MESSAGES episode

MAN: CULTURE IS NOT WHAT RUNS THROUGH YOUR BLOOD.

CULTURE IS HOW YOU PARTICIPATE.

WOMAN: BASICALLY, I FANTASIZE ABOUT WHAT THE PIECE HAS TO BE, AND THEN I JUST FOLLOW THAT.

HEY.

HOW YOU DOING?

WHEN I GOT BACK TO NEW ORLEANS, THE FIRST THING THAT I THOUGHT I SHOULD DO IS MAKE MY OWN KIND OF RESPONSE TO THIS.

WOMAN: I HAD PEOPLE WHO I WOULD NEVER THINK BUY MY JEWELRY TELL ME THAT THEY WEAR IT BECAUSE IT GETS THEM TO TALK ABOUT THINGS THAT ARE NOT EASILY TALKED ABOUT.

MAN: ALL OF MY WORK IS ABOUT THE MESSAGE INSIDE OF IT.

SO IT ALL STARTED HERE.

EVERYTHING IN MY LIFE RIGHT HERE.

CHORUS: ♪ '’’TIS A GIFT TO BE SIMPLE ♪ ♪ '’’TIS A GIFT TO BE FREE ♪ WOMAN: ♪ '’’TIS A GIFT ♪ CHORUS: ♪ '’’TIS A GIFT TO COME DOWN ♪ ♪ WHERE YOU OUGHT TO BE ♪ ♪ AND WHEN YOU FIND YOURSELVES ♪ ♪ IN THE PLACE JUST RIGHT ♪ ♪ '’’TWILL BE IN THE VALLEY ♪ ♪ OF LOVE AND DELIGHT ♪ CAPTIONING MADE POSSIBLE BY CRAFT IN AMERICA, INC.

THE WAY THAT I WORK IN GLASS, THE PROCESS ITSELF IS CAPTURING A MOMENT IN TIME.

FOR ME, IT'’’S ABSOLUTELY ABOUT MORTALITY.

I MEAN, THAT'’’S WHAT MAKES ME MAKE ART, IS, YOU KNOW, DEATH, ESSENTIALLY, IN A NUTSHELL.

THAT'’’S WHY I'’’M NONJUDGMENTAL WITH THE OBJECTS, IS BECAUSE, WHO AM I TO JUDGE WHETHER THEY'’’RE GOOD OR NOT?

THEY'’’RE HERE, THEY'’’RE EXISTING.

THEY'’’VE BEEN MADE BY SOMEONE.

THEY HAVE THAT PERSON'’’S MARK, THAT HAND.

WELL, FOR THE PAST 10 YEARS, I'’’VE BEEN FOCUSED ON WORKING IN THE STILL LIFE TRADITION.

I WAS TRYING TO FIND THAT PLACE OF ALMOST DISGUST, THAT ROLE-REVERSAL, WHERE IT GOES FROM DESIRE TO REPULSION, OR, YOU KNOW, DESIRE TO CONSEQUENCE, THAT KIND OF THING.

ONE WAY THAT I APPROACH THE WORK, THAT GIVES ME A BEGINNING.

I USUALLY END UP DOING SOMETHING THAT IS VERY REPETITIOUS, LIKE GLASS CUTTING, OR I'’’LL GO BLOW GLASS FOR THE DAY, AND I'’’LL JUST MAKE OBJECTS THAT I KNOW THAT I'’’LL NEED THAT I CAN USE.

I CALL THAT A VOCABULARY OF OBJECTS.

AND THEN WHEN I FEEL CONFIDENT IN THE THINGS THAT I HAVE, I'’’LL START TO REALLY QUICKLY ADD THINGS TO A TABLE.

THIS IS KIND OF NICE.

MY COMPOSITIONS ARE 3-DIMENSIONAL DRAWINGS.

THAT'’’S HOW I WORK.

AS I'’’M COMPOSING, I'’’M LOOKING FOR FORM, LINE, TEXTURE.

I'’’M ALSO LOOKING FOR REFLECTION OR DENSITY OF MATERIALS.

I DON'’’T EVEN KNOW WHAT I WOULD DRAW ON A PIECE OF PAPER BEFORE MAKING A GLASS STILL LIFE BECAUSE IT WOULD COMPLETELY NEGATE THE PROCESS OF DRAWING IN THE MATERIAL FOR ME.

SO THE VINES ON THIS PARTICULAR PIECE ARE ACTUALLY GOING TO START ON THE GROUND.

THEY'’’RE GOING TO BE TRAILING IN FROM HERE, WRAP AROUND THIS PARTICULAR LEG, COME UP, AND KIND OF CRAWL OVER HERE-- A REALLY MASSIVE BUNDLE OF VINES AT THIS POINT-- AND THEN SHED ALMOST OVER AND COME DOWN OFF THE TABLECLOTH ON THIS SIDE.

THE LARGER WORKS IN THIS PARTICULAR TABLE WERE MADE BY A SCIENTIFIC GLASSBLOWING COMPANY IN SOUTH JERSEY.

THEY ARE MY DESIGN, BUT THEY WERE MADE WITH BOROSILICATE GLASS.

I CAME TO STILL LIFE PROBABLY BECAUSE OF MY FIXATION ON FOOD-- HA HA--INITIALLY, AND I WAS ACTUALLY WORKING WITH FOOD CONCEPTUALLY PRIOR TO WORKING WITH THE STILL LIFE TRADITION, SO IT WAS KIND OF A NATURAL EVOLUTION.

I GREW UP IN LANCASTER, PENNSYLVANIA.

MY MOTHER PURSUED CRAFT FROM WHEN I WAS ABOUT AGE 9.

SO I WAS EXPOSED AT A PRETTY EARLY AGE TO PAINTING AND FOLK ART.

WE TRAVELED AROUND A LOT.

SHE WOULD DO CRAFT SHOWS, AND WE WOULD DEFINITELY FIND THE BEST SPOT FOR FOOD WHEREVER WE WERE.

WE ABSOLUTELY PLANNED OUR DAYS AROUND FOOD.

HA HA!

ESSENTIALLY WE'’’RE GONNA TRY TO MAKE TWO TOPIARIES TODAY.

THE TOPIARIES ARE BASICALLY FUSED TOGETHER.

I'’’M THINKING, LIKE, GRAPES, BANANAS, PEARS, PEACHES, AND MAYBE WE'’’LL MAKE, LIKE, A MELON FOR THE BOTTOM, OR I WAS ALSO THINKING MAYBE I'’’LL MAKE A QUICK DEAD BIRD OR SOMETHING THAT GOES KIND OF ON THE BOTTOM OF THE PIECE.

SO WE'’’LL BUILD THIS PIECE.

JUST FOR YOUR INFORMATION, WE'’’RE GONNA BE USING AN OXY-ACETYLENE THAT MAY, IN FACT, LIKE, SCORCH THE GLASS IN PLACES, AND I'’’M TOTALLY OK WITH THAT.

I THINK THAT'’’S AWESOME.

ALL RIGHT.

LET'’’S TRY THIS.

HEAD TOWARDS THE--YES, THANK YOU.

WOMAN: URBANGLASS WAS FOUNDED IN 1977.

WE SERVE ALL OF THE CREATIVE COMMUNITY-- ARTISTS WHO WORK PRIMARILY IN GLASS AND ALSO ARTISTS WHO HAVE NEVER WORKED IN GLASS BEFORE.

BETH LIPMAN CAME TO URBANGLASS IN THE LATE 1990s.

I THINK SHE WAS HERE FOR ABOUT 4 YEARS.

SHE STARTED OUT AS A TEACHING ASSISTANT.

EVENTUALLY BECAME A TEACHER HERSELF, AND THEN WENT ON TO BECOME THE DIRECTOR OF EDUCATION.

BETH: BECAUSE JEREMY HAS TO GET... BETH, VOICE-OVER: SO I ALWAYS UNTIL VERY RECENTLY HAD A JOB AS AN ARTS ADMINISTRATOR.

THAT REALLY FULFILLED THIS NEED OF BEING INVOLVED IN COMMUNITY AND COMING TOGETHER WITH THE COMMUNITY TO GET SOMETHING DONE.

AND THAT'’’S VERY SIMILAR TO WORKING IN GLASS, WORKING IN HOT GLASS.

YOU NEED A LOT OF PEOPLE, SOMETIMES, TO MAKE THINGS THAT YOU CAN'’’T MAKE ON YOUR OWN, AND THAT'’’S REALLY A HUMBLING EXPERIENCE, REALLY WONDERFUL.

