>> HOST: COMING UP ON ARTWORKS:

AN ANIMATOR AT THE FAMOUS PIXAR

STUDIOS.

SONGWRITERS TALK ABOUT THEIR

INSPIRATION.

FABERGE'S JEWELLED MYSTERIES

WORTH MILLIONS.

AND AN ARTIST'S SPONTANEOUS

RACE TO PAINT.

IT'S ALL AHEAD ON ARTWORKS!

CLOSED CAPTIONING HAS BEEN MADE

POSSIBLE BY MARYLAND RELAY,

EMPOWERING THOSE WHO ARE DEAF,

HARD OF HEARING OR SPEECH

DISABLED TO STAY CONNECTED BY

PHONE.

>> ANNOUNCER: ARTWORKS IS MADE

POSSIBLE IN PART BY

THE CITIZENS OF BALTIMORE.

>> HELLO,

I'M RHEA FEIKIN

AND THIS IS ARTWORKS,

MPT'S WEEKLY ARTS SHOW.

I'D LIKE YOU TO MEET OUR

GUEST CO-HOST, IAN GALLANAR,

FOUNDING ARTISTIC DIRECTOR

FOR THE CHESAPEAKE SHAKESPEARE

COMPANY.

WELCOME, IAN!

>> IAN: I'M GLAD TO BE HERE,

RHEA.

>> RHEA: AND I'D LIKE YOU TO

PLEASE TELL US ABOUT

THE CHESAPEAKE SHAKESPEARE

COMPANY AND I'M GOING PLAY

DEVIL'S ADVOCATE.

SO,

WHY IN THE WORLD DO WE NEED

SHAKESPEARE IN THIS DAY AND AGE

OF SMART PHONES AND ITUNES?

>> IAN: WELL,

YOU KNOW IN THIS DAY AND AGE

WHERE WE PARK OURSELVES IN ONE

CORNER OF THE INTERNET,

AND SPEAK WITH LIKE MINDED

PEOPLE.

IT IS IMPORTANT TO SEE WHAT

WE HAVE IN COMMON,

AND SHAKESPEARE DOES THAT.

HE SHOWS US WHAT WE HAVE

IN COMMON. OUR HUMANITY.

>> RHEA: AND THEN,

THERE'S THIS SHEER POETRY.

>> IAN: YEAH, SHAKESPEARE IS ONE

OF THE INVENTOR'S

OF THE ENGLISH LANGUAGE.

>> RHEA: WELL,

"WELCOME FAIR YOUTH" AND THAT'S

ABOUT AS FAR AS I'LL GO TRYING

TO SPEAK "SHAKESPEAR-ESE."

[THEY LAUGH]

>> RHEA: TURNING TO OUR FIRST

ARTIST,

SANJAY PATEL IS AN ANIMATOR

AT PIXAR FILMS.

>> IAN: PATEL HAS WORKED ON

MOVIES SUCH AS

"THE INCREDIBLES,"

"RATATOUILLE,"

AND "TOY STORY 3."

>> RHEA: BUT THERE'S ANOTHER

SIDE TO HIM TOO,

MYTHICAL & SPIRITUAL.

HERE'S HIS STORY.

>>SANJAY PATEL: WE'RE WORKING

ON A SERIES OF SHORTS BASED

ON MATER'S CHARACTER CALLED

"CARSTOONS",

IN THIS PARTICULAR SHORT THEY

ACTUALLY ARE BIG MONSTER TRUCKS

AND THEY END UP SORT OF IN THIS

BIG WRESTLING MATCH.

>> NARRATOR: PIXAR STUDIOS

IN EMERYVILLE IS KNOWN

FOR BRINGING INNOVATION

AND EMOTION TO THE WORLD

OF COMPUTER ANIMATED FILMS.

POPULAR FILMS LIKE "TOY STORY",

"FINDING NEMO",

"THE INCREDIBLES",

AND "RATATOUILLE" HAS GARNERED

THE STUDIO 22 ACADEMY AWARDS.

NOW A LEAD ANIMATOR AT PIXAR,

SANJAY PATEL WAS STILL A STUDENT

WHEN HE WAS RECRUITED BY

THE FLEDGING COMPANY ALMOST

14 YEARS AGO.

HE WAS STUDYING IN THE ANIMATION

PROGRAM AT CAL ARTS

IN LOS ANGELES.

