THREADS episode

>> MY MOTHER WAS VERY MUCH IMPRESSED WITH THE WHOLE LINE OF QUILT MAKERS IN HER FAMILY AND I WAS WONDERING IF I COULD DO IT.

>> I REALLY LET THE OVERALL CONCEPT OF THE PIECE DICTATE HOW IT WILL BE MADE AND WHAT IT WILL BE MADE WITH.

>> I DON’T DO PLAN.

I DON’T DO LINES THAT ARE CLEAR AND CLEAN AND LINEAR.

I DO LINES THAT SURPRISE YOU.

I’M A ROMANTIC.

>> THEY’RE TELLING ME THAT IT WAS AN ART.

I WENT, "I AM JUST GOING TO IMMERSE MYSELF IN THOSE SLUMS OF THE TEXTILE CRAFT WORLD AND I WILL ELEVATE IT INTO ART."

>> ♪ ’TIS A GIFT TO BE SIMPLE ’TIS A GIFT TO BE FREE ’TIS A GIFT TO COME DOWN WHERE YOU OUGHT TO BE AND WHEN YOU FIND YOURSELF IN THE PLACE JUST RIGHT T’WILL BE IN THE VALLEY OF LOVE AND DELIGHT ♪ AND DELIGHT ♪ >> WHEN I WAS A CHILD, I HAD ASTHMA AND I WAS HOME A LOT, NOT GOING TO SCHOOL.

I MIGHT BE HOME FOR A WEEK RECOVERING FROM AN ASTHMA ATTACK.

BUT I HAD ALL MY SCHOOLWORK.

MY MOTHER WOULD GET MY BOOKS AND FIND OUT WHAT MY LESSONS WERE SO I COULD KEEP UP WITH MY READING.

MY MOTHER OFTEN WOULD GIVE ME A LITTLE SCRAP OF CLOTH AND I WOULD MAKE SOMETHING.

WHEN I WENT TO THE CITY COLLEGE OF NEW YORK IN 1948, THEY ASKED ME, "WHAT ARE YOU PLANNING TO BE?"

WELL, IF YOU PUT IT LIKE THAT, "I WANT TO BE AN ARTIST."

AND I WAS TOLD, "WE DON’T OFFER THAT DEGREE TO WOMEN."

BUT ONE WOMAN THERE SAID, "WAIT A MINUTE.

YOU CAN MAJOR IN ART AND MINOR IN EDUCATION AND BE AN ART TEACHER."

TO BE A TEACHER IS A PROFESSIONAL JOB THAT IS POPULAR AMONG AFRICAN-AMERICANS IN THE SOUTH BECAUSE THEY HAD SEGREGATED SCHOOLS.

SO IN MY FAMILY THAT WAS SOMETHING THAT PEOPLE DID, MY GREAT-GRANDFATHER BEING THE FIRST, PROFESSOR BB POSEY.

NO MATTER HOW YOU TURN IT, YOU ALWAYS GET THOSE FOUR WORDS IN THERE.

>> MM-HMM.

THE NICE PATTERN.

>> AND THE NICE PATTERN.

>> OK, I’LL PIN IT AND STITCH IT AND WE’LL TAKE A LOOK AT IT.

>> RIGHT.

>> I MET FAITH AT THE UNIVERSITY OF CALIFORNIA, SAN DIEGO.

I WAS IN FAITH’S DRAWING CLASS.

FAITH ASKED IF ANYONE WAS A PHOTOGRAPHER IN THE CLASS AND I WAS THE ONLY ONE WHO RAISED MY HAND.

THAT WAS 17 YEARS AGO.

RIGHT NOW WE’RE WORKING ON A QUILT ABOUT PRESIDENT OBAMA.

>> A GOOD WAY TO COLLABORATE ON SOMETHING IS TO USE THIS KUBA DESIGN FROM THE BELGIAN CONGO.

THIS 8 TRIANGLES IN A SQUARE DONE IN DIFFERENT WAYS.

IT’S JUST WONDERFUL.

YOU CAN DO ALL KINDS OF STUFF.

YOU CAN HAVE A LOT OF PEOPLE COLLABORATE TOGETHER AND YOU JUST NEED FOUR UNITS OF WORDS SO THAT YOU CAN REPEAT THEM AND THERE IS NO LIMIT TO HOW MANY WAYS IT CAN BE.

IT’S JUST SUCH A GREAT DESIGN.

I LOVE IT.

I STUDIED A LOT ABOUT QUILTS BECAUSE I WANTED TO UNDERSTAND THEIR ORIGIN.

IN THE UNITED STATES THE QUILT WAS BROUGHT HERE BY SLAVES FROM AFRICA.

SLAVES WOULD MAKE QUILTS FOR THE MASTER’S HOUSE AND THEY COULD ALSO MAKE QUILTS FOR THEMSELVES TO KEEP WARM.

SO IT WAS A USEFUL MEDIUM, BUT IT GAVE THEM AN OPPORTUNITY TO BE DECORATIVE AND TO USE THEIR DESIGN ASPECTS.

SO THE GEE’S BEND QUILTS ARE A VERY GOOD EXAMPLE OF THAT.

THEY PUT IT TOGETHER NOT EVEN THINKING ABOUT DESIGN, BUT THEY WERE CREATING THESE WONDERFUL MINIMALIST ARRANGEMENTS.

I REMEMBER WHEN WE USED TO GO UP ON TAR BEACH, WHICH WAS THE ROOF OF OUR BUILDING.

WE COULD REFLECT AND LOOK AT ALL OF NEW YORK, THE LIGHTS, AND IT WAS SO BEAUTIFUL.

IT LOOKS EXACTLY AS IT DID WHEN I PAINTED IT.

YOU KNOW, HOW I MADE THE TAR ROOF, THE WAY THE TABLECLOTH IS.

I HAD THIS FAMILY IN MIND.

THE ADULTS WILL BE PLAYING CARDS AND THE CHILDREN WILL BE LAYING ON A MATTRESS.

YOU CAN’T RUN AROUND ON A ROOF.

THE CHILDREN HAVE TO BE CALM, BUT YOU CAN BE VERY HAPPY BECAUSE IT IS SO WONDERFUL, YOU KNOW, LOOKING AT THE STARS AND THE OTHER BUILDINGS AND YOU CAN HAVE ALL KINDS OF GOODIES TO EAT.

CASSIE AND BEBE--THEY WERE PATTERNED AFTER PEOPLE I KNEW AS A CHILD.

BEBE WAS A LITTLE BOY WHO WAS JUST ADORABLE.

AND CASSIE WAS A YOUNG WOMAN THAT I WENT TO CITY COLLEGE WITH.

I WROTE THE STORY AND THE END OF IT WHEN I SAID, "I HAVE TOLD BEBE," BECAUSE BEBE DOESN’T KNOW--"HOW YOU DO ALL THIS FLYING?"

I HAVE TOLD HIM IT’S VERY EASY.

ANYONE CAN FLY.

ALL YOU NEED IS SOMEWHERE TO GO THAT YOU CAN’T GET TO ANY OTHER WAY.

AND THE NEXT THING YOU KNOW YOU ARE FLYING AMONG THE STARS.

AND JUDITH LEIBER, THE POCKETBOOK MOGUL, SHE SAW IT AND BOUGHT IT.

AND THEN SHE DONATED IT TO THE GUGGENHEIM.

"TAR BEACH"--MY FIRST BOOK CAME FROM THE STORY QUILT.

THEY LIKED THE STORY, SO THEY WANTED ME TO DO A BOOK AND I HAD ALREADY WRITTEN THE WORDS BECAUSE THE WORDS ARE ON THE STORY QUILT, SO THEY JUST SENT ME A DUMMY BOOK AND PUT THE WORDS ON EACH ONE OF 32 PAGES AND I JUST WENT BACK AND ILLUSTRATED EACH ONE OF THOSE PAGES.

MY SECOND BOOK, MY EDITOR SAID, "WHAT ABOUT HARRIET TUBMAN?"

I SAID, "NICE.

OK." SO NOW MY JOB IS, WHAT ABOUT HARRIET TUBMAN?