THAT'’’S NICE.

SILVIO, I'’’M GONNA SHAPE AFTER THIS.

SILVIO: OK. MAN: ONE OF THE PROJECTS THAT GAVE ME THE CLUE THAT BETH WAS SOMEBODY REALLY SPECIAL-- I INVITED 15 ARTISTS THAT I KNEW WHO WERE CONNECTED IN SOME WAY OR ANOTHER WITH URBANGLASS TO CHOOSE AN ARTWORK ON PUBLIC VIEW IN THE BROOKLYN MUSEUM AND MAKE A WORK IN GLASS THAT COMMENTED ON THAT ARTWORK.

AND BETH WAS ONE OF THE ARTISTS I CHOSE TO BE IN THAT EXHIBITION.

BETH: I WAS JUST NATURALLY DRAWN TO THE SEVERIN ROESEN "STILL LIFE WITH FRUIT" PAINTING THAT THEY HAD IN THEIR COLLECTION.

SO I JUST REALLY INTUITIVELY JUST STARTED RESPONDING TO THE OBJECTS WITHIN HIS PAINTING.

THAT WAS THE BEGINNING OF THE SERIES THAT I'’’VE BEEN WORKING ON NOW FOR THE PAST 11 YEARS.

MY PRIMARY GALLERY IS HELLER GALLERY IN NEW YORK CITY.

AND I'’’VE BEEN EXHIBITING WITH THEM SINCE 2000.

AFTER THIS, YOU SHOULD BE ABLE TO JUST LET IT...

THIS ON HERE.

OH, GREAT.

YEAH.

THIS--YES.

MAN: GOOD OLD SURGERY AT THE MOMENT.

WOMAN: BETH HAS A COMMAND OF HER MEDIUM.

FOR ME, IT TOUCHES ON ISSUES THAT, YOU KNOW, ARE VERY CLOSE TO MY HEART, THINGS THAT HAVE TO DO WITH MATERIAL CULTURE, THINGS THAT HAVE TO DO WITH HISTORY, QUESTIONS OF FEMINISM AND OTHER ISSUES, COMMENTING ON THE HISTORY OF ART ITSELF.

MAN: ONE OF THE MOST SEDUCTIVE QUALITIES OF GLASSMAKING-- UTILIZING HOT GLASS-- IS THIS GREAT VISUAL PERFORMANCE.

THERE'’’S THE CHOREOGRAPHY INVOLVED, THERE'’’S THE DANGER OF THE MOLTEN GLASS-- THIS CREATION FROM A PRIMORDIAL SOUP.

BUT TOO OFTEN, YOU KNOW, PEOPLE WHO GAIN COMMAND OF THAT PROCESS GET CAUGHT UP IN THE SOUND AND FURY WITHOUT KNOWING WHY OR WHAT ELSE IT COULD LEAD TO.

I THINK BETH EPITOMIZES THE ARTIST WHO KNOWS HOW TO MAKE ALL OF THAT SIGNIFY SOMETHING.

BETH: IT'’’S A NICE PEAR.

SILVIO: HEH HEH.

BETH: THE ARTS INDUSTRY COORDINATOR POSITION OPENED FOR THE JOHN MICHAEL KOHLER ARTS CENTER IN SHEBOYGAN, WISCONSIN.

I HAD DONE A RESIDENCY IN 2003.

SO WHEN THE POSITION BECAME AVAILABLE, I PRETTY MUCH JUMPED AT THE CHANCE TO COME HERE.

WOMAN: KOHLER COMPANY, WHERE THE ARTS INDUSTRY PROGRAM IS LOCATED, IS WORLD FAMOUS FOR ITS BEAUTIFULLY DESIGNED PLUMBINGWARE.

AND WE HAVE BEEN THRILLED TO HAVE A PARTNER THAT RECOGNIZED THE IMPORTANCE OF ARTISTS TO THIS WORLD.

BETH LIPMAN BROUGHT A KIND OF LEGITIMACY TO THE PROGRAM.

WE HAD NOT HAD THAT KIND OF WELL-KNOWN ARTIST.

ALSO BECAUSE SHE WAS A GLASS ARTIST AND WAS WORKING IN CLAY IN THE POTTERY, IT GAVE OTHER ARTISTS THE SENSE THAT THEY COULD BE A PART OF THIS.

BETH: I DID HAVE SOME MOLD MAKING EXPERIENCE WORKING IN GLASS.

BUT I HAD NEVER WORKED IN CLAY.

I MADE SEVERAL SWAGS OUT OF SHELLS.

AND THE SHELLS ARE SHELLS THAT I HAND-CARVED AND THEN TOOK MOLDS OF.

AND THERE WERE, LIKE, 300 OR 400 SHELLS THAT WOULD MAKE UP EACH SWAG.

THE RESIDENCY DEFINITELY CHANGED MY LIFE.

I HAD NEVER BEEN IN AN INDUSTRIAL ENVIRONMENT THAT WAS REMOTELY ANYTHING LIKE KOHLER.

SO MY WHOLE PERCEPTION OF, LIKE, MY IDENTITY, WHAT I WAS DOING, CHANGED.

SO, YEAH, IT WAS A REALLY INCREDIBLE EXPERIENCE.

AND THE BOWL OF FRUIT.

BETH, VOICE-OVER: FOR THE PAST YEAR, MY HUSBAND KEN SAGER AND I HAVE BEEN WORKING FULL-TIME IN THE STUDIO.

SO KEN IS THE STUDIO AND BUSINESS MANAGER.

BETH: I'’’M THINKING ABOUT A VERTICAL PHOTOGRAPH.

BETH, VOICE-OVER: HE'’’S AN INCREDIBLE MAKER HIMSELF BUT HAS REALLY NO INTEREST IN PURSUING ART IN THE PUBLIC REALM.

KEN: I MAKE STRAWBERRIES, RASPBERRIES, EVERYTHING.

A CHAIN, LEAVES, FLOWERS.

I DID A WHOLE TRILLIUM THING, DEAD BIRDS.

BETH DOES A LOT OF STILL LIFES WITH DEAD BIRDS.

BETH WILL ACTUALLY START TO DESIGN THE STILL LIFE AND PUT IT TOGETHER.

AND THEN SHE'’’LL COME TO ME AND SHE'’’LL SAY, "WHAT DO YOU THINK?

HOW DOES THIS READ?"

WALK AROUND IT, AND SHE'’’LL TELL ME WHAT SHE'’’S LOOKING FOR.

WORKING IN THIS TRADITION, I HAVE CHOSEN TO WORK IN AN ALREADY ESTABLISHED VOCABULARY OF MEANING.

THE OBJECTS HISTORICALLY WERE VERY KIND OF SUPPORTING ROLES IN THE PAINTING FOR PRIMARILY RELIGIOUS ICONOGRAPHY.

DURING THE DUTCH GOLDEN ERA WHEN THE STILL LIFE REALLY TOOK OFF, THOSE FIGURES AND THOSE NARRATIVES-- RELIGIOUS NARRATIVES-- WERE COMPLETELY ELIMINATED FROM THE PAINTINGS, AND ALL THAT REMAINED WERE THE OBJECTS.

THE TRANSIENCE OF LIFE IS REALLY A HUGE-- IT'’’S HUGELY IMPORTANT TO ME.

I THINK THAT'’’S WHAT KEEPS DRIVING ME TO USE THE OBJECTS BECAUSE THEY WILL EXIST WHEN WE DO NOT.

ARE WE A HAM?

YOU WANT BLUEBERRY?

KEN: HEY.

SHOULD WE GET THAT IN FRONT OF YOU HERE BEFORE YOU GET IT ALL OVER YOU?

BETH, VOICE-OVER: HAVING MY GIRLS FORCED ME TO CHOOSE.

ACTUALLY, IT'’’S BIZARRE TO SAY, "OK, I'’’M GONNA TRY THIS.

"I'’’M GONNA STOP WORKING IN A DAY JOB AND JUST MAKE MY WORK AND SEE WHAT HAPPENS."

IT REALLY WAS THE ABSOLUTE OPPOSITE DECISION OF WHAT I THOUGHT I WOULD POSSIBLY HAVE TO MAKE.

THE THING THAT I THINK ABOUT A LOT IS I NEVER WANT TO BE TOO COMFORTABLE IN WHAT I'’’M DOING.

