{"id":103,"date":"2011-11-22T12:33:19","date_gmt":"2011-11-22T12:33:19","guid":{"rendered":"http:\/\/www.quietzine.com\/news\/?p=103"},"modified":"2015-11-18T21:02:45","modified_gmt":"2015-11-18T21:02:45","slug":"acrylic-blues-on-wood-panel-2011","status":"publish","type":"post","link":"http:\/\/www.quietzine.com\/news\/?p=103","title":{"rendered":"Acrylic blues: Mixing media with Dean Williams"},"content":{"rendered":"

\"\"<\/a>Andrews is located in the outlying western corner of North Carolina, a place far away from major roads and cities\u00e2\u20ac\u201da place that on a map looks like the middle of nowhere. Andrews’ Main Street is a narrow row of aging brick that, apart from a coffee shop and a few thrift stores, mostly houses empty store fronts. But at 982 Main Street you\u00e2\u20ac\u2122ll find the space that served as the town movie theater in the fifties and the town soda fountain in the seventies. Today it hosts Dean\u00e2\u20ac\u2122s, a specialty record store owned by Dean Williams.<\/p>\n

Inside Dean\u00e2\u20ac\u2122s you\u00e2\u20ac\u2122ll find shelves stacked with CDs and vinyl records, antique furniture and random curios. But most likely your attention will be immediately grabbed by Williams\u00e2\u20ac\u2122 artwork, hanging canvas-atop-canvas on the exposed brick walls. Ghoulish faces, serpentine figures nestled in labyrinths of geometric shapes, haunting images of devils and angels, dark wintery woods and olives with eyes that seem to wink at their own inexplicability loom from paintings stacked up to the high ceiling.<\/p>\n

A Man About Town<\/strong>
\nIf you try to view Dean Williams as a backwoods novelty or a misplaced artist living in loathed seclusion in a small mountain town, you will misunderstand him entirely.<\/p>\n

\u00e2\u20ac\u0153A lot of [tourists] are kind of shocked when they first find the shop,” Williams notes of his Andrews location. \u00e2\u20ac\u0153They tell me ‘You should be in Asheville!’ And I say \u00e2\u20ac\u02dcIf I was in Asheville you wouldn\u00e2\u20ac\u2122t have found me.'”<\/p>\n

\"\"<\/a>The town of Andrews is very much a part of Williams\u00e2\u20ac\u2122 identity and it is clear Williams has no interest in living anywhere else. His family moved to Andrews in 1968 when he was six years old. His wife is a teacher at the elementary school; his eldest daughter lives in the town\u00e2\u20ac\u2122s oldest standing house; his storefront has been on Main Street for ten years now; and he\u00e2\u20ac\u2122s already bought his cemetery plot.<\/p>\n

Williams began drawing at an early age, a passion he attributes to \u00e2\u20ac\u0153dealing with the isolation\u00e2\u20ac\u009d of \u00e2\u20ac\u0153always being sick in the winter time and stuck in the house.\u00e2\u20ac\u009d When he was eighteen Williams began painting. By age nineteen he had sold his first piece and decided to start showing his work. At the time Andrews did not have an art gallery, so in order to have a show Williams says he had to \u00e2\u20ac\u0153just make it happen.\u00e2\u20ac\u009d His first show hung in the Andrews Public Library.<\/p>\n

\u00e2\u20ac\u0153I think I just walked in and said \u00e2\u20ac\u02dcCan I hang some art in here sometime?\u00e2\u20ac\u2122\u00e2\u20ac\u009d Williams recalls.<\/p>\n

These days, Williams\u00e2\u20ac\u2122 work has been featured in a number of shows throughout western North Carolina. On the day I visit Williams several of his pieces, along with work by his daughter Brittney, are hanging in a show opening that night at the Andrews Valleytown Arts and Historical Society building, one block down from Williams\u00e2\u20ac\u2122 store front on Main Street. The building, purchased by the society through grant funding and community donations, was originally a Baptist church, constructed in 1923.<\/p>\n