THEN WHEN I CAN TELL THE STORY OF WHO WAS HARRIET TUBMAN, WHAT DID SHE DO THAT WAS IMPORTANT, I GET MY CHARACTERS.

AND THEN THE THIRD THING IS THE DIALOGUE.

AND WHEN I GET ALL OF THAT DONE, THAT’S MY STORY.

THAT’S MY PROCESS.

WHEN I GOT THE COMMISSION TO DO THE SUBWAY, I WANTED TO BE IN HARLEM AND I SAID, "I WANT TO BE ON 125th STREET" BECAUSE 125tH STREET WAS LIKE THE CENTER OF CULTURE OF HARLEM.

WHAT MADE HARLEM SO FAMOUS AND IMPORTANT IS THE PEOPLE WHO LIVE THERE AND WENT THERE, WHO BUILT THE AFRICAN-AMERICAN CULTURAL AND HISTORICAL SIGNIFICANCE.

THE THERESA HOTEL WAS THIS FANTASTIC HOTEL AND MEETING PLACE AND MARTIN LUTHER KING AND MALCOLM X CAME TO HARLEM.

ACTUALLY, MALCOLM X, BEFORE HE EVEN BECAME IMPORTANT, HE LIVED ON MY CORNER.

A VERY IMPORTANT PLACE WAS ABYSSINIAN BAPTIST CHURCH.

I WENT THERE AS A CHILD.

I WOULD LISTEN TO ADAM CLAYTON POWELL TALK.

I THINK HE POLITICIZED ME, MADE ME UNDERSTAND WHAT IT WAS I HAD TO DO AS AN AFRICAN-AMERICAN.

AND THERE WASN’T ANY WOMEN’S MOVEMENT OF ANY KIND.

I MEAN, HE WAS ACTUALLY TALKING TO THE MEN, BUT SO WAS EVERYBODY.

SO I JUST HAD TO--I HAD TO TRANSLATE.

YOU KNOW, I HAD TO SAY, "WELL, OK.

IF THIS IS WHAT THE GUYS SHOULD DO, THEN WHAT’S MY ROLE IN IT?

WHAT DO I DO?"

AND THAT’S WHY IN MY FOUNDATION I AM COMMITTED THAT CHILDREN SHOULD LEARN ABOUT THESE GREAT MASTERS OF AFRICAN-AMERICAN ART.

AND WHEN YOU CAN SEE YOURSELF IN THE DEVELOPMENT OF A CULTURE, YOU CAN DO IT, TOO.

BECAUSE IT’S ONLY THROUGH THESE PEOPLE THAT I KNEW THAT I COULD DO IT BECAUSE PEOPLE BEFORE ME DID IT.

YOU REALLY DO NEED THOSE ROLE MODELS.

MY GOAL AS A YOUNG ARTIST WAS TO GET PAST MALE CHAUVINIST DOMINATION IN THE ART WORLD.

THAT’S NUMBER ONE BECAUSE NO MATTER WHETHER I WAS WITH THE AFRICAN-AMERICANS OR THE WHITE AMERICANS, I WAS STILL A WOMAN AND WOMEN ARE NOT SUPPOSED TO MAKE ART.

THAT KIND OF DOUBLE STRUGGLE EMPOWERS ME.

IT GIVES ME A REASON TO MOVE ON AND TO TELL THAT STORY.

THESE 3 WHERE MY STUDENTS WAY BACK IN THE DAY.

I TOLD MY KIDS, ALL RIGHT, WE’RE GOING TO DO THIS BULLETIN BOARD FOR BLACK HISTORY WEEK.

SO I SAID, "WELL, WHAT ARE WE GOING TO HAVE ON IT?"

AND SO PAULA RAISED HER HAND AND SHE SAID, "WELL, I’M GOING TO BRING IN MY BROTHER’S LATEST BOOK, "GO TELL IT ON THE MOUNTAIN."

AND I SAID, "WELL, WHAT’S YOUR BROTHER’S NAME?

AND SHE SAID JAMES BALDWIN.

AND I DIDN’T KNOW HIM, BUT HE MUST HAVE JUST STARTED.

>> HE HAD.

EXACTLY, BECAUSE "MOUNTAIN" CAME OUT IN 1953.

>> ALL RIGHT.

SO WE CAME TOGETHER IN ’55.

I GOT THAT BOOK AND I READ IT.

THAT WAS IT.

I READ EVERYTHING THAT JAMES BALDWIN WROTE.

ONE RIGHT AFTER THE OTHER.

AND THAT HELPED ME TO CHANGE MY ART BECAUSE I WANTED TO DO ART THAT EXPRESSED WHAT WAS HAPPENING TO AFRICAN-AMERICANS IN AMERICA TODAY.

>> ONE THING I HAVE TO SAY THAT I REMEMBER ABOUT FAITH IS THE COMPASSION--THE COMPASSION THAT YOU HAD WITH ALL OF US IN THE CLASSROOM.

I REMEMBER IF I FINISHED, I REMEMBER SAYING, "I’M FINISHED."

AND YOU SAID, "NO, YOU’RE NOT.

YOU HAVEN’T COLORED.

PUT ALL THE COLORS IN.

YOU HAVE ALL OF THE BEIGE OR THE WHITE AT THE TOP.

LET’S GET THE COLORS IN."

AND I REMEMBER WANTING TO PUT THOSE COLORS IN.

BUT IT WAS THE WAY THAT YOU SAID IT.

IT WAS THE WAY THAT YOU CIRCULATED.

YOU MOVED AROUND AND YOU HAD SOMETHING TO SAY TO EACH OF US.

>> MY CHILDREN USED TO DRAW ON THE WALLS AND I FRAMED IT.

[LAUGHTER] MY RELATIVES THOUGHT I HAD GONE MAD, BUT I WAS THRILLED ABOUT IT.

I WAS THRILLED THAT THESE LITTLE PEOPLE COULD DO THESE THINGS.

>> MM-HMM.

>> AND YOU ARE A PART OF ALL THIS.

>> I WANTED TO CREATE PAINTINGS THAT COULD BE AS LARGE AS I NEEDED THEM TO BE AND I NEEDED TO BE ABLE TO ROLL IT UP AND PLACE IT A TRUNK AND SEND IT ALL OVER THE COUNTRY.

THEN I WOULD GO AND THEY WOULD PAY ME TO LECTURE.

ARTISTS NEED TO BE ABLE TO STORE THEIR WORK AND THE QUILTS HAVE MADE THAT COMPLETELY POSSIBLE FOR ME.

THE FIRST QUILT "ECHOES OF HARLEM" WAS MADE WITH MY MOTHER AND I.

MY MOTHER INFORMED ME THAT MAKING A QUILT WAS EXTREMELY DIFFICULT.

WHEN MY MOTHER PASSED AWAY, THE SECOND QUILT I WANTED TO MAKE WAS A TRIBUTE TO MOTHER.

I SAT DOWN AND I CREATED "MOTHER’S QUILT."

SONNY ROLLINS USED TO COME TO MY HOUSE TO PRACTICE HIS SAXOPHONE.

HE WAS A LITTLE KID--12, 13 YEARS OLD--HE’S A YEAR OLDER THAN ME.

AND MY MOTHER USED TO SAY, "OH, SONNY, PLEASE, YOU’RE DISTURBING MY NEIGHBORS," BECAUSE HE’D BLOW OFF-KEY.

IT DIDN’T UPSET HIM.

HE TAUGHT ME TO BE SERIOUS ABOUT MY ART.

I LEARNED THAT FROM SONNY ROLLINS.

AND THEN WHEN HE BECAME OLDER AND MORE SUCCESSFUL IN THE SIXTIES, HE WOULD GO UP ON THE BRIDGE AND NOBODY COULD SAY ANYTHING.

SO I WANTED TO REMEMBER THAT AND SO I CREATED "SONNY’S QUILT," WITH SONNY BLOWING ON THE BRIDGE.

AND I THOUGHT AT THAT TIME THIS PERSONIFIES WOMEN.

BRIDGES UNITE PEOPLE ACROSS BARRIERS AND THAT’S WHAT WE DO WITH OUR FAMILIES.

WE HURDLE OBSTACLES.

WE STAY TOGETHER.

WE PASS IT ON.