I ALWAYS WANT THE WORK TO BE MOVING FORWARD.

SO I GUESS FOR ME, IT'’’S LIKE THAT-- IT'’’S A FUNDAMENTAL BELIEF.

IF I'’’M JUST TRUE TO THE WORK AND AS LONG AS I KEEP BEING GIVEN OPPORTUNITIES TO MAKE THE NEXT THING WHICH IS NOT EXACTLY LIKE THE LAST THING I'’’VE MADE, IT'’’S REALLY--IT'’’S, UM...

IT'’’S UNBELIEVABLE TO ME.

SO I DON'’’T TRUST IT IN SOME WAYS.

I'’’M NOT QUITE SURE WHAT'’’S HAPPENING HERE.

IT'’’S THE BERMUDA TRIANGLE EFFECT OF WISCONSIN.

HA HA!

LIKE, I'’’M IN THAT SPOT.

I DON'’’T KNOW HOW I GOT THERE.

SO I CAN'’’T MOVE.

I HAVE TO STAY RIGHT HERE.

[SCRAPING AGAINST WOOD] I NEVER THOUGHT ABOUT BEING AN ARTIST AS A CHILD.

I WROTE A PAPER WHEN I WAS IN THIRD GRADE, "WHAT DO YOU WANT TO BE?"

"I WANT TO BE AN ARCHEOLOGIST."

WHAT MADE ME BECOME AN ARTIST WAS I WAS INVITED IN 1977 TO WORK AS AN ARCHEOLOGIST FOR THE VILLAGE OF ABIQUIU.

THEY WERE EXCAVATING SANTA ROSA LIMA, THE HISTORIC SPANISH SETTLEMENT, BUILT IN 1734, NAMED AFTER SAINT ROSE OF LIMA, ONE OF THE FIRST SAINTS OF THE AMERICAS.

WE'’’RE FACING ALMOST DUE EAST-- THE CHAMA RIVER DOWN BELOW.

AND WHAT I SEE DOWN HERE AND WHAT WE EXCAVATED AND MAPPED IS THERE IS AN ENTIRE SPANISH VILLAGE.

AS I WAS WORKING THERE, I WAS READING THE SPANISH COLONIAL DOCUMENTS.

AND I BECAME FASCINATED WITH THE DESCRIPTION OF THE SAINTS, THE SANTOS, THAT THEY HAD IN THE CHURCH.

I STARTED DOING RESEARCH, AND THEN I THOUGHT, "WELL, I'’’M GONNA PAINT ONE OF THESE FOR MYSELF."

1978 WAS THE FIRST ONE I EVER PAINTED.

AND I STARTED PAINTING FOR PEOPLE JUST OUT OF PLEASURE.

AND I HAD THIS KIND OF EPIPHANY THAT SOMEBODY SHOULD DO SOMETHING ABOUT CREATING THE ORIGINAL STYLE OF SANTOS.

HOW DID THEY MAKE PIGMENTS, HOW DID THEY MAKE DYES, HOW DID THEY MAKE VARNISH?

ALL THESE THINGS THAT I SAW IN THE OLD PIECES BUT NOBODY HAD LIVING MEMORY OF HOW IT WAS DONE.

SO LITERALLY, THAT'’’S BEEN MY JOURNEY FOR THE LAST 32 OR 33 YEARS, IS LITERALLY TRYING TO FIND OUT HOW MY ANCESTORS WERE MAKING SANTOS.

THERE'’’S TWO TYPES OF SANTOS IN NEW MEXICO.

ONE IS A BULTO.

THIS WAS A BULTO--A CARVING, A 3-DIMENSIONAL FIGURE, A SCULPTURE, IF YOU WILL.

AND THE OTHER KIND OF SANTO IS A RETABLO.

AND RETABLOS ARE 2-DIMENSIONAL, BASICALLY ICONS.

WHEN I WAS FIRST STARTING TO DO THIS 31 YEARS AGO, OF COURSE, I WAS USING ACRYLICS BECAUSE I DIDN'’’T HAVE ALL THIS KNOWLEDGE.

AND I SOON REALIZED WITHIN A COUPLE OF YEARS THAT IF I WAS REALLY GONNA BE TRUE TO THE AUTHENTICITY OF NEW MEXICAN SANTOS THAT SOMEBODY HAD TO REINVENT THE WHEEL.

AND I HAD A DEGREE IN ARCHEOLOGY, BUT I WAS ALSO FORCED IN A VERY WONDERFUL WAY BY MY ADVISER TO TAKE A MINOR IN BIOLOGY AND CHEMISTRY.

AND MORE THAN ANYTHING ELSE, IT WAS A CLASS IN MINERALOGY THAT REALLY MADE ME UNDERSTAND THIS.

I'’’M PAINTING WITH ABOUT 27 COLORS.

ALL THE PIGMENTS I MAKE I START FROM SCRATCH.

BUT MOST OF THE COLORS ARE STRAIGHT FROM THE EARTH.

KNOWLEDGE UNSHARED IS KNOWLEDGE THAT GOES TO THE GRAVE.

AND I ALWAYS TELL PEOPLE IF I SHARE THIS, SOMEBODY WILL LEARN IT, SOMEBODY WILL PASS THAT TO SOMEBODY ELSE.

THIS IS A MAJESTIC PLACE.

IT'’’S BEEN USED FOR THOUSANDS OF YEARS BY NATIVE PEOPLES.

HISPANICS CAME DOWN HERE TO GET THIS CLAY, AND THEY USED IT TO PAINT WAINSCOTINGS ON THEIR WALLS.

AND I DISCOVERED IT MAKES THE MOST BEAUTIFUL FLESH TONE, AND IT MATCHES EXACTLY WHAT THEY WERE USING IN THE SPANISH COLONIAL PERIOD.

AND I'’’M CONSTANTLY LEARNING.

I'’’M LITERALLY LEARNING EVERY DAY.

THERE'’’S SOMETHING I DISCOVER--A NEW COLOR THAT I'’’VE BEEN LOOKING FOR, THAT I'’’VE SEEN ON AN OLD SANTO, AND I THINK, "OH, MY GOSH!

"HOW DID I MISS THAT?

THERE IT IS.

IT'’’S BEEN STARING ME IN THE FACE FOR YEARS."

AND NOW MOST OF THE SANTEROS IN NEW MEXICO, "THE SAINT MAKERS," THAT ARE MAKING TRADITIONAL NEW MEXICAN SANTOS, HAVE BEEN MY STUDENTS AT ONE POINT OR ANOTHER.

AND THEY'’’RE LEARNING ALL THIS.

I ALWAYS TELL THEM, YOU NEED TO HAVE A FOUNDATION.

IF YOU HAVE A BASE, UNDERSTOOD WHAT YOUR ANCESTORS WERE DOING, THEN YOU CAN MOVE FROM THERE.

THIS IS ONE OF MY FAVORITE BRUSHES.

I'’’VE HAD THIS BRUSH FOR 30 YEARS.

I ALWAYS REFER TO MYSELF AS A "NUEVO MEXICANO" OR A "HISPANO NUEVO MEXICANO," A HISPANIC NEW MEXICAN.

WHAT'’’S IMPORTANT FOR PEOPLE TO REALIZE THAT DON'’’T KNOW ANYTHING ABOUT HISPANIC OR HISPANO NEW MEXICO IS WE'’’VE BEEN HERE SINCE 1598.

LONG BEFORE THE HISPANIC PEOPLE OR THE SPANISH ARRIVED IN THE NEW WORLD, I HAD ANCESTORS THAT WERE LIVING HERE.

THE PUEBLO PEOPLES THAT WERE HERE, THEY RUN IN MY BLOOD, THE ATHABASKAN PEOPLES, NAVAJOS, AND APACHES.

WOMAN: IN NEW MEXICO, THE INDIAN CULTURE AND THE HISPANIC CULTURE ARE INTERTWINED.

THERE IS NO DIVISION.

IT'’’S VERY HARD TO SEPARATE THE TWO.

[BOTH PRAYING IN SPANISH] [CHILDREN LAUGHING] MAN: WHAT WE THINK OF AS NEW MEXICO CULTURE IS A HUGE MIXTURE OF SPANISH TRADITIONS, OF PUEBLO TRADITIONS, OF ATHABASKAN, NAVAJO, AND APACHE TRADITIONS, OF, EVEN LATER, COMANCHE TRADITIONS THAT ALL CAME TOGETHER KIND OF IN THIS ONE UNIQUE PLACE.

