Bill Sullivan came from a flat country where the huge amount of rain made it necessary to house their coffins in concrete and place them on top of the ground. New Orleans. Where the air is so still a fan could barely stir up a breeze to keep you company. When he and his family rolled into the southwest on Southern Pacific’s Argonaut, with an awesome sky and strange high mountains and sunrises and sunsets in colors hardly imagined, they believed they were someone special. Sullivan never left the country he grew to love. He went to school here. El Paso High and Texas Western College. Always interested in contemporary artists, Sullivan, throughout the years, read and looked and listened. After years as a mortgage banker and real-estate developer, it seemed clear to him what he needed to do. Build with his hands what was in his heart and mind. Somewhat influenced by Louise Nevelson, he began with a black box. From there he went his own way, the ongoing vigor of his inventiveness leading him to intellectually challenging and culturally stimulating work. He draws on everything around him. His subject matter is limitless. From a small piece of wood or iron he finds in the road on the farm where he lives to the irony of a piece like THERE GOES THE NEIGHBORHOOD.
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