\"\"<\/a>\u00e2\u20ac\u0153I really like the idea of one thing becoming another thing,\u00e2\u20ac\u009d Williams notes as we tour the space where local artwork is displayed under modern gallery lighting juxtaposed to the high tin ceilings, stained glass windows and wooden railings of the old church. Volunteer staff pace around the space as they set up for the exhibit\u00e2\u20ac\u2122s opening night and a fundraising dinner for which they had expected to sell only fifty tickets, though that number quickly doubled.<\/p>\n

Though Williams is clearly happy to participate in the art society fundraiser, by choice many of Williams\u00e2\u20ac\u2122 shows have been in less traditional venues such as restaurants and offices.<\/p>\n

\u00e2\u20ac\u0153I don\u00e2\u20ac\u2122t dislike art galleries but I would rather have my work in places where people don\u00e2\u20ac\u2122t expect to see original art; whether it\u00e2\u20ac\u2122s a blues club or a butcher shop or barber shop, it doesn\u00e2\u20ac\u2122t matter,\u00e2\u20ac\u009d Williams explains. \u00e2\u20ac\u0153I don\u00e2\u20ac\u2122t like the idea of art being esteemed as something that can only be in a gallery or a museum. I think it should be where people are on a daily basis.\u00e2\u20ac\u009d<\/p>\n

\"\"<\/a>One such place is The Daily Grind, an independently-owned coffee shop, where Brittney works and also has art displayed. Like Dean\u00e2\u20ac\u2122s and the art society building, The Daily Grind is another converted space in Andrews\u00e2\u20ac\u2122 downtown. At one point it was a body repair shop and splatters of automobile paint still cover the walls along with Williams and Brittney\u00e2\u20ac\u2122s paintings.<\/p>\n

\u00e2\u20ac\u0153Those two back there are mine,\u00e2\u20ac\u009d Brittney says pointing to her canvases as we tour the caf\u00c3\u00a9. \u00e2\u20ac\u0153And the weird African acid-trip looking ones are my dad\u00e2\u20ac\u2122s.\u00e2\u20ac\u009d<\/p>\n

At age 20, Brittney is a modest and friendly girl her father describes as \u00e2\u20ac\u0153a reluctant artist.\u00e2\u20ac\u009d She has shown in several shows with her father, but admits she wouldn\u00e2\u20ac\u2122t pursue displaying her work without his urging. Many of her subjects are musicians, including Tom Waits, The White Stripes and Ian Curtis whom she depicts in her pieces on display in the old church. Like her dad, Brittney is a prolific and largely self-taught artist. She \u00e2\u20ac\u0153took only two years of art classes and hated it,\u00e2\u20ac\u009d but produces sketches nearly every day, often during down time at the coffee shop.<\/p>\n

\u00e2\u20ac\u0153I think she has the same fiber that I have that would never allow her to pursue art in a directed way,\u00e2\u20ac\u009d Williams says of his daughter. \u00e2\u20ac\u0153It\u00e2\u20ac\u2122s more of an organic way where she\u00e2\u20ac\u2122ll have to discover it herself.\u00e2\u20ac\u009d<\/p>\n

\"\"<\/a>As a young artist in a town where the eighteen-to-twenty-four-year-old demographic is almost nonexistent, Brittney is in a very small minority. She can think of only two other people she went to school with who had any interest in art. Unlike her father, Brittney doesn\u00e2\u20ac\u2122t see herself staying in Andrews and may choose to explore a career in tattooing or horror movie make-up. She plans to continue with her art, doing more painting and, like her father, veering away from realistic depictions in favor of what she calls \u00e2\u20ac\u0153twists on reality.\u00e2\u20ac\u009d<\/p>\n