ABIQUIU AS A SETTLEMENT CERTAINLY PREDATES SPANISH ARRIVAL.

TODAY THE PUEBLO NAME STANDS FOR BOTH KIND OF A PHYSICAL COMMUNITY.

IT STANDS FOR CERTAINLY A CONFEDERATION OF THE 19 PUEBLO TRIBES.

AND ALSO IT'’’S BECOME, REALLY, A UBIQUITOUS NAME FOR THE PEOPLE THEMSELVES.

CHARLES CARRILLO'’’S "SAINT TO THE PUEBLOS" EXHIBIT THAT WE CURRENTLY HAVE EXHIBITED HERE AT THE CULTURAL CENTER REALLY BRINGS TOGETHER IN A WAY THAT I REALLY HAVEN'’’T SEEN IN MANY OTHER EXHIBITS THE INTERCONNECTEDNESS THAT EXISTS AND CERTAINLY EXISTED BETWEEN THE SPANIARDS, BETWEEN THE MESTIZOS AND THE PUEBLOS.

SO WHAT I DID HERE WAS I CREATED 24 IMAGES, 18 OF WHICH ARE THE CURRENT LIVING PUEBLOS THAT EXIST TODAY AND 4 PUEBLOS THAT ARE REPRESENTED AS ANCESTRAL PUEBLOS.

THIS IS ONE OF MY, REALLY MY FAVORITE PIECES IN THE SHOW.

I LOVE THE STORY OF SAINT DOMINIC.

BUT MORE IMPORTANT THAN THAT, IT'’’S JUST THE SIMPLICITY.

HIS COLORS ARE BASICALLY WHITE AND BLACK.

AND THE BORDER MOTIF FOR THE PUEBLO SANTO DOMINGO IS THIS IS A CLASSIC BORDER MOTIF WITH THESE TULIP-LIKE, FLOWER-LIKE DESIGN MOTIFS.

THIS IS SAINT STEPHEN OF ACOMA OR SAN ESTEBAN DE ACOMA.

AND I LOVE THIS PIECE BECAUSE THIS IS AN ACOMA POTTERY DESIGN THAT WAS BASED ON A POT THAT WAS MADE SOMETIME AROUND 1910.

OF COURSE, THE BLUE THAT I MENTIONED EARLIER, WHICH IS A CELESTIAL KIND OF COLOR, NOT THE YELLOW THAT WE TYPICALLY ASSOCIATE WITH HALOS.

AND, LASTLY, THIS IS AN IMAGE OF SAN ILDEFONSO.

SAN ILDEFONSO-- SAINT ILDEPHONSUS IN ENGLISH-- IS THIS IS ONE OF THE TRULY SPANISH SAINTS.

BUT WHAT'’’S INTERESTING ABOUT THIS BORDER MOTIF IS IT'’’S BLACK ON RED, UNLIKE MOST OF THE PUEBLO POTTERY WE'’’VE SEEN.

BUT I LOVE THIS COLOR COMBINATION WITH THE STARK RED AND BLACK AND THEN THIS BRIGHTLY COLORED SAINT IN THE CENTER.

THE SAINTS ON WHEELS IS A TRADITION I STARTED 5 YEARS AGO.

AND I WAS ASKED BY A GALLERY TO DO SOMETHING TO CONTEMPORIZE SAINTS.

I HAD TO REALIZE THAT SOME OF THIS WAS TONGUE IN CHEEK.

I WAS PLAYING WITH PUTTING SAINTS DRIVING VINTAGE AUTOMOBILES, BUT DOING IT RESPECTFULLY.

I'’’M ALWAYS TRYING TO FIND THE RIGHT MIX OF VEHICLE AND SAINT.

BECAUSE THE BOTTOM LINE IS THE SAINTS ON WHEELS TELL THE SAME STORIES AS THE RETABLOS DO.

THEY'’’RE MADE TO TELL STORIES, SO I HAVE TO HAVE THE ATTRIBUTES AND THE ICONOGRAPHY CORRECT.

BUT IT'’’S 5 YEARS OLD NOW.

AND I'’’VE DONE CLOSE TO 300 VEHICLES.

THE LAST THING I ACTUALLY PAINT ON THE SANTOS IS THE EYES.

AND THE REASON IT'’’S THE LAST THING I PAINT IS ONCE I PAINT THEIR EYES ON, THEY'’’RE STARING BACK AT ME.

I'’’VE GIVEN THEM A SOUL, IF YOU WILL.

CATHOLICS PRACTICE IN NEW MEXICO-- THE OLD HISPANIC FAMILIES AND THE NATIVE AMERICANS-- WHAT I CALL FOLK PLATONIC CATHOLICISM.

I INTELLECTUALLY KNOW HE LIVES IN HEAVEN.

BUT IN A VERY PLATONIC WAY, I'’’M BELIEVING OR I BELIEVE THAT HIS ESSENCE LIVES IN THIS IMAGE THAT I'’’VE CREATED.

AGAIN, THE EYES ARE THE LAST THING THAT ARE CREATED--THE EYES AND THE LIPS BECAUSE THEN HE CAN TALK BACK.

AND I DON'’’T WANT HIM TALKING BACK TO ME.

FELIPE: REALLY, THE ART IS IMPORTANT BECAUSE IT IS A WAY TO TALK ABOUT WHAT IS OFTEN A DIFFICULT HISTORY.

INROADS IS REALLY MADE THROUGH THE ART.

CERTAINLY FOR CHARLIE, IT'’’S A VERY IMPORTANT EXPRESSION NOT ONLY OF THE HISTORY OF NEW MEXICO KIND OF AS A PLACE AND THE HISTORY OF THE CULTURES, BUT HIS OWN HISTORY, WHEN HE RECOUNTS HIS OWN EXPERIENCES, HIS OWN LIFE, HIS OWN CULTURE.

BOTH THE HISPANIC AND THE PUEBLO PEOPLE HERE IN NEW MEXICO SHARES A LOT OF SIMILAR FEELING.

AND THAT'’’S REALLY BUILT OUT, AGAIN, OF 400 YEARS OF HISTORY, OF FIGHTING AND COMING TOGETHER, AND BECOMING, REALLY, NEW MEXICO AS WE SEE IT TODAY.

CHARLES: I THINK THE MESSAGE IN MY WORK IN GENERAL IS THERE'’’S A STORY TO BE TOLD.

IF IT'’’S NOT JUST A STORY OF THE SAINTS TO BE TOLD, AS EACH SAINT HAS HIS OR HER STORY, IT'’’S THE STORY OF MY PEOPLE AND THE PEOPLES OF NEW MEXICO, BOTH THE HISPANOS AND NATIVE PEOPLES OF NEW MEXICO.

WE DON'’’T HAVE TO HAVE SEPARATE RELIGIONS.

WE CAN LEARN TO REALLY LIVE TOGETHER.

AND HOPEFULLY MAYBE BEYOND THAT MESSAGE IS, IN THE FUTURE, IS THAT MY CHILDREN'’’S CHILDREN'’’S CHILDREN WILL TELL THE SAME STORIES I'’’M TRYING TO TELL.

WOMAN: ♪ CARRY YOU, COME ON WITH ME... ♪ [WOMAN VOCALIZING ON RECORDING] JOYCE: MY EARLIEST RECOLLECTIONS OF LEARNING HOW TO BEAD WERE WITH MY MOTHER.

I WAS PROBABLY 5.

IF YOU HAD A HOLE IN YOUR SHIRT OR IF YOU HAD TOWELS IN THE BATHROOM THAT HAD ANY SPOTS, THEY WERE EMBROIDERED, CROCHETED, OR BEADED.

BEADS ARE PURVEYORS OF LIGHT.

TRANSLUCENCY'’’S ALWAYS MY QUEST.

ALSO, TRYING TO MAKE BEADS DO THINGS THAT PEOPLE SAY THEY DON'’’T EASILY DO OR THAT PEOPLE BELIEVE THEY DON'’’T HAVE THE SKILL AND PROWESS TO DO.

OF COURSE, I BELIEVE THAT.

MY INFLUENCES ARE GENERALLY CULTURAL.

FOR ME, IT'’’S IMPORTANT TO IMBUE THE WORK WITH SOMETHING THAT WILL RESONATE AND FOLLOW SOMEBODY HOME, WHETHER IT'’’S BEAUTY AND THEY JUST WANT TO LUXURIATE IN THAT OR IT'’’S JUST THE MESSAGE.