JUST LIKE A BRIDGE.

>> WHAT’S SPECIAL ABOUT OUR SCHOOL IS THAT WE HAVE THIS ARTS FOCUS.

WE HAVE A HARLEM FOCUS.

WE FEEL LIKE THAT HAS A LOT TO DO WITH THE SELF-ESTEEM THAT IS BUILT IN THE STUDENTS.

AND SO WE TRY TO WEAVE IN THE ARTS INTO ALL OF OUR SUBJECT AREAS BECAUSE WE FEEL LIKE IT ENHANCES LEARNING FOR THE STUDENTS.

>> IT WAS THE NIGHT OF THE 24th OF DECEMBER IN 1939--WHOO!

>> FAITH FOUND ME IN HARLEM.

SHE WAS LOOKING FOR A SCHOOL TO WORK WITH AND INTRODUCED ME TO HER WAY OF TEACHING ART AND TEACHING THE CULTURAL SIGNIFICANCE OF ART AND ALL OF THE ARTISTS THAT THE KIDS DON’T LEARN ABOUT.

SHE HAD THIS PROCESS WHERE THE KIDS WOULD LEARN ABOUT AN ARTIST, LEARN ABOUT THEIR LIVES, AND THEN CREATE ART IN THE STYLE OF THIS ARTIST, USING THE SAME MEDIUMS THAT THE ARTIST WOULD USE.

AND THE FINAL COMPONENT WAS THAT THEY WOULD GO SEE THE WORK ITSELF--THE ORIGINAL WORK.

AND SO ONCE I STARTED DOING THAT WITH THE KIDS THROUGH A GRANT THAT SHE HAD THROUGH THE ANYONE CAN FLY FOUNDATION, I JUST FOUND THAT BY THE TIME WE FINISHED, IT WOULD BE A VERY RICH-LOOKING PIECE.

>> HELLO, MISS RINGGOLD.

IT’S ALWAYS BEEN A DREAM TO MEET YOU.

>> OH, THANK YOU.

I LOVE THAT.

>> HE IS A VERY BRIGHT STUDENT, BUT HE HAS SEVERE ASTHMA SO HE WASN’T HERE WHEN WE GAVE OUT THE PAPERS.

BUT HE HAS BEEN SO BLESSED TO BRING US OUR SNACK TODAY, SO HE SAID THIS IS HIS LUCKY DAY.

>> ALL RIGHT.

WELL, YOU KNOW, I HAVE ASTHMA ALSO.

>> OH, MY GOODNESS.

>> YEAH, I GOT ASTHMA AT 2, WHEN I WAS 2 YEARS OLD.

I EXPECTED TO HAVE A PROBLEM--A BIG PROBLEM WITH MAKING QUILTS IN THE FINE ART WORLD, BUT I DID NOT.

EVERYBODY KNOWS WHAT A QUILT IS.

THAT WAS SO IMPORTANT IN MY CAREER AS AN ARTIST BECAUSE IT MADE PEOPLE ACCEPT MY WORK MUCH BETTER THAN THEY DID BEFORE I STARTED MAKING THE QUILTS.

[WOMAN SINGING] >> WHAT I’M DOING IS REALLY THE FINAL STEP OF A WARP, EVEN THOUGH THESE YARNS, WHICH ARE SILK RIBBONS AND CHENILLES--EVEN THOUGH THEY HAVE COLOR, THAT’S MY STARTING POINT.

AND WHAT I’LL DO IS TAKE OUT SOME OF THIS COLOR, ADD SOME OTHER COLOR IN THE DYE POTS.

IT’S ONE OF THE MANY THINGS I CAN DO AS A HAND WEAVER TO MAKE MY CLOTH AS DIFFERENT AS POSSIBLE.

THIS IS THE BEGINNING OF THE PROCESS, BUT ALL OF THIS IS A 17-YARD WARP THAT WILL GO RIGHT INTO THE DYE POT.

I CAN BUY A REALLY GREAT YARN IN THE MOST GOD-AWFUL COLOR YOU EVER SAW AND I CAN TAKE COLOR OUT IN PLACES AND I CAN ADD IT IN OTHER PLACES IN THE DYE POT.

I’M MOVING ONE SKEIN FROM HERE OVER TO HERE.

AND THIS CAN GO A LITTLE IN HERE.

AND THIS CAN GO OVER TO THIS POT.

THESE ARE WARP SKEINS THAT I DYED EARLIER THIS MORNING AND I GOT REALLY EXCITED AS I TOOK THEM OUT OF THE DYE POTS AND SAW WHAT THE COLOR REMOVER HAD DONE OVER COLOR AND HOW THE WARMS WERE SHIFTING INTO THE COOLS AND HOW THERE WAS A LITTLE BIT OF SURPRISE ALL THE WAY ALONG EACH THREAD.

I CAME HERE JUST ON A LEAVE OF ABSENCE FROM TEACHING AND I REALIZED HALFWAY THROUGH THAT WINTER THAT I WASN’T GOING TO GO BACK BECAUSE MY WORK DID CHANGE.

INSTEAD OF BEING PAID TO TALK ALL THE TIME, I WAS PAYING MYSELF TO SHUT UP AND BE PRODUCTIVE.

I AM TAKING THE WARP THAT I WOUND AND THAT I DYED AND I AM NOW TYING IT, ONE THREAD AT A TIME, TO THE PREEXISTING THREADING IN THIS LOOM.

THIS LOOM HAS A MEMORY, A LOT LIKE A COMPUTER, AND IT’S ALL SET UP WITH A STRUCTURE.

THIS IS THE ARCHITECTURE OF THE CLOTH.

I DON’T COUNT.

I CAN’T MEASURE.

BUT I CAN TIE THREADS FASTER THAN ANYBODY I KNOW.

AND SIMPLY LIFTING ONE OF THESE FRAMES, I’M ABLE TO BRING UP DIFFERENT THREADS IN DIFFERENT COMBINATIONS TO CREATE THIS KIND OF SHAWL WHICH IS CALLED A TWILL DAMASK.

I’M TAKING A THICK BRIGHT THREAD AND I’M TYING IT ONTO A DARK THREAD.

HAVING DONE A DARK WARP, I’VE GOT TO DO SOMETHING BRIGHTER.

MUCH OF THE DESIGNING HAPPENED AS I TIED THESE THREADS INDIVIDUALLY ONTO THE KNOTS THAT WERE HERE.

AND NOW THOSE KNOTS HAVE BEEN PULLED THROUGH.

THIS IS ACTUALLY THE THREAD THAT I WAS WINDING ON THE WARPING BOARD.

IT’S THAT CHENILLE AND SILK RIBBON AND IT’S BRIGHT, IT’S LIGHT, IT’S GOT A LOT OF TEXTURE, AND IT’S IN THERE TO REALLY PROVIDE THE FOREGROUND.

SO WHEN THIS WARP GOES ON, I WILL HAVE DONE MY JOB AND WHOEVER SAYS I DON’T DO ANY WEAVING DOESN’T THINK OF SET UP, WHICH IS AT LEAST 50% OF THE WORK AS WEAVING.

I THINK OF WEAVING AS A WHOLE LOT MORE THAN THROWING THE SHUTTLE.

SO...THIS IS WHAT I WEAVE AND IT’S WHERE I GET TO SAY MY PEACE.

>> RANDY DYES THE BEAUTIFUL SILKS AND DRESSES THE LOOMS AND THAT’S WHEN I COME IN AND TAKE THEM HOME TO MY STUDIO SPACE AND WORK ON THEM THERE.

AND THEN, YOU KNOW, SHUTTLE BACK AND FORTH BETWEEN HIS HOUSE AND MINE.

RANDY IS REALLY A MASTER OF THE WARP, THIS ELEMENT HERE, AND I AM USING THE WEFT.

AND WITH THE LITTLE BOAT SHUTTLE, THAT’S THE HORIZONTAL ELEMENT.

HE PRETTY MUCH LEAVES IT UP TO ME AS FAR AS THE COLORS AND HOW THEY INTERPLAY WITH WHAT HE HAS DONE.

I’M USING MY FEET TO RAISE AND LOWER THE HARNESSES WHICH CREATE THE PATTERN.