>> SANJAY: THAT PROGRAM

WAS STARTED BY WALT DISNEY

HIMSELF TO TRAIN HIS ANIMATORS.

SO I STARTED MAKING 2-D

ANIMATIONS.

"TOY STORY" HAD BEEN RELEASED

AND THEY HAD BROUGHT IT TO

CAL ARTS AND AS STUDENTS AS WE

SAW IT I WAS BLOWN AWAY

WITH SOPHISTICATION OF IT

AND THE SOPHISTICATION

OF THE STORY TELLING.

AND SO,

I PUT DOWN MY PENCIL.

I NO LONGER DRAW AT PIXAR,

I HAVE TO USE MY MOUSE AND I USE

3-D ANIMATION SOFTWARE.

ESSENTIALLY WE HAVE THIS CAR

THAT'S BEEN BUILT BY

THE MODELERS AND THESE MODELS

ARE VERY ELABORATE PUPPETS

AND WE HAVE CONTROLS TO MOVE

THE PUPPET AROUND AND CREATE

DIFFERENT POSITIONS AND MAKE

DIFFERENT EXPRESSIONS.

I COULD JUST SORT OF,

MOVE THIS CONTROL AND HE COULD

MOVE HIS TIRE AND HIT MCQUEEN.

MOVE THE UPPER LIP, UP, DOWN,

EVEN THEIR EYELIDS.

WHEN I PICKED UP THE SCENE

I ACTUALLY HAD THEM LOOKING

A LITTLE BIT SORT OF TOO ANGRY,

AND THE DIRECTOR ACTUALLY PULLED

ME BACK AND HE WAS THINKING

THAT YOU KNOW WHAT THESE

CHARACTERS ARE BEST FRIENDS

AND THEY ARE ACTUALLY HAVING FUN

JUST PLAYING TAG.

I ENDED UP HAVING TO CHANGE

THE EXPRESSION TO REFLECT THAT.

AND THAT'S THE END WHAT I DO

IN TERMS OF ANIMATION,

AND THEN IT GETS HANDED OFF

TO LIGHTING AND RENDERING

AND HERE'S HOW THE SCENE LOOKS

WITH SHADOWS AND COLORS.

PIXAR IS INCREDIBLY SUPPORTIVE

OF PEOPLE DOING OUTSIDE WORK.

THERE'S ALL KIND OF CLASSES THAT

PEOPLE CAN TAKE HERE AT PIXAR,

THERE'S PAINTING CLASSES,

AND DRAWING CLASSES,

THERE'S SCULPTURE CLASSES,

AND I THINK THEY REALLY

ENCOURAGE THAT YOU REALLY NEED

TO RENEW YOURSELF AS AN ARTIST

TO BE ABLE TO COME BACK

AND SORT OF WORK UNDER SUCH

PRESSURE AND INTENSITY ON THESE

FILMS.

IF THERE IS ANYTHING THAT PIXAR

ESPOUSES IT'S JUST ABSOLUTELY

LIKE THE CHURCH OF STORYTELLING.

IT REALLY DOES FORCE YOU TO

THINK IN A VERY DIFFERENT WAY.

BECAUSE OF THAT,

I HAVE BEEN ABLE TO PURSUE MY

OWN STORIES THAT I WANT TO TELL.

>> NARRATOR: SINCE 2006,

PATEL HAS PUBLISHED HIS OWN

WORK;

LAVISHLY ILLUSTRATED

INTERPRETATIONS OF ANCIENT HINDU

MYTHOLOGY.

HIS LATEST BOOK IS CALLED

"RAMAYANA; DIVINE LOOPHOLE".

THE RAMAYANA IS ONE

OF THE FOUNDATIONAL MYTHS

OF HINDUISM,

AND TELLS THE EPIC STORY

OF RAMA,

HIS BROTHER LAKSHMAN,

AND HIS WIFE, SITA.

>> SANJAY: THE RAMAYANA IS SUCH

A NEAT STORY BECAUSE IT'S ALL

ADVENTURE, PLOT, AND ACTION.