BECAUSE I THINK ART HAS THE ABILITY, IF NOT CURE OR HEAL, AT LEAST ENLIGHTEN, SLAP YOU IN THE HEAD, WAKE YOU UP.

MY FIRST LIBRARY THAT I WENT TO WAS BUILT IN THE FIFTIES, REMEMBER, HAROLD?

- MM-HMM.

-AND I'’’VE BEEN GOING THERE SINCE I WAS IN ELEMENTARY SCHOOL, AND MY MOTHER AND I EXHIBITED THERE, I'’’VE LECTURED THERE.

HAROLD: WOW!

JOYCE: I'’’M A COMMUNITY GIRL.

[HAROLD LAUGHS] WOMAN: WHEN I FIRST MET JOYCE, I SAW HER IN A FESTIVAL ON JOHNS HOPKINS CAMPUS.

AND I BEGAN TO TALK TO HER BECAUSE I THOUGHT HER WORK WAS SO COMPELLING.

A FEW MONTHS LATER, MY HUSBAND AND I WERE SITTING OUT ON THE FRONT STEP.

AND HE LOOKS UP AND SAYS, "JOYCE!"

AND I SAID, "YOU KNOW HER?"

AND HE SAID, "YEAH!

I WAS IN SCHOOL WITH HER."

WELL, FROM THEN ON, WE BECAME BEST FRIENDS AND WE WERE LIKE GLUE.

AND IT'’’S BEEN OVER--OH, MY GOD--35, 40 YEARS.

JOYCE: WHY AM I SO MUCH IN LOVE WITH BALTIMORE?

BECAUSE OF ITS HAVING A LONG HISTORY OF AFRICAN AMERICANS LIVING HERE.

PART OF IT IS, LIKE, I THINK YOU OUGHT TO STAY WHERE THE FIGHT IS.

AND BALTIMORE IS A HIGHLY CHALLENGED CITY.

I KNOW THAT ART CAN BE A TOOL THAT CHANGES PEOPLE'’’S LIVES.

IT'’’S HELPED TO CHANGE MINE.

I HAVE A VERY CLASSIC AFRICAN AMERICAN BACKGROUND.

MY PARENTS PICKED COTTON AND TOBACCO IN THE SOUTH.

THEY WANTED TO LEAVE THE SOUTH AND HAVE A BETTER LIFE.

AND THEY TREASURED EDUCATION THAT THEY DIDN'’’T HAVE.

IT MANIFESTED ITSELF IN ME.

THEY ALSO TALKED ABOUT THE WORLD IN WHICH THEY LIVED AND THEIR LACK OF POWER TO CHANGE IT.

SO MY WORK IS ABOUT THE POLITICAL AND SOCIAL INSTITUTIONS AND THE TRIALS THAT WE'’’RE EXPERIENCING IN LIFE.

THE FONT FROM WHERE ALL OF THIS STUFF FLOWS IS MY MOTHER, ELIZABETH CALDWELL TALFORD SCOTT.

SHE WAS SOMEONE WHO PICKED COTTON.

SHE WAS A VERY, VERY HARD WORKER, BUT SHE ALWAYS HAD THIS CREATIVE IMPULSE.

WOMAN: JOYCE J. SCOTT AND HER MOTHER ELIZABETH TALFORD SCOTT ARE THE PRIMA DONNAS OF AFRICAN AMERICAN CULTURAL LIFE HERE IN BALTIMORE.

THIS QUILT IS BY ELIZABETH TALFORD SCOTT, AND IT'’’S CALLED "JOYCE'’’S QUILT."

HER MOTHER CREATED THE QUILT SO THAT JOYCE COULD LEARN IMPORTANT LESSONS IN LIFE.

AND AS YOU'’’LL SEE BEHIND ME, THERE IS A FISH RIGHT IN THE CENTER, AND THAT FISH IS EATING THE NORTH STAR.

SO IT'’’S REALLY ABOUT THINGS THAT HAVE TO DO WITH NAVIGATION, HOW WE MOVE THROUGH LIFE, AND THE FACT THAT EVEN IF WE'’’RE AS BRIGHT AS THE NORTH STAR, SOMETHING CAN EVEN COME AND EAT US.

SO THERE'’’S ALSO A RABBIT WITH A SHOVEL TAIL.

AND WHAT JOYCE SAYS THAT'’’S ABOUT IS THAT IF YOU DIG YOURSELF INTO A HOLE, YOU CAN GET YOURSELF OUT OF A HOLE.

JOYCE: THIS ONE REALLY TOLD ME ABOUT HOW THEY WERE TAUGHT TO QUILT.

AND ALL THE LADIES WOULD BE SITTING AROUND.

AND WHAT THEY'’’D DO IS THE KIDS WOULD GO UNDER THE QUILT, LIKE A TENT.

AND SOMETIMES THEY'’’D HAVE TO SEND THE NEEDLES BACK UP.

BUT THEY'’’D GET TO HEAR ALL THOSE STORIES UNDER THIS MAGICAL QUILTED TENT.

EVENTUALLY, THEY WERE ABLE TO COME UP AND SIT NEXT TO SOMEONE AND QUILT.

SO THIS IS A QUILT THAT'’’S, YOU KNOW, USING FAMILY FABRIC.

AND THERE ARE BITS AND PIECES, LIKE THAT'’’S A VERY, VERY OLD PIECE OF FABRIC THAT SHE CARRIED WITH HER WHEN SHE WOULD GO FROM PLACE TO PLACE.

AND THEN EVENTUALLY, WHEN SHE HAD ME, HAD NO TIME TO QUILT, STARTED TO QUILT AGAIN.

BUT SHE TOOK 50 YEARS TO COMPLETE THIS QUILT.

NOW, THIS QUILT REPRESENTS TO ME WHAT MANY, MANY QUILTS ARE.

I CALL THEM DIARIES FOR PRELITERATE PEOPLE.

BECAUSE HOW DID PEOPLE WRITE DOWN FAMILY HISTORY MANY TIMES WHEN YOU DON'’’T HAVE THE ABILITY TO READ OR WRITE VERY WELL?

EACH ONE OF THOSE STITCHES IS A WORD, AND THEY BECOME SENTENCES AND PARAGRAPHS TALKING ABOUT THE FAMILY HISTORY.

AND WHEN YOU GO BACK, YOU READ A QUILT.

SO WHEN I STARTED DESTROYING ONE OF MY MOTHER'’’S QUILTS, SHE SAID TO ME, "IF YOU LOVE IT, YOU OUGHT TO WRITE ON IT," MEANING STITCHING.

SO CRAFTS ARE EPICENTRAL TO WHAT I DO BECAUSE I'’’M LISTENING TO MY MOM TELL ME THOSE STORIES, AND THEY'’’RE NOT JUST STORIES THAT TALK ABOUT MY FAMILY HISTORY, BUT THEY'’’RE PRIMERS ON HOW TO START MAKING ARTWORK THAT MATTERS.

WE LIVE IN THE NEIGHBORHOOD WITH EVERYBODY ELSE, WITH ALL OF THE CONUNDRUMS OF LIFE.

CONSEQUENTLY, IF THOSE THINGS AFFECT ME LIKE THEY DO EVERYBODY ELSE, THEN THAT'’’S WHAT I'’’M GOING TO TALK ABOUT IN MY WORK.

SOME THINGS ARE VERY THEME-ORIENTED, LIKE RACE, DEATH, FEMALE PROBLEMS, WHATEVER.

BUT OTHER THINGS ARE JUST EITHER FOR BEAUTY OR JUST SOME KIND OF GEOMETRIC THING I'’’M GOING THROUGH IN MY HEAD.

THIS IS CALLED "LOOK, MOM, A DOCTOR."

IT'’’S ABOUT ALL THOSE WOMEN WHO WANTED TO BE MARRIED TO A DOCTOR.

AND SOMETIMES WOMEN ARE SO DESPERATE, THEY MIGHT GO TO SOMEONE FROM ANOTHER COUNTRY, EVEN SOMEONE WHO MIGHT BE THE STEREOTYPE THAT THEY'’’RE NOT THE MOST HAPPY WITH.

HE'’’S SHORTER, HE'’’S MUCH DARKER-SKINNED, HE'’’S AFRICAN, BUT SHE'’’S CONVINCED HERSELF THAT SHE CAN FALL IN LOVE.

"HAVE YOU SEEN THIS CHILD?"