SO I’M TWISTING THE FRINGES--TAKING A SMALL GROUP OF THE THREADS AND TWISTING THEM TO THE RIGHT.

I’M TAKING ANOTHER EQUAL GROUP AND TWIST IT TO THE RIGHT.

AND THEN I PUT THE 2 TOGETHER AND TWIST THEM TO THE LEFT.

SO THAT’S REALLY HOW ROPE IS PLIED AND IT CREATES A NICE LITTLE FINISH FOR THE SCARVES AND THE SHAWLS.

I THINK BRIAN’S INPUT IS PROBABLY THE FINAL WORD BEFORE EACH PIECE GOES TO A SHOW OR TO A CUSTOMER AS FAR AS CRITIQUING AND COLOR AND PRESENTATION OF IT.

>> WE MET AT A 12-STEP MEETING AND IT WAS A TIME IN BOTH OF OUR LIVES WHERE BIG CHANGES WERE HAPPENING.

>> MID-EIGHTIES.

>> MID-EIGHTIES.

WHEN I FIRST SET UP THE BOOTH WITH RANDY IN BALTIMORE, I LOOKED OVER AND I SAID, "WOW, THIS IS BEAUTIFUL.

YOU’VE MADE A BEAUTIFUL FORTRESS."

AND HE SAID, "WHAT?"

I SAID, "HOW CAN PEOPLE GET IN HERE TO SEE THE WORK?

SO WE HAVE TO MOVE THIS AROUND."

AND HE LOOKED AT ME LIKE, "WOW, WHAT AN UNUSUAL CONCEPT."

>> WHERE AM I GOING TO HIDE?

>> WHERE AM I GOING TO HIDE?

>> WE GOT MARRIED THE MINUTE WE COULD, WHICH IN MASSACHUSETTS WAS MAY OF 2004, SO IT’S BEEN A WHILE.

AND WE’RE REALLY NOT CELEBRATING UNTIL EVERYBODY ELSE GETS THAT CHANCE.

IT’S, UH, IT’S COMING SLOWLY.

BUT I NEVER THOUGHT IT WOULD COME IN MY LIFETIME.

DO YOU REMEMBER THIS?

>> DECONSTRUCTED.

>> DECONSTRUCTED.

SO IT WAS ACTUALLY WEAVING A DOUBLE WEAVE AND THIS IS A WOOLEN SILK FROM JAGGER SPUN.

>> I WENT INTO RANDY’S STUDIO AND WHEN HE TIED ON A NEW WEAVE STRUCTURE, WHAT HE WOULD DO IS WEAVE OFF ABOUT A FOOT OR A YARD JUST TO TEST THE COLORATION FOR THAT WEAVE STRUCTURE.

BASICALLY, IT WAS AN ANTHOLOGY OF WHAT HE’S BEEN DOING FOR 35 YEARS.

AND SO IT WAS--THAT WAS MY ORIGINAL IDEA IS TO DO A QUILT, WHICH REALLY COVERED A COMPLETE CAREER.

THIS IS A PIECE PROBABLY FROM THE EIGHTIES AND THIS IS A PIECE THAT WAS FINISHED PROBABLY 2 MONTHS AGO.

I LOVE THE FACT THAT WE STILL HAVE A TURQUOISE KIND OF BLENDING IN WITH THAT.

WHEN I LAY IT OUT LIKE THIS, I CAN SEE KIND OF WHERE I STARTED.

WE HAVE A PIECE 35 YEARS OLD, ONE OF THE EARLIER PIECES, AND WE’RE REALLY GOING TO BUILD AROUND THAT.

SO RANDY JUST DYED THIS SILK FOR ME.

THIS WILL BE THE BACKING OF THE QUILT.

SO I KNOW WHAT MY BACKING IS ALREADY GOING TO LOOK LIKE.

I TRY AND BALANCE IT OUT.

IF IT PLEASES ME, I GO WITH IT.

I’LL ACTUALLY PUT A WHOLE SECTION TOGETHER, LOOK AT IT, AND SAY, "YOU KNOW WHAT?

IT’S NOT WORKING."

I’LL TAKE IT APART, RECONFIGURE IT UNTIL I GET IT AND THEN I LEAVE IT.

>> I USE COLOR BECAUSE IT’S JUST AROUND ME SO MUCH.

AND I DRINK IT IN.

I DON’T THINK ABOUT IT.

IT JUST KIND OF--IT’S THE EASIEST PART OF THE PROCESS FOR ME.

IT’S NOT THE STRUGGLE.

IT’S ALL OF THE OTHER THINGS THAT I GET TANGLED UP IN, BUT NEVER COLOR.

COLOR IS THE FIRST THING YOU SEE AND IT’S THE LAST THING YOU THINK ABOUT BEFORE YOU ADOPT THIS PIECE INTO YOUR LIFE.

>> MY OVERUSED PHRASE IS, "WHY USE 5 COLORS WHEN 50 WILL DO NICELY?"

THIS ONE WAS WOVEN AND WASHED AND IT LOOKED A LITTLE PLAID, A LITTLE BORING, A LITTLE HIGH CONTRAST, SO I TOOK COLOR OUT, ADDED OTHER COLORS IN, AND WHAT I GOT WAS EXCITING BECAUSE ALL OF A SUDDEN ALL OF THE BLACKS WHICH RAN THROUGHOUT THE PIECE JUST APPEAR SPORADICALLY AND THERE ARE HILLS AND VALLEYS.

AND THIS WHOLE SERIES OF CLOTH IS INSPIRED BY IRELAND AND THE HILLS AND VALLEYS AND THE BARKS AND THE MOSSES AND EVERYTHING IS SOFT BECAUSE IT’S ALWAYS ABOUT TERRAIN IN IRELAND.

I THINK IT’S IMPORTANT TO UNDERSTAND THAT PROCESS IS A MEANS TO A WAY TO DISCOVER WHAT’S MOST IMPORTANT IN THE END PRODUCT AND HOW CAN YOU ADAPT THE PROCESS TO REALLY REFLECT YOUR OWN POINT OF VIEW AND YOUR OWN UNIQUE PERSONALITY.

SO I’M ALWAYS LOOKING AT EACH STEP OF THE PROCESS AS A WAY TO ANSWER THE QUESTION, "WHY WOULD I BOTHER GOING THROUGH THESE EXTRA STEPS?"

WHETHER IT’S TYING IT ON, WHETHER IT’S WINDING THE WARP ON, WHETHER IT’S CHOOSING THE WEFTS, WHETHER IT’S THROWING THE SHUTTLE.

AND THEY ARE ANSWERS THAT ONLY HUMAN BEINGS CAN DISCOVER IN THE ACT OF DOING IT.

HAND WEAVERS TEND TO BE LOOKED UPON AS DINOSAURS WHO ARE DOING SOMETHING THAT REALLY DOESN’T NEED TO BE DONE.

WHY WOULD YOU BOTHER?

AND I THINK THAT WE HAVE SOMETHING TO OFFER THE WORLD THAT IS BEST EXPRESSED THROUGH INTERLACING THREADS.

THIS IS NOT BUSY WORK.

THIS IS NOT HAPPY HANDS AND HAPPY FACES.

THIS IS VERY ESSENTIAL STUFF.

I’M A HERMIT.

I LIKE TO HIDE IN THE STUDIO AND PLAY WITH THE YARNS AND COLORS ALL DAY LONG.

BUT GOING TO A SHOW I CAN KIND OF PUT ON ENOUGH ARMOR TO GET THROUGH IT, BUT BRIAN IS THERE AS THE FRONT MAN.

AND, UH... HE’S, UH... MY JOB IS TO REALLY STAND BACK AND LOOK ARTISTIC AND LET HIM DO HIS MAGIC.

BUT THERE’S A LOT MORE WORK TO BE DONE.

LET’S KEEP AT IT.

>> A CHALLENGE.

[WOMAN VOCALIZING] >> MY DAD WAS ONE OF THE FIRST BRACEROS TO COME TO THE U.S. OF A.

DURING WORLD WAR II WHEN THE U.S. MADE A DEAL WITH MEXICO TO BRING IN WORKERS AND IT WAS FORTUNATE BECAUSE HE MET MY MOM ON ONE OF THOSE EARLY JAUNTS OVER HERE.

