first in which painting. Fitting together. A little more than 50 years ago, Elder Neil L. Andersen returned to his familys small dairy farm in Idaho after completing his mission to France. ", NEIL WILLIAMS: And then Viola would say, "The hardest part is the first hour in the studio, getting there and getting it generated, and warming up and getting to work. MIJA RIEDEL: Mm-hmm. NEIL WILLIAMS: it just slipped her mind, because she was on to other things. She said, "You got to be making things you love to look at. MR] A wonderful nugget that Rena remembered was that men were in their positions of power in blue suits, and women were in their positions of power [when MR] naked. NEIL WILLIAMS: Right. NEIL WILLIAMS: But being around the clay people, and being around a pot shop. NEIL WILLIAMS: Well, first, my high school art teacher, Mario [Ferrante]. 0000116531 00000 n And, like with Viola, it was color and form and the figure. But he says, "Find that one small thing to look forward to every day." I think it was a hand with a carrot mold piece, and then she wanted to do a whole figure in bronze, and paint it in alkyd oils and it justforit sat and she painted it for a while, and it was outdoors. 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. Like I said, she was also Viola's lifeline, I know, too. NEIL WILLIAMS: and she seemed to intuitively know how to handle her and what would be the best way for her. Andbut hetheir relationship was real unusual. NEIL WILLIAMS: I didn't really see much of an evolution of bronzes thereshe. MIJA RIEDEL: This is Mija Riedel with Neil Williams in the artist's home and studio in Auburn, CA on June 5, 2014 for the Smithsonian Archives of American Art, card number one. NEIL WILLIAMS: Yeah. NEIL WILLIAMS: And I never wanted to get to that point. There was no issue there, and shewas a very good person, and. And then you practice. NEIL WILLIAMS: But isn't that the case with so many great artists in history? 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. MIJA RIEDEL: Mm-hmm. It was one of the grandmother figuresI didn't think it it's not like followed up and said, "Alright. NEIL WILLIAMS: But I didn't think she got that excited about them. Yeah, hopefullyI mean, we all hope that our lives and our efforts mean something a little bit more, but not to the point where we getthat they're debilitating to us, that we get obsessed with trying to say something and then not being able to say it, because we're obsessed with trying to say something. 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. NEIL WILLIAMS: You know, she didn't press her to make a certain line of work. Because I was 2D at the time. NEIL WILLIAMS: She worked hard on them but they were alsoI know, quite fun. How it's changed over time, how it started. But it's labor. It's like Noguchi would say, "It's an interesting phenomenon. Maybe starting with the plates. And I think that came aboutshe went to a Betye Saar lecture and they were asking Betye Saar about what else is really important, be said, "Well, my children were so important to me, I might take some time off from my work for my children." And the magic of making something from nothing but a ball of mud became veryentrancing and enlightening, and there's a certain nurturing aspect about it. ", MIJA RIEDEL: Hmm. That was from when she was studies at U.C. I've tried to keep it simple so that I don't implode or get too far out there, but I've also tried to keep it logical so that it has some progression, not to an endpoint, because we don't want to do that. 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. Carmel Valley Ranch Hiking Trails, Journal Entries For Subscription, Articles N