IT'’’S ABOUT THOSE LADIES WHO ARE TRYING TO FIND THE DISAPPEARED ONES IN THEIR FAMILY.

RIGHT HERE IN THE UNITED STATES, SHE AND HER KID WERE OUT SOMEWHERE-- MAYBE IN THE PARK.

SHE'’’S GOT ON HER DENIM SHORTS AND HER TUBE TOP.

AND SHE TURNED HER BACK FOR A SECOND, AND THAT CHILD WAS GONE.

SHE JUST SITS AND SHOWS THE PICTURE AND WAITS.

THIS IS ABOUT EVE ACCEPTING THE APPLE FROM THE SERPENT.

ADAM IS LOST IN THE SAUCE, AND THIS IS THE TREE OF LIFE.

NO MATTER WHAT I DO, I TRY TO BE THE BEST BEAD WORKER POSSIBLE.

A LOT OF THIS HAS TO DO WITH MY BEING A HOARDER/COLLECTOR.

THE WHOLE POINT IS, LIKE, NATURE AND OTHER PEOPLE AND HAPPENSTANCE AND EVERYTHING MAKES STUFF MUCH BETTER THAN I DO.

YOU KNOW, THERE ARE LIFE FORCES IN ALL OF THIS STUFF.

MY APPRECIATION OF LIFE AND MY APPRECIATION IN MY ABILITY TO MAKE ART COMES FROM TAKING THINGS THAT PEOPLE WOULD CONSIDER TO BE THE LOWLIEST OF MATERIALS AND WATCHING THEM SHINE AND WATCHING THEM TELL ME WHAT TO DO.

SEE, I MUST SUBMIT TO MY MATERIALS.

THEY DO NOT SUBMIT TO ME.

NOW, IF ANYBODY KNOWS MY PERSONALITY, THEY THINK THAT'’’S A BALD-FACED LIE, BUT IT'’’S THE TRUTH.

THINGS THAT OTHERS WOULD THINK ARE WORTH A PENNY MIGHT BE WORTH A SCRILLION DOLLARS TO ME BECAUSE IT OPENED A PATH FOR ME TO CREATE.

MAN: I THINK THE ISSUES THAT ARE MOST IMPORTANT TO JOYCE AND THAT ARE EVIDENT IN HER WORK IS, WHERE DOES PREJUDICE STEM FROM?

WE'’’RE AT THE BALTIMORE MUSEUM OF ART.

AND THIS LOBBY THAT WE'’’RE IN RIGHT NOW AT THE MUSEUM HELD A MAJOR INSTALLATION THAT JOYCE DID DEALING WITH HATE CRIMES.

"JOYCE J. SCOTT KICKIN'’’ IT WITH THE OLD MASTERS" LITERALLY TOOK OVER THE WHOLE MUSEUM.

BEFORE YOU SEE ANY OF THE MUSEUM'’’S WONDERFUL MATISSES OR THE DEGAS OR THEIR WARHOLS IN THEIR COLLECTION, YOU REALLY WERE CONFRONTED.

JOYCE HAD AN INSTALLATION THAT WENT FROM THE CEILING TO THE FLOOR OF ALL THESE BLOWN-GLASS HEADS THAT WERE DEALING WITH HATE CRIMES.

IN THE OPPOSITE CORNER OVER HERE STOOD RODIN'’’S "THE THINKER," ABOVE WHICH JOYCE CREATED THIS AMAZING LYNCHED FIGURE MADE OF BEADS.

RODIN IN CREATING "THE THINKER," ITS ORIGINAL PLACEMENT WAS AT THE TOP OF HIS "GATES OF HELL."

AND SO JOYCE'’’S LYNCHED FIGURE, WHICH HOVERED OVER IT, REALLY MADE US THINK ABOUT HOW HATE LEADS TO RACISM AND OTHER KINDS OF CRIMINAL ACTIVITY.

JOYCE: I CALL MYSELF... AN UNCERTIFIED MULTIPLE PERSONALITY.

I'’’M VERY ITCHY IN LIFE.

I'’’M NOT COMFORTABLE DOING THE SAME THING OVER AND OVER AGAIN WITHOUT RELEASE, WITHOUT SOME KIND OF KICK START THAT MAKES ME DO THINGS DIFFERENTLY.

WOMAN: WHEN I'’’M SOMEWHERE AND I'’’M GIVING A TALK, PEOPLE WILL SAY AT TIMES, "I BELIEVE I'’’VE MET JOYCE SCOTT, BUT I'’’M NOT CERTAIN."

AND I SAY, "NO.

IF YOU'’’VE MET HER, YOU'’’D KNOW YOU'’’VE MET HER."

WOMAN: WHEN YOU KNOW HER, YOU REALIZE SHE WORKS SO HARD.

SHE IS SO COMMITTED.

HER LIFE FROM THE MINUTE SHE WAKES UP IN THE MORNING TILL THAT ONE HOUR THAT SHE SLEEPS AT NIGHT, '’’CAUSE I'’’M CONVINCED SHE DOESN'’’T SLEEP, SHE'’’S SO COMMITTED TO HER ART, TO HER COMMUNITY, AND TO HERSELF AS AN ARTIST.

JOYCE: OK, SO HE'’’S SMOOTH.

HE'’’S SAYING... SHANA: AND SHE GETS UP, AND SHE GOES OUT, AND SHE MEETS PEOPLE, AND SHE, YOU KNOW, TEACHES AND SHE LECTURES AND SHE SINGS AND SHE DOES ALL THESE THINGS THAT ARE REAL LIFE THINGS.

SHE JUST PACKS THEM ALL IN IN A REALLY TIGHT AMOUNT OF TIME.

GET THE METAL AND FLATTEN OUT WHERE HER FINGERS ARE, PLEASE... JOYCE, VOICE-OVER: SO WHEN I'’’M ASKED WHAT I AM, I THINK THE FACT THAT I'’’M A BEAD ARTIST WHO...INTEGRATES BEADWORK AND OTHER STUFF BUT STILL IS A BEAD ARTIST, MAKES A DIFFERENCE.

I PERSONALLY BELIEVE AS LONG AS WE REFUSE TO TALK ABOUT RACE, WE'’’RE GONNA HAVE A LOT OF PROBLEMS.

I DO HAVE ANGER ABOUT IT.

AND ONE OF THE GREAT WAYS THAT I DEAL WITH IT IS TO MAKE ARTWORK THAT ALLOWS--IN FACT, BECKONS-- PEOPLE TO COME TO IT.

I WANT IT TO BE SO BEAUTIFUL THAT THEY CAN'’’T STOP STARING AT IT.

AND AS THEY SEE IT, THEY HAVE TO FIGURE OUT WHAT THAT ISSUE MEANS TO THEM.

A CRACK IN THE DOOR JUST A LITTLE BIT.

JOYCE: OK, NOW, YOU SHOULD FLATTEN THE TOP A BIT.

IT'’’S CLEAR.

YEAH... JOYCE, VOICE-OVER: IT'’’S ALL ABOUT TRYING TO CONVEY THE MESSAGE IN ITS BEST FORM.

SO IF VISUAL DOESN'’’T DO IT, THE MUSIC MIGHT.

AND IF MUSIC DOESN'’’T, MAYBE THEATER MIGHT.

♪ INHALE ♪ ♪ EXHALE ♪ ♪ AND THOUGH I-I-I BELIEVE IN LIFE ♪ ♪ DEFEND A-A-AND AGREE WITH LIFE ♪ ♪ I'’’M STARTING ♪ ♪ TO BE ♪ [PIANO PLAYING] I CAN'’’T BELIEVE IT.

IT'’’S JUST SO GORGEOUS TODAY.

IT'’’S JUST SO BEAUTIFUL.

WOW!

[TRADITIONAL JAZZ PLAYING] THOMAS: I HAVE NO IDEA.

TOM IS CELEBRATING HIS 40th YEAR AS A PRACTICING METAL SMITH ARTIST.

HE WANTS TO EMPHASIZE THE IMPORTANCE OF ARTISTS AND THE DEDICATION THAT IT REQUIRES TO DEVOTE YOURSELF TO THAT.

IT'’’S ABOUT THE RELATIONSHIP OF MAKING SOMETHING AND BRINGING THAT OUT FROM YOUR HEART.

THOMAS: MY STYLE THAT I BECAME SO WELL-KNOWN FOR, WHICH I CALL TECHNO-ROMANTIC JEWELRY OBJECTS, WAS ORIGINALLY BASED ON FOUND OBJECTS.