WHEN HE FINISHED HIS BRACERO STINT, HE WAS TAKEN BACK TO MEXICO AND HE WANTED TO COME BACK.

HE CAME BACK ILLEGALLY WITH NO PAPERS.

MY MOM WAS ALWAYS INSTRUMENTAL IN FIGURING OUT HOW TO SMUGGLE HIM ACROSS THE BORDER AND VERY MANY TIMES I REMEMBER HIDING HIM IN THE CAR, PUTTING MY SHEET OVER HIS BODY AS HE LAY WHERE OUR FEET WERE.

AND ONCE IN A WHILE HE’D GET CAUGHT AT THE BORDER AND IT WAS ALWAYS A VERY TENSE, DARK TIME FOR ME--MY EARLY YEARS.

WE WERE NEVER ALLOWED TO SPEAK TO OUTSIDERS ABOUT ANYTHING.

BECAUSE MY MOM WAS AFRAID WE’D BRING INTEREST TO THE HOUSE AND THEN THEY’D DISCOVER MY DAD.

AND IT WAS DURING THE TIME WHEN THERE WAS NO WORK BECAUSE IT WAS RAINING SO MUCH AND HE’D HIDE OUT IN THE GARAGE AND THAT’S WHEN HE WOULD WEAVE ON HIS FRAME LOOM AND THAT’S WHEN I WOULD HANG OUT WITH HIM.

SO THIS PIECE I WOVE FOR HIM, I USED THE IMAGE FROM HIS IMMIGRATION PASSPORT WHEN HE FINALLY DID GET LEGAL.

I WAS 13 AND IT WAS IN THE EARLY SIXTIES WHEN HE FINALLY GOT DOCUMENTED.

AND HE IS THE ONE THAT INSPIRED ME THROUGH HIS ROOTS TO WEAVE.

"REBOZO DE LA FRONTERA" THIS REBOZO WAS THE FIRST REBOZO I CREATED.

I’VE ALWAYS LOVED THE REBOZO.

THE REBOZO IS A FABRIC THAT IS VERY LONG AND RECTANGULAR AND IS USED AS A SHAWL.

IT CAN BE USED AS A PAPOOSE TO HOLD THE BABY.

IN THE REVOLUTION IT WAS USED TO HIDE THE RIFLE OR THE GUN.

IT’S A PLACE THAT YOU CAN LAY DOWN IN THE DESERT AS A BLANKET.

EVER SINCE I LEARNED HOW TO WEAVE IN SAN DIEGO, I WANTED TO WEAVE ONE BUT I NEVER SAW A WAY TO ENTER THAT WORLD AS ART.

BUT THEN I STARTED THINKING, WELL, LET’S MAKE A REBOZO FOR THAT INDIGENOUS WOMAN THAT CROSSES THE BORDER AND HAS NO TIME TO WEAVE.

I DON’T HAVE TIME TO SEW EITHER.

I USE SAFETY PINS TO HEM UP MY SKIRTS WHEN I NEED TO SEW IT.

SAFETY PINS, OH, THAT’S THE CONTEMPORARY WAY TO SEW.

AND NO MATTER HOW MUCH THEY INFILTRATE THE SOCIETY, THEY WILL ALWAYS BE ON THE RADAR OF THE I.N.S.

HOW DO I PUT THAT IN THERE?

JUST MILLIONS OF LITTLE CAUTION SIGNS IS MY CODE WAY OF SAYING, "IF YOU’RE INDIGENOUS, YOU’RE ALWAYS GOING TO BE UNDER THE SCRUTINY OF THE BORDER PATROL."

SO I DECIDED TO COMBINE THESE IDEAS OF NO TIME, ALWAYS ON SOMEBODY’S RADAR, AND FUNCTIONAL VERSUS NON-FUNCTIONAL.

AND SO IT’S A WEARABLE, BUT IT’S OBVIOUSLY A WALL PIECE.

BUT TO ME IT’S A MARKER THAT STANDS FOR WOMAN, CULTURE, AND THE STRUGGLE TO SURVIVE.

>> [BARKING] >> MARCOS A. UNDERWOOD.

YES.

14 YEARS OLD.

I WAS A FRESHMAN.

THE BEATLES HAD ALREADY BROKEN THROUGH.

MY SISTER AND I WENT TO THE LIBRARY AND THEN THESE PUNK KIDS, YOU KNOW, GUYS STARTED FOLLOWING ME AROUND THE HALLS OF THE LIBRARY.

YOU KNOW, "HEY, WHAT’S YOUR NAME?"

AND I NOTICED THAT ONE GUY, HE WAS JUST SITTING AT THE TABLE READING A BOOK.

AND I WENT, "WHAT’S WITH THAT?

HOW COME HE’S NOT CHASING ME?"

>> CONSUELO WAS A VERY BEAUTIFUL YOUNG LADY WHEN SHE APPEARED IN CALEXICO.

AND THAT MEETING IN THAT LIBRARY LEFT ME INTRIGUED.

>> AT THE FRESHMAN DANCE--IT WAS THE LAST DANCE OF THE YEAR--I REMEMBER, "OH, MY GOD!

HE’S GOING TO ASK ME TO DANCE!

WOW!"

SO HE ASKED ME TO DANCE AND IT WAS LIKE WE HAD ALREADY KNOWN EACH OTHER FOR LIKE 20 YEARS.

YOU KNOW.

THOSE KIND OF DANCES, RIGHT?

>> SO I DANCED WITH HER ALL NIGHT LONG.

I STILL REMEMBER.

THAT’S ONE OF THE MOST MEMORABLE NIGHTS IN MY LIFE.

>> AND I REALIZED, I LIKE HIM, HE LIKES ME.

SO AT 15, I FINALLY SAID "OK, IT’S MARCOS."

SO THE NEXT THING WE KNEW, THERE WE ARE, 50 YEARS LATER.

HE ALWAYS TOLD ME, "THAT’S ALL RIGHT, CHULA.

YOU DON’T HAVE TO WORK.

JUST TAKE CARE OF THE KIDS AND THE HOUSE.

I’LL GO TO SCHOOL FIRST AND THEN WHEN I GRADUATE, THEN YOU CAN GO TO SCHOOL."

SO THAT TIME CAME.

HE GRADUATED.

NOW WHAT AM I GOING TO DO?

"WHATEVER YOU WANT TO.

DO WHATEVER YOU WANT."

THAT WAS PRETTY COOL.

I PROBABLY WOULD NOT HAVE GONE TO SCHOOL AND BE AN ARTIST, I WOULD HAVE BEEN A DENTIST OR A DENTIST’S ASSISTANT OR A SECRETARY OR WHATEVER.

I’M LOADING UP THE SHUTTLE WITH WIRE.

IT’S PLASTIC-COATED WIRE, VERY FLEXIBLE, AND IT’S LIKE A TOUGH THREAD.

THAT’S WHAT I THINK OF WIRE--A THREAD THAT’S TOUGH.

AT SAN DIEGO STATE, IT WAS ALL ABOUT FORM.

IT WAS LEARNING HOW TO WEAVE, HOW TO TRADITIONALLY USE THREAD, AND HOW TO MAKE AN OBJECT.

AND THEN I WENT ONTO SAN JOSE STATE WHO SAID, "OH, MY GOD.

WHAT’S THAT ALL ABOUT?

WHO CARES?"

IT’S THE CONTENT, NOT THE FORM.

SO HOW DO I GET CONTENT IN A WEAVING?

HMM.

MATERIALS.

WELL, MY WEAVES ARE GOING TO BE TOUGH.

THEY’RE NOT GOING TO BE BEAUTIFUL THINGS.

THEY’RE GOING TO BE TOUGH.

WIRE.

THAT’S LIKE A THREAD.

THAT’S WHEN WIRE STARTED.

I JUST LEARNED HOW TO EXPRESS MYSELF AS AN ARTIST AND LEARN HOW TO USE MATERIALS TO HELP ME IN MY EXPRESSION.

AND THE EXPRESSION THAT I WANTED TO DO WAS ABOUT ME, CONSUELO.