\u00e2\u20ac\u0153My dad could draw some amazing things that looked like photographs,\u00e2\u20ac\u009d Brittney notes. \u00e2\u20ac\u0153There was a picture I found of a cowboy that looked so realistic, like he drew every single pore. But now he does olives with faces. I think that\u00e2\u20ac\u2122s pretty neat.\u00e2\u20ac\u009d<\/p>\n

We\u00e2\u20ac\u2122re Out of Peanut Butter<\/strong>
\n\"\"Save the space reserved for works by Brittney, nearly every inch of the record store’s immense walls is covered in Williams\u00e2\u20ac\u2122 paintings. In fact, Williams has so many paintings that many more are stored in corners or remain in his old store front until he can find the space for them. He estimates that he\u00e2\u20ac\u2122s completed six or seven hundred pieces, sometimes working on several at one time.<\/p>\n

In many ways, Williams is a paradigm of an outsider artist. He not only didn\u00e2\u20ac\u2122t attend art school, he never studied art at all, dropping out of Andrews High in the tenth grade. Instead of using traditional canvases, Williams paints on found materials, particularly plywood scavenged from alleys or donated by friends. Many of his paintings have other found objects attached to them\u00e2\u20ac\u201dpieces of wooden knick-knacks, bottle caps, nails, and other reused bric-a-bracs.<\/p>\n

\u00e2\u20ac\u0153Sometimes I wish I had gone to art school just so I could learn how to manipulate materials, how to use certain techniques,\u00e2\u20ac\u009d Williams notes. \u00e2\u20ac\u0153But I think it can also be healthy not to have that knowledge. Sometimes making mistakes is a discovery in itself.\u00e2\u20ac\u009d<\/p>\n

In contrast to his affable and straight-forward nature in discussing almost anything else, Williams is reluctant to discuss his art, comparing it to the act of ruining a magic trick.<\/p>\n

\u00e2\u20ac\u0153I find it difficult to talk about my art. Have you noticed that?\u00e2\u20ac\u009d Williams says with a laugh. \u00e2\u20ac\u0153I don\u00e2\u20ac\u2122t like it when someone comes in, looks at my art and says \u00e2\u20ac\u02dcWhat does this mean?\u00e2\u20ac\u2122 My answer is usually \u00e2\u20ac\u02dcWhat does it mean to you?\u00e2\u20ac\u2122 Or when people ask \u00e2\u20ac\u02dcWhat were you thinking when you did that?\u00e2\u20ac\u2122 I don\u00e2\u20ac\u2122t know. I might have been thinking \u00e2\u20ac\u02dcWe\u00e2\u20ac\u2122re out of peanut butter.\u00e2\u20ac\u2122\u00e2\u20ac\u009d<\/p>\n

Williams doesn\u00e2\u20ac\u2122t sketch out most of his paintings ahead of time, but rather \u00e2\u20ac\u0153draws with a paint brush\u00e2\u20ac\u009d on the canvas. He admits he usually doesn\u00e2\u20ac\u2122t know what direction the piece will go.<\/p>\n

\u00e2\u20ac\u0153I start with eyes a lot,\u00e2\u20ac\u009d Williams notes, pointing to a particular canvas where a group of complex geometric shapes are lumped together on a ghoulish face in a surreal version of an eye. \u00e2\u20ac\u0153But sometimes my eyes end up being something else entirely.\u00e2\u20ac\u009d<\/p>\n

Williams frequently uses the eerie image of coffins, specifically toe-pincher coffins because he \u00e2\u20ac\u0153saw them in old cowboy movies\u00e2\u20ac\u009d and \u00e2\u20ac\u0153liked their shape and wondered about their origin.\u00e2\u20ac\u009d Many of his paintings have words or phrases written on them, sometimes discreetly, sometimes prominently, though Williams says he never knows when he\u00e2\u20ac\u2122s \u00e2\u20ac\u0153going to go that route.\u00e2\u20ac\u009d Some of his paintings feature bees, which Williams attributes to a childhood fascination with the creatures. And of course there are the olives, though Williams assures \u00e2\u20ac\u0153there is no deep meaning there other than I like olives.\u00e2\u20ac\u009d<\/p>\n