BUT THEN FINDING THE FOUND OBJECTS ON A REGULAR BASIS BECAME PROBLEMATIC.

AND SO I STARTED THINKING ABOUT WHAT IT WAS ABOUT A FOUND OBJECT THAT MADE IT SO INTERESTING TO PEOPLE.

AND I SAID, WELL, MAYBE I CAN ACTUALLY INVENT A DESIGN SYSTEM WHEREBY I MAKE OBJECTS THAT APPEAR TO BE FOUND.

MAYBE I CAN DEVELOP WHAT I CALL A DESIGN VOCABULARY THAT COULD BE INFINITELY MUTATABLE INTO A LINE OF JEWELRY OBJECTS, AND THAT'’’S WHERE IT ALL BASICALLY CAME FROM.

ALL OF THIS WORK IN THIS DRAWER IS PROBABLY FROM THE EARLY TO THE MID-SEVENTIES.

AT THIS TIME, I WAS KIND OF EXPLORING ETCHING AND ENAMELING.

AND THEN I DISCOVERED A REALLY IMPORTANT DEVICE FOR ME, WHICH WAS LAMINATED PLEXIGLAS OR ACRYLIC.

THIS WAS A PIVOTAL PERIOD FOR ME BECAUSE I WAS TRANSITIONING FROM BEING A KIND OF A TRADITIONAL NEO-SCANDINAVIAN, KIND OF SILVERSMITHING APPROACH TO WHAT I DO TO MORE OF THIS FOUND OBJECT KIND OF APPROACH.

[ETCHER BUZZING] THESE ARE WHAT WE CALL FREEHAND SCULPTURES.

AND THE WAY I MAKE THEM IS WE SET UP A BIG SHEET OF STEEL AND I JUST DRAW ON THEM WITH CHALK AND I INVENT THESE SHAPES AS THEY KIND OF COME UP, AND I COMPLETELY FILL THE SHEET WITH DESIGNS.

AND THEN WE PLASMA-CUT THEM ALL OUT AND CUT BASES AND WELD THEM UP, AND TOM DOES ALL THE FINISHING WORK ON THIS FOR US.

AND THEN I GET TO SIT HERE AND KIND OF, LIKE, DELIGHTFULLY GO THROUGH THIS FOREST OF FREEHAND HEARTS AND SIGN THEM ALL.

IT'’’S REALLY A LOT OF FUN FOR ME.

THE HEART SHAPE HAS BECOME KIND OF CLICHE.

IT'’’S BEEN CLICHED BY COMMERCE.

AND IT WAS ALSO TRANSMUTED IN THE MEDIEVAL TIMES FROM BEING A PAGAN SYMBOL TO BEING A CONTEMPORARY, KIND OF RELIGIOUS SYMBOL.

SO I'’’VE DONE A LOT OF RESEARCH IN THAT REALM.

AND I BELIEVE THAT THAT HEART FORM IS REALLY KIND OF A FERTILITY SYMBOL.

IT'’’S REALLY A SEXUAL SYMBOL.

AND THAT'’’S WHY I BELIEVE THE IMAGE AND THE KNOWLEDGE OF IT WAS SUPPRESSED BY THE CHURCH IN THE MEDIEVAL TIMES.

AND THEY KIND OF TURNED IT INTO A ROMANTIC SYMBOL.

THERE'’’S A HISTORY OF THE CHURCH ALWAYS KIND OF TAKING OVER THE PAGAN SYMBOLS IN ORDER TO TRANSMUTE THEM INTO THEIR OWN USAGE.

BUT WHEN I APPLY MY DESIGN THINKING TO IT, THEY BECOME TECHNO-ROMANTIC HEARTS, AND SOMETIMES THEY ACTUALLY HAVE A SENSE OF HUMOR ABOUT THEM, SO, YOU KNOW-- AND SO I'’’M TRYING TO MAKE PEOPLE UNDERSTAND THAT THE HEART IS, IT'’’S FULL OF LIFE.

IT'’’S REALLY FULL OF LIFE, YOU KNOW?

AND THAT'’’S WHAT I LOVE TO DO.

AND THEN I DID ONE, WHICH IS REALLY HARKENING BACK TO THE WHOLE TECHNO-ROMANTIC SYSTEM HERE, WHERE THESE ARE LOTS OF FOUND OBJECTS HERE.

THERE'’’S GEARS FROM CLOCKS AND THERE'’’S PARTS I'’’VE FOUND ON THE STREET AND THERE'’’S GLOW-IN-THE-DARK PLASTIC AND PRINTED CIRCUIT BOARDS AND ALL OF THE STUFF THAT PEOPLE ALWAYS ASSOCIATE ME WITH.

THE HEART FORM IS TOTALLY UNIQUE, TOTALLY UNUSUAL.

AND SO MANY OTHER ARTISTS ARE DISINCLINED TO USE IT, THAT FOR ME, IT'’’S BECOME KIND OF MY, YOU KNOW, MY PARTICULAR SYMBOL THAT I'’’M ASSOCIATED WITH.

AND I NEVER, NEVER, EVER GET TIRED OF USING THAT FORM.

- HEY, MARKO.

- HEY.

OH, THAT'’’S COOL!

THIS IS COOL, MAN.

HOW DID YOU GET IN THERE SO TIGHT?

MARK: I USED THAT X-ACTO KNIFE.

THOMAS: VERY NICE, VERY NICE WORK.

REALLY WONDERFUL.

MARK, VOICE-OVER: I USED TO HAVE A STORE IN THE FRENCH QUARTER, AND TOM WOULD COME IN AND HE'’’D HAVE THESE GIRLS WITH HIM WITH THESE COOL EARRINGS.

AND I SAW THESE EARRINGS, AND I THOUGHT, "WOW, THAT'’’S REALLY COOL."

AND I KEPT ASKING HIM, "I WANT TO DO THAT.

I WANT TO LEARN HOW TO DO THAT."

SO I JUST BUGGED HIM AND BUGGED HIM UNTIL HE HIRED ME.

I STARTED FROM THE BOTTOM UP.

THOMAS: AND IT'’’S GONNA TURN OUT REAL NICE.

THANKS FOR ALL YOUR HELP.

- ALL RIGHT.

- OK. MARK: CAN I KEEP THESE JUST TO MAKE SURE?

OK. THOMAS: YEAH.

OK. THOMAS, VOICE-OVER: WHEN YOU HAVE A SUCCESSFUL PROFESSIONAL CAREER AS A CRAFT ARTIST, THERE WILL COME THIS MOMENT WHEN YOU MAKING THE THING BECOMES LESS IMPORTANT THAN YOU IMAGINEERING THE THING.

IN ORDER FOR IT TO BENEFIT OTHER PEOPLE AROUND YOU, YOU KIND OF HAVE TO MOVE ON TO THE POINT WHERE YOU TRAIN PEOPLE TO MAKE THINGS THE WAY YOU MAKE THEM.

I FELL IN LOVE WITH NEW ORLEANS ON A TOUR I DID AROUND THE COUNTRY IN 1976.

I'’’M A NEW ORLEANIAN NOW.

YOU KNOW, I STILL TALK LIKE A YANKEE, BUT THIS IS MY HOME, AND I MISS IT WHEN I'’’M AWAY FROM IT.

MAN: YOU KNOW, NEW ORLEANS IS A PLACE WHERE MANY DIFFERENT PEOPLE CAME TOGETHER YEARS AGO, THOUSANDS OF YEARS AGO.

IT'’’S CHOCTAW TERRITORY.

I'’’M STANDING RIGHT IN THE MIDDLE OF THIS CEMETERY.

THIS IS SOME OF THE CEREMONIAL GROUND THAT THEY HAD HERE.

SO THIS IS A VERY SPIRITUAL PLACE.

AND IT'’’S WHERE A LOT OF HUMAN COOPERATION HAD TO TAKE PLACE.

THERE WAS SOME NEGOTIATING THAT HAD TO HAPPEN TO SURVIVE IN NEW ORLEANS.

HISTORICALLY, PEOPLE THAT HAVE LIVED HERE HAVE HAD TO DEPEND ON EACH OTHER TO SURVIVE.

JUST LIKE THE STORM THAT HAPPENED A FEW YEARS AGO, THE PEOPLE ALL HAD TO DEPEND ON EACH OTHER.