THERE'S MAGIC, THERE'S FIGHTING,

AND ANIMALS, AND GODS,

AND DEMONS, AND I JUST THOUGHT,

I REALLY WANT TO TELL THIS STORY

IN THE MOST MODERN AND GRAPHIC

WAY AS POSSIBLE.

>> NARRATOR: AS PATEL

UNDERTOOK THE TASK OF BRINGING

TO LIFE DOZENS OF SCENES

FROM THIS ANCIENT STORY,

HE FOUND HIMSELF USING

THE SKILLS HE GAINED FROM HIS

ANIMATION WORK AT PIXAR.

>> SANJAY: ANIMATING AT PIXAR

MAKES ME THINK ABOUT WELL,

WHAT'S THE ACTING AND WHAT'S

SORT OF THE NARRATIVE ARC THAT

I COULD USE FOR THIS LITTLE

PANEL AND THAT I'M TRYING

TO DRAW.

AND IT REALLY REMINDS THAT

CHARACTER MOMENTS ARE SO

IMPORTANT IN THIS GREAT

MYTHOLOGY THAT I WANT TO TELL.

AND SO I DO FEEL LIKE THE TWO

FEED OFF OF EACH OTHER.

THIS TYPE OF ARTWORK WOULD

DEFINITELY BE HANGING AROUND

IN MY PARENTS' HOUSEHOLD,

AND THIS WAS DEFINITELY MY

INDOCTRINATION AND INTRODUCTION

TO HINDUISM.

I'D SEE STUFF LIKE THIS AND JUST

HAVE NO CLUE WHAT THIS MEANT.

I WAS RAISED IN SOUTHERN

CALIFORNIA.

MY PARENTS OWNED A MOTEL

IN SAN BERNARDINO, CALIFORNIA.

MY PARENTS ARE FROM INDIA,

FROM A STATE CALLED GUJARAT.

I COULD SPEAK ENGLISH

REALLY WELL,

SO I HAD STAY HOME AND HELP RUN

THE MOTEL.

I BECAME A TV BRAT AND I REALLY

IN MANY WAYS JUST GREW UP

IN AMERICAN CULTURE.

AMERICAN CULTURE WAS DEFINITELY

FED TO ME THROUGH

THE TELEVISION,

MAINLY THROUGH CARTOONS.

I COULD JUST REALLY ESCAPE

MY REALITY AND I BECAME OBSESSED

WITH WATCHING CARTOONS,

DRAWING CARTOONS,

COLLECTING COMIC BOOKS,

AND THEN I WOULD SIT THERE

AND DRAW FOR HOURS AND HOURS

FROM THESE COMICS.

>> NARRATOR: ALTHOUGH PATEL

REVERED THE COMIC BOOK HEROES

OF AMERICAN POPULAR CULTURE,

HIS RELATIONSHIP WITH THE ICONS

OF HIS PARENTS' HINDU FAITH

WAS MORE COMPLICATED.

>> SANJAY: INDIAN CULTURE

IN MY LIFE, I DON'T KNOW,

GROWING UP, I HATED IT.

I HATED IT.

I HATED IT.

MY PARENTS WERE RAISING ME

IN A SORT OF BUBBLE OF THEIR OWN

CULTURE INSIDE SOUTHERN

CALIFORNIA.

I WASN'T EXPOSED TO THE STORIES

OF THE HINDU MYTHOLOGY OR HINDU

FAITH AT ALL.

WHAT I WAS EXPOSED TO WAS

THE ICONOGRAPHY AND IMAGERY.

>> NARRATOR: BUT IT'S HIS

PERSPECTIVE AS AN OUTSIDER THAT

ALLOWS PATEL TO RECLAIM

THE ICONOGRAPHY OF HIS PARENTS'

CULTURE,

AND RE-IMAGINE IT

FOR A CONTEMPORARY AUDIENCE.

PATEL IS IN THE MIDST

OF CREATING A NEW BOOK BASED

ON THE STORY OF THE HINDU

DEITY "GANESHA."

IN PATEL'S VERSION OF THE TALE,

HE PLAYS OFF

OF THE ELEPHANT GOD "GANESHA'S"

FAMOUS LOVE OF SWEETS.

>> SANJAY: THIS IS A KIND

OF A FUN LITTLE MOMENT ACTUALLY.