African Acid Trip<\/strong>
\n\"\"Though he may be cagey when discussing the meaning of his art, Williams will open up about the greatest influence on his work\u00e2\u20ac\u201dmusic, in particular the blues.<\/p>\n

\u00e2\u20ac\u0153I\u00e2\u20ac\u2122m more influenced by music than I am by art or other artists,\u00e2\u20ac\u009d Williams says. \u00e2\u20ac\u0153I don\u00e2\u20ac\u2122t look at other artists that much.\u00e2\u20ac\u009d<\/p>\n

As a teenager, Williams discovered the blues through the genre\u00e2\u20ac\u2122s influence on rock bands such as The Rolling Stones and Led Zeppelin. But growing up in Andrews, Williams music collection was limited to what he could purchase at the five and dime store. There were no record stores in town, and the best place to buy records was twenty minutes away in Murphy, at a bigger dime store.<\/p>\n

\u00e2\u20ac\u0153Back then, dime stores in small towns just didn\u00e2\u20ac\u2122t carry blues records,\u00e2\u20ac\u009d Williams recalls. \u00e2\u20ac\u0153I discovered blues like most white people did, which is the wrong way. You hear the Rolling Stones and Led Zeppelin and then find out later that they listened to Muddy Waters and John Lee Hooker. In my opinion, the Stones and Zeppelin are great but there\u00e2\u20ac\u2122s nothing like the old blues singers.\u00e2\u20ac\u009d<\/p>\n

Blues imagery in Williams\u00e2\u20ac\u2122 work shows in depictions of sad looking spirits holding guitars and whiskey bottles, through images of juke boxes and vinyl records, and through the lyrics that dance along some of Williams\u00e2\u20ac\u2122 canvases. Scribbled on one painting entitled \u00e2\u20ac\u0153Bob\u00e2\u20ac\u2122s Chicken Neck Blues\u00e2\u20ac\u009d are the words \u00e2\u20ac\u0153Support blues artists on the Music Maker label\u00e2\u20ac\u009d alongside a biblical reference: \u00e2\u20ac\u0153And the serpent was crafty.\u00e2\u20ac\u009d<\/p>\n

\u00e2\u20ac\u0153A lot of people ask me about religious themes,\u00e2\u20ac\u009d Williams says. \u00e2\u20ac\u0153I\u00e2\u20ac\u2122ve never really done religious themes, but I use a lot of religious mythology to make other statements. I do a lot of angels and devils and pitchforks. But that goes back to blues music. That\u00e2\u20ac\u2122s a recurring theme in blues music\u00e2\u20ac\u201dconflict between good and evil. A lot of blues musicians were told they needed to play gospel music or they would go to hell. To me, gospel and the blues are flip sides of the same coin, like good and evil.\u00e2\u20ac\u009d<\/p>\n

\"\"<\/a>Williams\u00e2\u20ac\u2122 fascination with the blues led to his fascination with African culture, and his work also shows a heavy influence of traditional African art which can be seen in the shapes of his geometric figures, his preference for abstract rather than realistic depictions, and, Williams points out, his emphasis on faces.<\/p>\n

\u00e2\u20ac\u0153That\u00e2\u20ac\u2122s why I do a lot of faces and why I don\u00e2\u20ac\u2122t do paintings of particular people,\u00e2\u20ac\u009d Williams says. \u00e2\u20ac\u0153It\u00e2\u20ac\u2122s more like painting spirits and occasionally one of them will become somebody.\u00e2\u20ac\u009d<\/p>\n

There are other symbols in Williams\u00e2\u20ac\u2122 work which he admits are unsettling to some. There are images\u00e2\u20ac\u201dfried chicken, beer bottles, watermelons, and pickup trucks to name a few\u00e2\u20ac\u201d that could be seen as pejorative depictions of southern culture, particularly African-American southern culture.<\/p>\n