SO ARTISTS LIKE TOM MANN, PEOPLE THAT ESTABLISHED THEMSELVES HERE AND WANT TO CREATE A CRAFT THAT CAN SUSTAIN THEM AS WELL AS PUT SOME MORE SEASONING INTO THE GUMBO, IT'’’S VERY IMPORTANT.

THOMAS: THIS IS REALLY FUN.

I'’’VE BEEN DESIGNING THESE PIECES ON THE COMPUTER AND HAVING THEM CUT WITH LASER CUTTING FROM A LOCAL ARCHITECTURAL MODEL BUILDING COMPANY.

I DON'’’T REALLY SEE MYSELF VERY MUCH ANYMORE AS A JEWELRY DESIGNER.

I SEE MYSELF AS A SCULPTOR WHO MAKES JEWELRY TO SUPPORT HIS SCULPTURE HABIT.

HA HA!

THESE ARE DEVICES THAT KIND OF DEFINE SPACE, WHAT I CALL SPACE FRAMES.

THERE ARE ELEMENTS THAT EXIST INSIDE OF IT.

AND THEY FLOAT AROUND INSIDE THAT SPACE.

THIS IS NOT ONLY A JEWELRY OBJECT, BUT I DO THIS AS A LARGE HANGING SCULPTURE THAT HANGS FROM A BIG, TALL SPACE DOWN TO THE FLOOR.

AND I HAD A SHOW HERE IN THE GALLERY ONE TIME WHERE I HAD 3 OF THESE HANGING DOWN IN THE MIDDLE OF THE SPACE.

IT WAS REALLY COOL.

ANGELE: TOM HAS A REALLY ELABORATE SET OF INSTRUCTIONS FOR PREPARING FOR STORMS.

THOMAS, VOICE-OVER: EVERY YEAR FOR THE 5 YEARS BEFORE KATRINA CAME IN, I WAS A NUT CASE ABOUT PREPARING FOR THE STORM.

AND YOU CAN ASK MY STAFF.

I DROVE THEM NUTS EVERY YEAR DOING PRE-HURRICANE SEASON PREPARING.

AND WE'’’RE THREATENED SO OFTEN THAT WE'’’VE ACTUALLY HAD TO GO THROUGH AND DO THE DRILL SEVERAL TIMES.

AND IT SHUTS DOWN BUSINESS FOR A FEW DAYS.

I HAD FOOD STORED IN THE STUDIO, AND I HAD MY KAYAK ON THE ROOF.

AND I WAS READY FOR WHEN THE STORM WOULD COME.

AND I'’’D BE HERE TO BE ABLE TO DOCUMENT IT, WITNESS IT, EXPERIENCE IT.

WELL, WHERE WAS I?

I WAS DOING A CRAFTS FAIR IN CHICAGO INSTEAD.

I WATCHED KATRINA COME ASHORE ON THE LAPTOP IN MY BOOTH AT THE SHOW.

IN THE MEANTIME, THE ONLY PEOPLE WHO COULD GET IN THERE TO DO ANYTHING WERE ANGELE AND MARK.

AND THEY BASICALLY SAVED THE BUILDING ALONG WITH SOME OTHER FRIENDS WHO PUT UP THE BOARDS AND EVERYTHING, BUT I MISSED IT.

I MISSED HAVING THAT EXPERIENCE AND HAD TO WATCH IT ON CNN.

I WAS ALREADY HAVING SURVIVOR GUILT AT THAT POINT BECAUSE I WASN'’’T HERE TO HELP OR BE PART OF IT, YOU KNOW?

I'’’D COME BACK TO NEW ORLEANS WITH A MISSION.

I WAS SUPPOSED TO PUT TOGETHER A SHOW.

AND I WAS LOOKING FOR INSPIRATION ABOUT WHAT I WAS GOING TO DO.

I WASN'’’T REALLY CLEAR ON WHAT THAT WAS GOING TO BE, AND I WAS BIKING AROUND THIS NEIGHBORHOOD.

AND I WAS TOTALLY CAPTURED BY THE GRAPHIC IMPRESSION THAT I SAW IN THIS PARTICULAR SITE BECAUSE THIS ANGEL ICON HAD BEEN CRUSHED IN THE FALLING DWELLING AND SOMEONE HAD STOOD IT BACK UP AND KIND OF IN PLACE, KIND OF LIKE, YOU KNOW, TRYING TO KEEP THE SPIRIT ALIVE.

AND I DEFINITELY CAUGHT THAT MESSAGE AND WANTED TO PORTRAY IT IN A PIECE.

I FELT IT WAS REALLY IMPORTANT FOR THE KIND OF SPIRITUAL RENEWAL OF THE CITY TO HAVE A PIECE LIKE THIS IN THE SHOW.

AND SO "ANGEL."

THIS IS THE SITE FOR "ANGEL" FROM "STORM CYCLE."

AND IT'’’S ONE OF MY FAVORITE PIECES.

AND THE LITTLE GLOW-IN-THE-DARK CROSS ON THE BROOCH IN THIS PIECE IS REMINISCENT OF MY EARLY RELIGIOUS TRAINING.

SO I FELT IT WAS REALLY IMPORTANT FOR THE KIND OF SPIRITUAL RENEWAL OF THE CITY TO HAVE A PIECE LIKE THIS IN THE SHOW.

"STORM CYCLE" HAS TRAVELED TO 11 DIFFERENT VENUES, BUT IT'’’S BEEN TO, I'’’D SAY, LIKE, 8 MUSEUMS AND THEN ART CENTERS ALL OVER THE COUNTRY.

IT HAS A LIFE OF ITS OWN.

IT'’’S LIKE, ONCE THE WORD GOT OUT ABOUT WHAT THIS THING WAS ABOUT, IT WENT OFF TO ALL OF THESE PLACES BECAUSE PEOPLE WERE SO ANXIOUS TO HAVE SOME KIND OF A PERSONAL CONTACT WITH THE STORY OF NEW ORLEANS RELATIVE TO THE STORM, OTHER THAN THAT WHICH THEY GOT THROUGH THE MEDIA.

I KNEW THAT THERE WAS ANIMAL RESCUE GOING ON KIND OF BIG-TIME IN THE CITY, AND I WANTED TO FIND A WAY TO GET CONNECTED WITH THAT COMMUNITY.

AND FORTUNATELY FOR ME-- THERE WAS A-- DOG CENTRAL WAS CATTY-CORNER FROM MY STUDIO ON MAGAZINE STREET.

AND THEN I FOUND THIS ONE DOG.

HIS NAME WAS WALL STREET, AND I DON'’’T KNOW HOW THEY LEARNED THE DOG'’’S NAME.

BUT THEY ALL REFERRED TO HIM AS "WALL STREET."

AND HE WAS AT THIS HOUSE FROM SEPTEMBER UNTIL DECEMBER, AND HIS OWNER NEVER RETURNED TO GET HIM.

AND EVENTUALLY, HE WAS TAKEN INTO THE ADOPTION SYSTEM.

BUT WHILE HE WAS THERE, I WOULD VISIT HIM ON A REGULAR BASIS AND LEAVE LITTLE TREATS.

AND I'’’D OFFER THESE TREATS TO HIM, BUT HE WOULD NEVER GET CLOSE TO ME.

HE WOULD KIND OF GROWL AND RUN UNDER THE HOUSE.

IN THIS CASE, I CARVED A WHITE PLEXIGLAS VERSION OF WALL STREET, THE DOG.

THAT PIECE IS VERY POIGNANT FOR PEOPLE WHEN THEY SEE IT IN THE EXHIBITION, OF COURSE, BECAUSE THERE ARE A LOT OF DOG LOVERS OUT THERE.

I HARDLY EVER USE THE WORD "CRAFT ARTIST" TO DESCRIBE MYSELF.

I JUST USE THE WORD ARTIST.

TO ME, BEING AN ARTIST IS ABOUT EXPRESSING YOURSELF AND MANIFESTING OBJECTS OUT OF YOUR CREATIVITY THAT OTHER PEOPLE ACKNOWLEDGE AS BEING IMPORTANT TO THEM IN SOME FORM OR FASHION AND ARE WILLING TO SUPPORT YOUR EFFORTS TO CONTINUE MAKING THEM.

[PLAYING TRADITIONAL JAZZ] [APPLAUSE] CAPTIONING MADE POSSIBLE BY CRAFT IN AMERICA, INC. CAPTIONED BY THE NATIONAL CAPTIONING INSTITUTE --www.ncicap.org--