THIS IS AFTER "GANESHA,"

HE ACTUALLY TRIES BITING DOWN ON

THE JUMBO JAW BREAKER.

AND SURE ENOUGH HE BREAKS

HIS TUSK.

SO I'M TRYING TO FIGURE OUT

WHAT WOULD BE THE MOST FUN WAY

TO LIKE FIGURE OUT HOW

"GANESHA" MIGHT REACT,

LIKE OH NO!!

SO I WAS THINKING MAYBE HE WOULD

BE CRYING OVER HERE.

>> SANJAY: GROWING UP I ALWAYS

FELT DISCONNECTED FROM MY

AMERICAN FRIENDS SIMPLY BECAUSE

I WAS INDIAN, MY SKIN WAS BROWN.

FROM MY INDIAN FRIENDS I FELT

DISCONNECTED IN DIFFERENT WAYS

BECAUSE I WAS AN ARTIST.

I FELT OUTSIDE IN ALL THESE

WAYS.

AND FINALLY I FOUND THE THING

THAT ACTUALLY BROUGHT EVERYTHING

THAT I LIKED TOGETHER.

WHAT I'D LIKE TO THINK

IS ACTUALLY THAT I FOUND

MY VOICE AND THIS VOICE

IS SOMETHING THAT FEELS REALLY

RELEVANT TO ME AND REALLY

IMPORTANT AND REALLY GOOD.

I JUST KNOW SO CLEARLY THAT

I AM GOING TO BE DOING THIS

TILL THE DAY I DIE.

>> RHEA: WANT TO KNOW MORE

ABOUT SANJAY PATEL?

VISIT HIS WEBSITE AT

GHEEHAPPY.COM.

>> RHEA: ONE OF THE EXCLUSIVE

SHOWS MPT'S PRODUCES

IS A "CONCERT FOR THE BAY,"

WHICH IS PART

OF "CHESAPEAKE BAY WEEK"

EVERY SPRING.

THIS SPRING,

ONE OF THE BANDS WAS

"JUKEBOX THE GHOST."

AND THEY'RE FAST BECOMING

NATIONAL STARS.

>> IAN: SO,

IS "JUKEBOX THE GHOST" LOCAL?

>> RHEA: WELL,

THERE IS A LOCAL CONNECTION.

THEY WERE FORMED WHILE

AT GEORGE WASHINGTON UNIVERSITY

IN D.C..

HERE'S WHAT THE BAND'S

SONGWRITERS' HAVE TO SAY ABOUT

THE ART AND CRAFT

OF SONGWRITING AND I THINK IT'S

REALLY THOUGHTFUL.

>> BEN THORNEWILL: WE WENT FROM

BEING A COLLEGE PARTY BAND,

AS IT WERE,

TO A BAND SORT OF AS WE

GRADUATED COLLEGE.

AND RIGHT AT THE END OF IT

WE RECORDED OUR FIRST RECORD.

WE'RE STARTING TO PLAY SHOWS,

AND ALL OF A SUDDEN PEOPLE WHO

WEREN'T OUR FRIENDS WERE COMING

TO THESE SHOWS.

AND THAT SORT OF GAVE US

THE HOPE AND INSPIRATION THAT

WE COULD DO THIS BEYOND JUST

AROUND D.C..

* I GO OUTSIDE.

ASK THE AIR IF YOU'D LIKE

TO HIDE. *

* TAKE A DEEP BREATH.

WALK INSIDE MY PRIZE. *

>> TOMMY SIEGEL: THE

TRANSFORMATION WAS A LITTLE

HAPHAZARD.

WHEN WE FIRST STARTED,

WE HAD DOZENS OF SONGS.

IT JUST NEVER OCCURRED TO US

TO RECORD THEM.

SO THERE'S JUST ALL THESE SONGS

FROM COLLEGE THAT NEVER

RECORDED,

AND I'M ACTUALLY VERY THANKFUL

FOR THAT.

BUT,

AT SOME POINT OUR FRIEND SETH

WAS LIKE YOU GUYS SHOULD RECORD

AN ALBUM AND I WANT TO MANAGE

YOU GUYS.

AND WE WERE LIKE OK.

AND SO WE RECORDED OUR FIRST

ALBUM WHEN WE WERE IN COLLEGE.