\u00e2\u20ac\u0153A lot of the themes I do connected with blues music and the whole culture are what people would call stereotypical,\u00e2\u20ac\u009d Williams says. \u00e2\u20ac\u0153I think it\u00e2\u20ac\u2122s sad that people find that insulting. They\u00e2\u20ac\u2122ve been trained that if you noticed that black people are different you\u00e2\u20ac\u2122re a racist. I don\u00e2\u20ac\u2122t see it that way. To me these things are part of the magic of their culture. Just noticing things about a culture doesn\u00e2\u20ac\u2122t mean you hate it.\u00e2\u20ac\u009d<\/p>\n

Dean\u00e2\u20ac\u2122s<\/strong>
\n\"\"<\/a>Dean\u00e2\u20ac\u2122s is the first specialty record store in Andrews and the only one in the surrounding area. A lot of William\u00e2\u20ac\u2122s business comes from Murphy and Hayesville, as Williams notes Andrews is not big enough to support the store. Yet despite being smack in the middle of a small town whose Main Street is a testament to the high failure rate of small businesses, Williams\u00e2\u20ac\u2122 store is surviving.<\/p>\n

This may in part be due to the store\u00e2\u20ac\u2122s focus. Williams\u00e2\u20ac\u2122 business strategy is to offer things not available at Wal-Mart and other corporate stores. Williams himself attributes the demise of Andrews\u00e2\u20ac\u2122 Main Street to Wal-Mart, noting that \u00e2\u20ac\u0153it\u00e2\u20ac\u2122s almost like they put the ply-wood in the windows themselves.\u00e2\u20ac\u009d<\/p>\n

\u00e2\u20ac\u0153When I was a teenager, all these stores were full,\u00e2\u20ac\u009d Williams notes. \u00e2\u20ac\u0153You rarely saw an empty building for any length of time.\u00e2\u20ac\u009d<\/p>\n

Dean\u00e2\u20ac\u2122s specializes in Afro-beat compilations, vinyl records, and of course, obscure blues albums. Ultimately, Williams store is a specialty blues store, if for no other reason than the blues are where his passion lies and what he most enjoys selling.<\/p>\n

\u00e2\u20ac\u0153I\u00e2\u20ac\u2122m not going to be a fascist as far as dictating what music people can buy,\u00e2\u20ac\u009d\u00c2\u00a0Williams says. \u00e2\u20ac\u0153But what I enjoy the most is selling something that someone buys because they hear it and they like it. If I can turn someone on to John Lee Hooker, I feel like \u00e2\u20ac\u02dcWell, job done for the day.\u00e2\u20ac\u2122\u00e2\u20ac\u009d<\/p>\n

\"\"<\/a>People come to Dean\u00e2\u20ac\u2122s to find records they won\u00e2\u20ac\u2122t find anywhere else, and to talk to Williams about the music playing on the store\u00e2\u20ac\u2122s stereo, music they probably haven\u00e2\u20ac\u2122t heard before. For a time one of these people was the late Mark Linkous of Sparklehorse, who had set up his recording studio, Static King, in Andrews a block away from Dean\u00e2\u20ac\u2122s.<\/p>\n

\u00e2\u20ac\u0153The first time Mark came in he looked like a guy who had rolled off the back of a bus,\u00e2\u20ac\u009d Williams remembers. \u00e2\u20ac\u0153He came in and usually I at least try to make eye contact and say hi, but he kind of avoided that. He looked at records for about thirty minutes and then just left. And I thought \u00e2\u20ac\u02dcWhat a jerk!\u00e2\u20ac\u2122 The next time he came in I was playing The Replacements. He said \u00e2\u20ac\u02dcIs that The Replacements? I got to play with them one time.\u00e2\u20ac\u2122 I asked \u00e2\u20ac\u02dcWere you in a band?\u00e2\u20ac\u2122 and he kind of mumbled \u00e2\u20ac\u02dcSparklehorse.\u00e2\u20ac\u2122\u00e2\u20ac\u009d<\/p>\n