OH, I’M TOUGH.

I LIKE WIRES.

I LOVE SILKS, BUT I ALSO LIKE WIRES.

THAT’S WHEN I STARTED WEAVING WITH WIRES AND BARBED WIRE.

>> THIS PLACE HAS BEEN HERE THOUSANDS AND THOUSANDS OF YEARS.

IT WAS SACRED TO THE POMO.

IT PROBABLY HAS A LOT OF FOREST SPIRITS, ANIMAL SPIRITS, AND THE PEOPLE THAT HAVE LIVED HERE, YOU KNOW, A LOT OF THEM LOVED THIS PLACE.

THEY’RE STILL HERE.

THE ASHES OF SEVERAL OF THE PEOPLE THAT LIVED HERE ARE SCATTERED IN HERE.

WE NEEDED TO PURCHASE ANOTHER PROPERTY AND WE HAD A SHORT PERIOD OF TIME.

I LOOKED ON THE MAP AND THE ONLY INDIAN NAME I COULD SEE ON THE COAST--IT WAS EITHER SPANISH OR ENGLISH--BUT THE ONLY INDIAN NAME I FOUND WAS GUALALA.

SO I TOLD CONSUELO, "LET’S GO OVER THERE.

WE MIGHT BE ABLE TO FIND SOMETHING OVER THERE."

AND WE CAME OVER ONE WEEKEND.

AND I REMEMBER DRIVING UP THE DRIVEWAY, I SAID, "THIS IS IT."

[[OVERLAPPING CHATTER] >> DID YOU HAVE TO REMAKE LOVE LIKE BREAD ALL THE TIME?

>> YES.

>> THAT’S RIDICULOUS.

>> YOU FALL IN AND OUT OF LOVE ALL THE TIME.

>> YOU DO?

>> MM-HMM.

DIFFERENT PEOPLE THAT YOU MEET.

>> REALLY?

>> FRIENDS, FAMILY.

>> I THOUGHT LOVE WAS FOREVER.

>> ONLY FOR YOU AND MARCOS.

HOW LONG HAVE YOU GUYS BEEN TOGETHER?

100 YEARS?

>> I DON’T KNOW, WE PROBABLY GOT--WE SIGNED A PAPER IN ’68.

>> OH.

>> SO HOW MANY IS THAT.

>> 40... >> THAT’S WHAT IT IS.

>> THAT’S GOING ON 50.

>> YEAH.

>> YEAH.

>> OH, MY WORD.

>> THE EXHIBITION AT THE TRITON MUSEUM 2013 FALL IS PRETTY EXCITING BECAUSE ORIGINALLY THEY WANTED IT TO BE A RETROSPECTIVE SINCE I’M RETIRED FROM SAN JOSE AS A PROFESSOR.

AND THE REASON IT CAME ABOUT WAS VERY INTERESTING.

I WAS IN A GROUP CHICANA KIND OF SHOW OF THE BAY AREA WORK AT THE TRITON.

AND I MADE THIS WALL OF UNDOCUMENTED BORDER FLOWERS AND THAT WAS LIKE THE HIT OF THE SHOW.

AND I THINK BECAUSE OF THAT THEY OFFERED ME THE SOLO IN 3 OR 4 YEARS TIME.

SO I’M PREPARING ALL THIS WORK FOR THAT EXHIBITION.

AND THE FLAGS HAVE BEEN WITH ME SINCE I WAS FIRST GRADE.

I PLEDGED ALLEGIANCE TO THE FLAG OF AMERICA.

I’VE ALWAYS THOUGHT ABOUT THAT FLAG.

AND WHEN I CROSSED THE BORDER TO MEXICALI, I THINK ABOUT THE MEXICAN FLAG.

MEXICANOS AL GRITO...

SO WHAT I’VE BEEN DOING IS MERGING THE 2 FLAGS AS ONE.

I THINK THEY’RE BEAUTIFUL.

I RESPECT THEM.

I LOVE THE SAFETY PINS.

THEY LOOK LIKE A SEA OF PEOPLE.

THE SAFETY PIN IS ONE OF THE LOWEST, LOWEST ELEMENTS IN OUR SOCIETY.

BUT I LOVE BRINGING THE LOWEST INTO THE HIGHEST REALM OF ART HALLWAYS IN THE MUSEUMS.

TO ME THAT’S ALWAYS BEEN ALMOST LIKE CHURCH.

IT’S LIKE YOU FLIP THE WORLD AROUND.

YOU KNOW, YOU PLAY WITH IDEAS AND UNDERSTANDINGS OF YOUR REALITY AND MIX IT UP.

ON THIS LOOM, I’M WEAVING A STRIP THAT IS 30-FEET LONG AND IT WILL BE A WALL INSTALLATION AT THE TRITON MUSEUM.

IT WILL IDENTIFY THE BORDERLINE ON THE WALL AND SO I’M MIXING UP THE RED, WHITE, AND BLUE AND THE RED, WHITE, AND GREEN OF THE MEXICAN FLAG AND THAT’S GOING TO BE THROUGHOUT THE WHOLE PIECE.

IT’S A MIXED MEDIA WEAVING WHERE I HAVE THE MOST FUN.

I MAKE IT UP WITH EACH THROW, MORE OR LESS, BECAUSE THESE THROWS ONLY LAST LIKE 2 FEET.

THIS ONE, IN PARTICULAR, IS MADE WITH THE "NEW YORK TIMES," BLUE PLASTIC WIRE, A PIECE OF A CUT- UP RAW DUPONT SILK, AND A BLUE BARBED WIRE THAT I HAD MADE EARLIER FOR ANOTHER PROJECT.

THE WHITE IS MADE UP OF THIS PLASTIC RAFFIA, BANDANA SCARF AND SOME WHITE COTTON THREAD.

THIS RED WAS MADE WITH A COTTON THREAD, WIRE, AND A RED SILK BANDANA.

SO ALL THESE MATERIALS I DETERMINE WHICH ONE TO USE AT THE MOMENT AND THAT’S WHAT’S THE MOST FUN.

IT’S VERY FAST, IT’S VERY IMMEDIATE, AND IN THE END IT WILL ALSO BE VERY MEANINGFUL.

THE BORDERLINE IS THE ACTUAL LINE--IF YOU LOOK AT A MAP, THE LINE BETWEEN MEXICO AND THE UNITED STATES OF AMERICA.

AND IT STARTS IN CALIFORNIA, TRAVELS ALONG ARIZONA, TO NEW MEXICO, AND IT DROPS DOWN INTO THE PENINSULA OF TEXAS.

AND I’M VERY FOCUSED ON THAT LINE BECAUSE THAT’S THE LINE WHERE THEY WANT TO PUT UP THE WALL THAT WILL SEPARATE THE 2 NATIONS.

AND FOR ME ON EACH SIDE OF THAT WALL IT’S A DEAD ZONE THAT THEY’RE CREATING FOR ALL THE WILDLIFE, THE WILD PLANTS, THE PEOPLE EVEN.

BUT I’M MORE AT THIS POINT, IF THEY DON’T CARE ABOUT PEOPLE, DO WE CARE ABOUT THE BUGS AND THE FLOWERS?

AND THAT WE’RE CREATING A DESERT FOR OUR GREAT-GRANDKIDS WHEN THEY GROW UP.

THAT WILL BE A DEAD ZONE.

THAT LINE WILL BE IN A HUNDRED YEARS A DESERT.

AND RIGHT NOW THE DESERT IS ALIVE BUT IN A HUNDRED YEARS THAT DESERT WILL BE DEAD.

IN THE BEGINNING MY WORK WAS DIFFERENT BECAUSE I WAS MAKING ARTISTIC EXPRESSION WITH THREADS, WITH FIBER, AND THEN OTHER PEOPLE STARTED WORKING WITH THAT.

BUT I FOUND THAT MY MESSAGE WAS STILL DIFFERENT.

EVEN TODAY I FEEL THAT I’M ONE OF THE FEW VOICES THAT IS STILL TALKING SPECIFICALLY ABOUT THE BORDER AND THE ECOLOGICAL IMPACT THAT THAT’S HAVING.

I JUST KNOW THAT I NEED TO TALK ABOUT THAT.