AND IT WAS ONLY AFTER PEOPLE

STARTED COMING TO SHOWS.

AND THAT ALBUM TOOK OFF

AND WE WERE LIKE OH,

THIS IS A REAL THING.

YOU KNOW, WE CAN DO THIS.

* ...BEING GROWN

FOR THE REST OF YOUR LIFE. *

* FROM ADULTHOOD,

NO ONE SURVIVES... *

* TEN BILLION FEET...

>> BEN: TOMMY AND I BOTH WRITE

INDIVIDUALLY.

I FEEL THAT WRITING IS A VERY

PERSONAL PROCESS.

I DON'T SEE HOW BANDS SIT IN

A ROOM AND WRITE A SONG

ALL TOGETHER.

SO WE WILL WRITE INDIVIDUALLY

AND THEN BRING THOSE SONGS

TO THE TABLE,

AND THEN AS A BAND PICK

AND CHOOSE, SLICE IT,

SORT OF ITS LIKE SCULPTURE

ALMOST.

WORK IT DOWN TO ITS CORE

AND MAKE IT A SONG THAT

THE WHOLE BAND CAN STAND BY.

THERE'S NO FORMULA FOR

SONGWRITING THAT I HAVE FOUND

ANYWAY.

EVERY SONG OCCUPIES ITS OWN

SPACE,

IT'S ITS OWN CREATIVE PROCESS.

SOMETIMES IT IS A LYRIC,

SOMETIMES IT'S A MUSICAL IDEA,

SOMETIMES IT'S A FEELING.

>> TOMMY: I WISH THERE WAS

A FORMULA THAT WOULD MAKE IT

A LOT EASIER.

I FEEL LIKE WE YOU KNOW AS

SONGWRITERS SPEND A LOT OF TIME

SITTING AROUND,

WAITING AND HOPING THAT

INSPIRATION'S GOING TO HAPPEN.

>> BEN: YEAH,

IF I KNEW HOW TO WRITE A SONG,

THAT WOULD BE GOOD.

>> TOMMY: AND SOMETIMES EVEN

WHEN YOU GET INSPIRATION YOU

DON'T KNOW THAT IT EVEN HAPPENED

UNTIL LATER AND YOU'RE THINKING

ABOUT IT AGAIN AND YOU'RE LIKE

OH, I LIKE THAT.

>> BEN: INSPIRATION COMES FROM

ANYWHERE, LIFE,

MOSTLY LIFE AND WHAT YOU DO

WITH IT AND WHAT YOU SEE.

IT'S OBSERVATIONS,

IT'S PERSONAL EXPERIENCES,

IT'S MUSICAL INSPIRATION.

>> TOMMY: I DO FEEL LIKE

THE BEST SONGS,

OR MY FAVORITE SONGS THAT

I'VE WRITTEN HAVE BEEN THE ONES

THAT I DON'T FEEL LIKE I WROTE

THEM.

LIKE,

I DON'T KNOW WHERE THEY CAME

FROM.

THE ONES THAT WILL JUST LIKE POP

OUT AND I'LL BE LIKE I FEEL LIKE

I'VE HEARD THAT SOMEWHERE

BUT I'M...

I THINK I JUST WROTE THAT.

* FROM ADULTHOOD,

NO ONE SURVIVES. *

>> BEN: I THINK THE LIFE

OF A SONG IS...

I WAS THINKING ABOUT THIS LAST

WEEK WHEN WE WERE PLAYING UP

IN PHILADELPHIA.

AND HAD 1,100 PEOPLE THERE.

AND WE WERE PLAYING SONGS

THAT WE HAD PLAYED IN

PHILADELPHIA YEARS AGO,

IN FRONT OF 10 PEOPLE AT THIS

CRAPPY LITTLE DIVE BAR.

AND IT'S THE SAME SONGS WE'RE

PLAYING THEN AS WE'RE PLAYING

NOW.

AND THE LIFE OF A SONG

IS COMPLETELY UNPREDICTABLE.

YOU DON'T KNOW WHAT'S GOING

TO STICK,

WHAT'S GOING TO RESONATE,

HOW LONG IT TAKES.