Linkous returned to Dean\u00e2\u20ac\u2122s from time to time during the years he spent in Andrews, and once brought in Brian Burton, better known by his moniker Danger Mouse, the producer of The Grey Album<\/em> and one-half of the duo called Gnarls Barkley.<\/p>\n

\u00e2\u20ac\u0153I didn\u00e2\u20ac\u2122t know who he was, but I knew he was special by the way Mark was treating him like royalty,\u00e2\u20ac\u009d Williams laughs. \u00e2\u20ac\u0153He bought two big stacks of records, the most obscure things I had, things I thought \u00e2\u20ac\u02dcGee, I\u00e2\u20ac\u2122ll never sell this; I should just give it away.\u00e2\u20ac\u2122 I saw him in Spin<\/em> magazine about three weeks after that and thought \u00e2\u20ac\u02dcOh, I know that guy.\u00e2\u20ac\u2122\u00e2\u20ac\u009d<\/p>\n

Burton and Linkous recorded parts of their iconic album, Dark Night of the Soul<\/em>, in Andrews. It was the last album Linkous completed before his suicide in March 2010. Williams shows me the empty building that once housed Static King, speaking of Linkous in the same warm tones he uses when discussing his daughter\u00e2\u20ac\u2122s paintings. It\u00e2\u20ac\u2122s important to note that though Williams\u00e2\u20ac\u2122 affection for Linkous is clear, their acquaintanceship is not something Williams\u00e2\u20ac\u2122 has ever publically advertised. There are no signed photographs of Linkous in Dean\u00e2\u20ac\u2122s, undoubtedly out of respect to the musician who was known to be private and reserved. Williams\u00e2\u20ac\u2122 notes the \u00e2\u20ac\u0153last thing\u00e2\u20ac\u009d he would have ever wanted to do during Linkous\u00e2\u20ac\u2122 time in Andrews was expose him to a fame-thirsty public.<\/p>\n

\u00e2\u20ac\u0153I got to know him pretty well, but with him being here five years, he was still like a distant stranger,\u00e2\u20ac\u009d Williams says. \u00e2\u20ac\u0153If somebody else came in [the store] he would find a way to exit pretty quickly. Talking to him was like feeding berries to a deer. If you move too fast, he\u00e2\u20ac\u2122s gone.\u00e2\u20ac\u009d<\/p>\n

Apart from being a specialty records store, Dean\u00e2\u20ac\u2122s has also served as a renegade music venue in a town that Williams emphatically notes \u00e2\u20ac\u0153needs more music venues.\u00e2\u20ac\u009d Dean\u00e2\u20ac\u2122s once hosted a local rock band in need of a place to play, despite lacking the permits required for such an event.<\/p>\n

\"\"<\/a>\u00e2\u20ac\u0153They asked me if they could play [in front of the store] and I said, \u00e2\u20ac\u02dcWell there\u00e2\u20ac\u2122s two ways to do it: we could either find out if we need to get a permit and plan a date for it, or we could do it this Saturday. You\u00e2\u20ac\u2122ll probably get shut down but we can just see what happens,\u00e2\u20ac\u009d Williams recalls.<\/p>\n

The band set up, electric guitars and all, on the street in front of Dean\u00e2\u20ac\u2122s but were quickly shut down by Andrews police after multiple noise complaints. Realizing lack of a permit only restricted street performance, Williams \u00e2\u20ac\u0153pushed the shelves against the walls\u00e2\u20ac\u009d and moved the band inside his shop.<\/p>\n