[WOMAN VOCALIZING] >> I REALLY LIKED DRAWING WHEN I WAS A KID.

FOR A LONG TIME I THOUGHT I WANTED TO BE A WRITER.

AND WHEN I WENT TO COLLEGE, I STARTED OUT IN A WRITING PROGRAM.

I WANTED TO WRITE CHILDREN’S BOOKS AND THEN I WANTED TO ILLUSTRATE THE CHILDREN’S BOOKS.

SO I WENT BACK TO SCHOOL AS AN ART MAJOR AND STARTED LEARNING ABOUT ARTISTS LIKE CHRISTO AND JEANNE-CLAUDE AND WAS COMPLETELY CAPTIVA THE WAY THAT THEY ENGAGED THE PUBLIC WITH ART.

ONE OF THINGS THAT I LIKED ABOUT QUILTING WHEN I FIRST GOT STARTED WAS THAT QUILTING IS A GREAT WAY TO PIECE 2 DIFFERENT PERSPECTIVES TOGETHER, LIKE A STRAIGHT ON VIEW OF THE WETLAND AND A MAP VIEW--YOU KNOW, LIKE A U.S. G.S.

SURVEY VIEW.

SO YOU CAN SORT OF OVERLAP THESE 2 PERSPECTIVES AND THEN THROW THE TITLE IN AND IT’S 3 PERSPECTIVES, BECAUSE NOW YOU HAVE TO COMPARE IT TO THE IMAGE IN YOUR MIND WHEN YOU READ THOSE WORDS.

PROPOSED DEEP PIT MINE SITES STARTED WHEN MY HUSBAND ROB WAS MAKING A DOCUMENTARY ABOUT MINING IN THE STATE OF WISCONSIN.

THERE WAS A COUPLE OF PROPOSALS TO OPEN UP SOME RATHER LARGE DEEP PIT MINES.

THIS IS A VERY DIFFICULT FABRIC TO CONTROL SO I NEED A WAY TO GET IT ON A SECURE SURFACE SO THAT I CAN PAINT IT AND CONTROL WHERE THE PAINT GOES--I MEAN, THE DYE GOES.

OK.

WHEN PEOPLE ASK ME, "HOW DID YOU GET INTO QUILTING?"

I JUST WANT TO POINT SOMETHING OUT--I LIVE IN WISCONSIN AND I’M LOOKING AT THIS THERMOMETER RIGHT NOW.

THE TEMPERATURE IS 14 DEGREES FAHRENHEIT.

SO IT ALL STARTED WHEN ROB AND I WERE LIVING IN A DRAFTY OLD BUILDING AND IT WAS JUST PLAIN COLD.

SO I STARTED MAKING QUILTS AND VERY SOON I SAW THAT THE CUTTING AND PIECING OF QUILT MAKING ENABLED ME TO PUT THESE DIFFERENT PERSPECTIVES TOGETHER.

YOU KNOW, THE OTHER THING I LOVE ABOUT QUILTING IS THAT EVERYBODY HAS A QUILT STORY.

IT’S ABOUT BEING LOVED AND CARED FOR.

AND I THINK THAT’S ONE OF THE THINGS I’M TRYING TO SAY WITH MY WORK.

SO IF PEOPLE THINK ABOUT THE TIME THEIR GRANDMOTHER WRAPPED THEM IN A WARM QUILT, IT’S PERFECT.

ALL OF THESE QUILTS ARE BASED ON REAL EXPERIENCES.

AND WHEN I FIRST STARTED BIRD WATCHING, I JUST THOUGHT THEY WERE SUCH BEAUTIFUL CREATURES.

MY ULTIMATE GOAL WAS TO GET CEDAR WAXWINGS TO MY YARD BECAUSE THEY’RE SPECTACULARLY BEAUTIFUL BIRDS.

WE WERE LIVING IN THE CITY AT THE TIME, SO I WAS TELLING MY STUDIO MATE ABOUT CEDAR WAXWINGS AND HE MENTIONED THAT HIS WIFE WORKED AT AT&T AND THAT EVERY FALL FLOCKS OF CEDAR WAXWINGS WOULD COME TO THE PARKING LOT AND EAT THE BERRIES OFF THE TREES IN THE MEDIAN STRIP.

ABOUT A MONTH LATER HE SAID, "THEY’RE THERE."

SO I DRIVE UP AND, SURE ENOUGH, THERE WERE HUNDREDS AND HUNDREDS OF CEDAR WAXWINGS.

AND WHILE I WAS SITTING THERE, I REALIZED A BIRD’S-EYE VIEW OF A PARKING LOT IS SO QUILTISH OR QUILT-LIKE.

LET ME SAY THAT A LITTLE BETTER.

A BIRD’S-EYE VIEW OF A PARKING LOT IS A VERY QUILT-LIKE PATTERN.

SO I THOUGHT, I’M GOING TO DO A QUILT ABOUT THIS.

WELL, WHY I WAS MAKING THE QUILT, AT&T LAID OFF 40,000 WORKERS.

SO WHEN I DID THE PEOPLE WALKING AROUND IN THE PARKING LOT, I JUST GAVE THEM LITTLE PINK SLIPS.

IT’S VERY SMALL, BUT ANYWAY I JUST HAD TO PUT THAT IN THERE IN HONOR OF THE WORKERS.

YOU KNOW WHAT?

HERE’S THE OTHER CONCERN--THAT IN ABOUT 10 YEARS THESE CARS ARE ALL GOING TO LOOK ANCIENT.

WHEN WE LIVED IN MILWAUKEE, I WALKED ALMOST EVERY DAY IN THE SEMINARY WOODS.

WELL, THERE’S A LITTLE ROAD THAT MEANDERED ALONG THIS FOREST AND THE DOT, THE DEPARTMENT OF TRANSPORTATION, DECIDED THAT THEY NEEDED TO EXPAND THIS ROAD AND STRAIGHTEN IT OUT.

AND I THOUGHT, YOU KNOW, I WISH THEY COULD WALK THIS WITH ME AND SEE WHAT THEY’RE REALLY DOING HERE TO THIS PLACE.

SO I THINK THE QUILT IS, AGAIN, A COMPARISON BETWEEN THESE 2 PERSPECTIVES.

>> I THINK THE WORKMANSHIP, THE CRAFTSMANSHIP, JUST THE ATTENTION TO DETAIL REALLY CATCHES YOUR EYE AT FIRST.

AND THEN YOU KIND OF DELVE INTO WHAT SHE’S TRYING TO TELL US.

SHE’S INTERESTED IN SOCIAL JUSTICE, INTERESTED IN MAKING A STATEMENT.

BUT IT’S NOT REALLY IN YOUR FACE.

YOU HAVE TO LOOK AT THIS CAREFULLY--WHAT HAS HAPPENED TO OUR NATURAL FORESTS, OUR ENVIRONMENT, ALL IN THE NAME OF PROGRESS.

>> WHAT I THINK IS INTERESTING ABOUT THE HISTORY OF QUILT MAKING IS THAT ALTHOUGH WE TEND TO ASSUME THAT IT’S MORE OF A LOVING HANDS AT HOME KIND OF THING, YOU KNOW, THEY’RE MADE FOR FAMILY USE, THEY’RE MADE TO ADORN A BED, AND THAT’S REALLY THEIR PLACE.

IN FACT, HISTORICALLY QUILTS HAVE BEEN A VERY IMPORTANT MEDIUM OF EXPRESSION FOR WOMEN, NOT ONLY WITHIN THE HOME, BUT AT STATE FAIRS, YOU KNOW, IN WOMEN’S EXHIBITIONS.

THROUGHOUT THE 19th CENTURY, IN PARTICULAR, WOMEN’S QUILT MAKING WAS REALLY SHOWCASED PUBLICLY QUITE A LOT.

THEY WERE A WAY FOR WOMEN TO REALLY EXPRESS THEIR OWN CREATIVITY IN THE PUBLIC SPHERE, AS WELL AS AT HOME.