* I DON'T WANT ANY

MORE DOORS, *

* 'CAUSE I'M WALKING ON

A STRING. *

>> TOMMY: WHEN PEOPLE RESPOND

TO A SONG,

THAT'S DEFINITELY THE REWARD

FOR US.

WE'VE ALWAYS BEEN A HEAVILY

TOURING OPERATION,

AND SO SEEING DIRECTLY

THE GRATIFICATION PEOPLE ARE

GETTING OUT OF A SONG

IS EVERYTHING.

>> BEN: IT'S A SURREAL

EXPERIENCE SEEING PEOPLE SING

YOUR SONG.

IT'S SIMULTANEOUSLY WHAT YOU

WROTE THE SONG.

LIKE WHEN YOU WRITE A SONG

YOU HOPE THAT THAT HAPPENS.

SOMEWHERE IN YOUR BRAIN,

YOU WANT PEOPLE TO SING ALONG,

IT'S WHY YOU WRITE A SONG,

BUT AT THE SAME TIME,

IT'S ALWAYS A SURPRISE.

>> TOMMY: I THINK IF YOU WROTE

WITH THAT IN MIND,

YOU PROBABLY WOULDN'T END UP

WRITING VERY HEARTFELT OR GOOD

SONGS.

THEY WOULD JUST BE REALLY,

SONGS THAT PEOPLE CAN SING

ALONG TO.

SO IT KIND OF FEELS LUCKY EVERY

TIME IT HAPPENS.

BECAUSE I DON'T THINK EITHER

OF US WRITE WITH THE INTENTION

OF I WANT THE CROWD TO CLAP,

OR I WANT THE CROWD TO SING

ALONG TO THIS SONG.

IT JUST HAPPENS AND THAT MAKES

IT EVEN MORE SPECIAL.

* I NEED IT,

I WANT IT, *

* I WANT SOMEBODY, BABY.

NOW THIS IS MY TURN. *

>> BEN: REALIZING THAT WE COULD

DO THIS AND REALLY GIVE IT A GO

IS A SLOW PROCESS.

IT'S THESE LITTLE ACHIEVEMENTS

THAT ALL OF A SUDDEN SORT

OF SIGNAL THAT THERE COULD BE

MORE HERE,

WE COULD DO SOMETHING,

AND AS THE YEARS HAVE GONE ON,

THAT'S JUST CONTINUED TO HAPPEN.

THERE'S BEEN EVERY NOW AND AGAIN

A STEP OR A MOMENT WHERE WE ALL

SORT OF SILENTLY AGREE YEAH,

WE'RE GOING TO KEEP DOING THIS,

LET'S KEEP SEEING HOW FAR WE CAN

TAKE THIS.

* "OOH, OH."

>> IAN: TO FIND OUT

"JUKEBOX THE GHOST'S" TOURING

SCHEDULE,

VISIT JUKEBOXTHEGHOST.COM.

>> RHEA: THE STORY OF FABERGE

IS LIKE A RUSSIAN FAIRY TALE

AND NOW THERE'S

AN EXHIBIT CALLED

"FABERGE A BRILLIANT VISION"

AND IT'S AT THE HOUSTON MUSEUM

OF NATURAL SCIENCE.

>> IAN: I WAS INTRIGUED

THAT NO ONE'S BEEN ABLE TO

REPLICATE THEIR SECRET ENAMELING

PROCESS.

>> RHEA: I KNOW YOUR ARE

ABSOLUTELY RIGHT.

SO IF YOU'VE GOT, OH,

TWENTY-FIVE MILLION DOLLARS

OR SO YOU CAN GET AN IMPERIAL

"FABERGE" OF YOUR VERY OWN.

TAKE A LOOK.

>> JIM ADAMS: "FABERGE'S"

ENAMELING TECHNIQUES WERE

COVETED BY ALL JEWELERS

IN THE WORLD,

EVEN CARTIER LOUIE CARTIER,

IN PARIS SAID WHAT YOU DO

IN SAINT PETERSBURG IN ENAMEL,

WE CAN'T EVEN COME CLOSE TO HERE

IN PARIS;

ENAMEL IS BASICALLY POWERED

GLASS MIXED WITH METAL OXIDES

TO CHANGE THE COLOR,

AND THEN FIRED AT 1300 DEGREES

FAHRENHEIT TO CREATE THIS

BEAUTIFUL GLASSY CERVIX,

WHICH YOU SEE ON THESE OBJECTS.