\u00e2\u20ac\u0153It\u00e2\u20ac\u2122s like the Beatles playing on the rooftop,\u00e2\u20ac\u009d Williams laughs. \u00e2\u20ac\u0153The police thought they were going to harass the Beatles but didn\u00e2\u20ac\u2122t realize that\u00e2\u20ac\u2122s what they wanted. It would have been kind of boring if the police hadn\u00e2\u20ac\u2122t shown up. It was the same here. It made a better story.\u00e2\u20ac\u009d<\/p>\n

Everything Is For Sale<\/strong>
\nDespite the fact that Williams sells most of his paintings through his store, he is reluctant to talk about his art with visitors, admitting that \u00e2\u20ac\u0153at least half the time\u00e2\u20ac\u009d he lets them leave without saying who created the art on his walls.<\/p>\n

\u00e2\u20ac\u0153Usually I don\u00e2\u20ac\u2122t tell people it\u00e2\u20ac\u2122s my art when they come in,\u00e2\u20ac\u009d Williams says. \u00e2\u20ac\u0153They\u00e2\u20ac\u2122ll say \u00e2\u20ac\u02dcIs this a local artist?\u00e2\u20ac\u2122 And I\u00e2\u20ac\u2122ll say, \u00e2\u20ac\u02dcWell, yeah he\u00e2\u20ac\u2122s local.\u00e2\u20ac\u2122 I like to be a fly on the wall.\u00e2\u20ac\u009d<\/p>\n

It is important to note, should you ever find yourself in Williams\u00e2\u20ac\u2122 store, that all the work in the store is for sale\u00e2\u20ac\u201dWilliams will never hold back a painting out of personal attachment.<\/p>\n

\u00e2\u20ac\u0153I don\u00e2\u20ac\u2122t understand it when I meet artists and they say \u00e2\u20ac\u02dcThis one is not for sale; I like it too much.\u00e2\u20ac\u2122\u00e2\u20ac\u009d Williams says. \u00e2\u20ac\u0153If I like something, I want to pass it on more than if I don\u00e2\u20ac\u2122t like it.\u00e2\u20ac\u009d<\/p>\n

\"\"<\/a>This is perhaps not surprising for a man who favors showing his art in accessible public spaces and loves introducing customers to obscure musicians. For Williams the music he loves is meant to be heard; the art he creates is meant to be seen.<\/p>\n

\u00e2\u20ac\u0153I\u00e2\u20ac\u2122m the same way about records,\u00e2\u20ac\u009d Williams says. \u00e2\u20ac\u0153There are always going to be records that I want to find, that I want to come across. But once I find them the thrill is gone and I want to pass them on.\u00e2\u20ac\u009d<\/p>\n

———<\/p>\n

See more of Williams’ extensive catalog of work (as well as works by Brittney) at deanwilliamsart.com<\/a>… or visit the store at 982 Main Street in Andrews.<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

Andrews is located in the outlying western corner of North Carolina, a place far away from major roads and cities\u00e2\u20ac\u201da place that on a map looks like the middle of nowhere. Andrews’ Main Street is a narrow row of aging … Continue reading →<\/span><\/a><\/p>\n","protected":false},"author":2,"featured_media":104,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[5],"tags":[],"class_list":["post-103","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-articles"],"_links":{"self":[{"href":"http:\/\/www.quietzine.com\/news\/index.php?rest_route=\/wp\/v2\/posts\/103","targetHints":{"allow":["GET"]}}],"collection":[{"href":"http:\/\/www.quietzine.com\/news\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"http:\/\/www.quietzine.com\/news\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"http:\/\/www.quietzine.com\/news\/index.php?rest_route=\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"http:\/\/www.quietzine.com\/news\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=103"}],"version-history":[{"count":0,"href":"http:\/\/www.quietzine.com\/news\/index.php?rest_route=\/wp\/v2\/posts\/103\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"http:\/\/www.quietzine.com\/news\/index.php?rest_route=\/wp\/v2\/media\/104"}],"wp:attachment":[{"href":"http:\/\/www.quietzine.com\/news\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=103"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/www.quietzine.com\/news\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=103"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/www.quietzine.com\/news\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=103"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}