Beatrice Wood
And then, of course, most potters, they go in for earth tones and subdued things, and I like color.
And then I was three years at Shipley's and in between, summers, we always went to Europe.
And then a great thing in my life was going to India.
And several galleries - two had asked me and I said no, because I didn't want to leave things on consignment.
And my first museum show was at Santa Barbara, then the de Young. And, I think it was after the de Young, I had a show at the Los Angeles Museum.
And it's the same with pottery. You see, I'm not a chemist. And I do the whole thing by hunches.
And I was very unhappy in my family.
And I was a very proper, shy little girl and enchanted because one of the girls climbed out the window to meet a young boy.
And I thought overnight I - over the weekend - I could make a luster teapot.
And I think the young people of that day wanted nothing to do with the old world as it was established. And, therefore, they became anti-art and anti-everything.
And I think maybe all women, if they just had a chance, would be romantic and believe in love and not sex. And men believe in sex and not love.
And I have exposed myself to art so that my work has something beyond just the usual potter.
And I can talk on any subject now, from birth control to Mars, anything you wish.
And gradually became more and more interested in pottery. In '54, incidentally, I had an exhibition at the de Young.
And Gertrude Natzler very patiently - I'm not a natural craftsman - taught me to throw on the wheel.
And from the time I'd been fourteen I remember saving my allowance in boarding school and saving half of it to buy art books and books of poetry.
And far better to be seduced by a man of his stature and charm than by some jerk whom I might have met.
A rich poet from Harvard has no sense in his mind, except the aesthetic.