>> I WANTED TO HAVE SOMEONE WALKING THROUGH THE FOREST THAT LOOKED A LITTLE BIT LIKE A BUREAUCRAT, BECAUSE IT WOULD BE SO NICE IF THEY DID WALK THROUGH THE FOREST JUST SO THAT THEY WOULD KNOW WHAT THEIR LINES WENT THROUGH IN THE REAL TANGIBLE WORLD.

TO TELL YOU THE TRUTH THOUGH, HE’S A LEFTOVER FROM CEDAR WAXWINGS AT THE AT&T PARKING LOT.

HE’S A PINK SLIP.

THAT WASN’T REALLY SUPPOSED TO BE THERE, BUT IT JUST ENDED UP THERE.

I GOT THE IDEA TO MAKE "PORTRAIT OF A TEXTILE WORKER" ONE DAY WHILE I WAS WORKING AWAY AT MY SEWING MACHINE.

AND I ALWAYS LISTEN TO THE RADIO WHEN I’M AT THE MACHINE.

AND CHARLIE KERNAGHAN, THE DIRECTOR OF THE INSTITUTE FOR LABOUR AND HUMAN RIGHTS, WAS GIVING AN INTERVIEW.

HE WAS DESCRIBING THE APPALLING TREATMENT OF THESE GARMENT WORKERS AT A PLANT IN NICARAGUA WHERE THE WOMEN WERE FORCED TO WORK 14-17 HOURS A DAY, 6 AND 7 DAYS A WEEK.

IMMEDIATELY, I KNEW I WANTED TO DO SOMETHING TO HELP THEM.

SO I WAS WALKING THROUGH A DEPARTMENT STORE AND I’M SEEING THESE HUGE SIGNS, YOU KNOW, THAT SAY, "RALPH LAUREN, EDDIE BAUER, CALVIN KLEIN."

WE’VE ALL SEEN THESE SIGNS.

AND THEN I REMEMBERED THESE WOMEN AND I THOUGHT, "YEAH, BUT WHAT ARE THEIR NAMES?"

AND IT SEEMED LIKE THE OBVIOUS THING TO DO WOULD BE TO CREATE A PORTRAIT, AN IDENTITY, USING ALL THE LITTLE IDENTIFICATION LABELS ON THE CLOTHES THAT THEY MAKE AND WE WEAR.

I KNEW I WANTED TO BASE IT ON A REAL PERSON THAT WAS IN ONE OF THESE FACTORIES, SO I CONTACTED THE INSTITUTE FOR GLOBAL LABOUR AND HUMAN RIGHTS AND SAID, "NOW, DOES CHARLIE KERNAGHAN--HAS HE GOT ANY PHOTOGRAPHS THAT I COULD USE FOR THIS?"

WELL, THEY VERY GRACIOUSLY SENT ME A COUPLE HUNDRED AND I JUST KEPT COMING BACK TO THIS ONE BECAUSE THIS WOMAN JUST HAD THIS CALM POISE.

AND SO I START THIS PROCESS.

I DON’T EXACTLY HAVE A WAY TO DO IT YET.

BUT PRETTY SOON I FIGURED OUT, YOU KNOW WHAT, I’M GOING TO NEED THOUSANDS AND THOUSANDS AND THOUSANDS OF THESE THINGS BECAUSE IT ISN’T JUST A MATTER OF THE NUMBERS, IT WAS A MATTER OF FINDING THE RIGHT TONES, THE RIGHT BLACK, THE RIGHT WHITE, THE RIGHT GRAY.

AND AT SOME POINT IT JUST TOOK ON A LIFE OF ITS OWN.

AND I STARTED TO GET LABELS FROM ALL OVER THE COUNTRY.

I STARTED TO GET THEM FROM ALL OVER THE WORLD.

I HAD NO IDEA HOW PEOPLE WERE EVEN FINDING OUT ABOUT IT.

EVERY DAY I WOULD GO TO MY P.O.

BOX AND I THINK IT IS ONE OF THE MOST UPLIFTING THINGS THAT EVER HAPPENED.

YOU KNOW, I WOULD GET THESE SWEET NOTES FROM PEOPLE.

THE THING THAT BLEW MY MIND IS THAT THEY TOOK THE TIME TO GO TO THEIR CLOSETS AND CUT THE LABELS OUT ONE BY ONE.

TO ME THAT’S THE STRONGEST PART OF THE WHOLE PIECE BECAUSE IT’S NOT JUST MY OPINION, IT’S A CHORUS OF VOICES.

IT’S A LOT OF PEOPLE WHO ARE CONCERNED ABOUT WHAT’S HAPPENING FROM ALL SIDES OF THE POLITICAL SPECTRUM.

>> SOMEHOW IT’S ALMOST LIKE SCHIZOPHRENIC THAT WE CAN BE BUYING THINGS AND NEVER ASK, "WELL, WHO ARE THESE PEOPLE?

HOW OLD ARE THEY?

WHAT ARE THEY PAID?

DO THEY HAVE THE RIGHT TO ORGANIZE?

DO THEY GO TO SCHOOL?

HOW DO THEY LIVE?

CAN THEY GET AN EDUCATION?"

WE HAVE TO NOW BECOME REAL GLOBAL CITIZENS.

IT TOOK THIS MURAL TO ACTUALLY GIVE THE DIGNITY BACK TO THESE WORKERS.

[CHATTER] >> "THE PORTRAIT OF A TEXTILE WORKER" IS SOMETHING VERY PERSONAL TO US.

I CONTRIBUTED EVERY LABEL OF MOST OF MY CLOTHING, WHICH I CAN TELL YOU WAS MISSING A LOT OF LABELS.

I DON’T EVEN KNOW WHO MADE IT ANYMORE.

IT WAS A GOOD CONTRIBUTION FOR US TO MAKE.

IT MADE US VERY AWARE, NOT ONLY OF THE STRUGGLES OF THOSE WORKERS THAT STITCH OUR CLOTHES, BUT ALSO THE FACT THAT THEY WERE NO LONGER MADE BY THE PEOPLE IN THE UNITED STATES AND THAT THOSE PEOPLE THAT WERE MAKING THEM WERE BEING EXPLOITED.

WHEN I SAW THE QUILT IN PERSON, I WALKED UP TO IT AND I CAN HONESTLY TELL YOU, I COULD IDENTIFY MY LABELS.

AND SO IT’S PERSONAL TO A LOT OF US.

I DON’T KNOW HOW MANY I DID, BUT EVERYBODY IN OUR OFFICE, EVERYBODY WE KNEW, MY DAUGHTER, MY HUSBAND, WE WERE LABEL-LESS FOR A LONG TIME.

[WOMAN VOCALIZING] >> MY QUILTS TAKE FROM 1 TO 3 YEARS TO MAKE BECAUSE THEY ARE USUALLY EXTREMELY DETAILED AND THAT’S NOT SLOUCHING AROUND EITHER.

IT’S LIKE A FULL-TIME JOB.

WE’RE ALWAYS TRYING TO INCREASE PRODUCTIVITY AND CONSUME MORE AND MY WORK IS THE OPPOSITE OF THAT.

IT SLOWS EVERYTHING WAY DOWN.

I’M TRYING TO MAKE AN OBJECT THAT’S VALUABLE.

IT’S ALSO NOT A ONE-LINER.

LIKE I TRY TO PUT A LOT IN FOR A VIEWER TO SEE AND PART OF THAT IS AN EXPRESSION OF HOW RICH AND DETAILED THE WORLD IS.

I HAVE COME TO REALLY LOVE CRAFT AND THE IDEA OF CRAFT BECAUSE MY SUBJECT MATTER IS THE KIND OF THING THAT CAN BE VERY REPELLENT TO PEOPLE, BUT CRAFT, AND PARTICULARLY THE CRAFT OF QUILTING, THERE’S A FAMILIARITY WITH THE OBJECTS AND THE MATERIALS AND THE WAY THE MATERIALS ARE USED.

WHAT I’M LOOKING FOR IS COMMON GROUND WITH SHARED EXPERIENCES WITH PEOPLE.

IT’S THE PERFECT MEDIUM.

>> EXPLORE CRAFT AS IT INTERSECTS WITH MODERN TECHNOLOGY ON "CROSSROADS," THE NEXT EPISODE OF "CRAFT IN AMERICA."

[WOMEN VOCALIZING]