HE WOULD OFTEN ENGRAVE

THE GROUND UNDERNEATH WITH

A BEAUTIFUL PATTERN,

AND THEN PUT TRANSLUCENT ENAMEL

OVER THAT SO THAT YOU WOULD SEE

THROUGH THE ENAMEL TO THIS

INCREDIBLE PATTERN UNDERNEATH.

IT'S CALLED "GUILLOCHE WORK"

AND HE WAS A MASTER OF THAT.

WELL THE ROYAL FAMILY ROMANOFF'S

GOT INVOLVED WITH CARL FABERGE

UNDER ALEXANDER III.

HE DECIDED ONE EASTER THAT

HE WANTED TO HAVE AN EASTER EGG

GIVEN TO HIS WIFE,

AND YOU CAN'T JUST CARVE

A WOODEN EASTER EGG IF YOU'RE

TSAR,

LIKE MOST PEOPLE IN RUSSIA DID

AT EASTER TIME;

HE WANTED SOMETHING SPECIAL.

>> TATIANA FABERGE: HE SAID THAT

HE WANTED TO HAVE SOMETHING

THAT WOULD PLEASE HIM THAT WOULD

NOT BE A REPEATED AND NOT MADE

FOR OTHER PEOPLE.

SO,

FABERGE CAME WITH THE IDEA

OF A SIMPLE EGG,

IT WAS WHITE ENAMEL.

IT LOOKED LIKE A REAL HEN EGG

AND WHEN YOU OPENED IT,

THERE WERE SURPRISES INSIDE.

AND THE EMPRESS WAS ABSOLUTELY

PLEASED WITH IT.

SO,

HE GOT A CARTE BLANCHE

FOR THE NEXT YEAR TO MAKE

ANOTHER EGG AND THAT'S HOW

IT SORT OF STARTED.

>> JIM: THE IMPERIAL DIAMOND

TRELLIS EGG WAS GIVEN BY

ALEXANDER III TO HIS WIFE

MARIA FYODOROVNA,

AND IT WAS MADE OF BOLONITE

AND IT HAS DIAMOND AND PLATINUM

TRELLIS ALL OVER IT.

ORIGINALLY,

WE KNOW FROM ARCHIVAL

PHOTOGRAPHS THAT IT HAD A STAND

WITH THREE CUPIDS ON IT HOLDING

IT UP,

AND ON THE INSIDE THE SURPRISE.

CAUSE EVERY EGG HAD A SURPRISE,

WAS A LITTLE ELEPHANT WITH

A MAN ON TOP AND YOU WOULD

WIND IT UP AND THE ELEPHANT

WALKED ACROSS THE TABLE.

ZARINA WAS SO THRILLED WITH IT

THAT HE ORDERED ONE EVERY YEAR

FROM FABERGE.

>> TATIANA: IT CONTINUED UNTIL

THE REVOLUTION.

SO,

THEN ALEXANDER III DIED AND WAS

REPLACED BY NICHOLAS II

AND THEN SO FABERGE MADE

TWO EGGS EVERY YEA

ONE FOR THE MOTHER AND ONE

FOR THE NEW EMPRESS.

>> JIM: HE HAD SEVERAL CLIENTS

THAT WERE VERY VERY WEALTHY

LIKE NOBEL AND KELCH WHO HAD

LOTS OF MONEY AND WANTED

IMPERIAL QUALITY EASTER EGGS

TO GIVE TO THEIR WIVES BECAUSE

THEY COULD AFFORD IT.

SO, WITH A NOBEL EGG,

WE HAVE THIS PLATINUM EGG

THAT HAS SEVERAL LAYERS

OF ENAMEL ON IT THAT IS ENGRAVED

AND ETCHED WITH SNOWFLAKE

PATTERNS.

IT'S EXQUISITE.

WHEN YOU OPEN IT UP,

YOU HAVE THIS WATCH ACTUALLY

IN A FORM OF A PIECE OF ICE

WITH ICE CRYSTALS ON IT

WITH PLATINUM AND DIAMOND.

ALEXANDER KELCH WAS A MINING

MAGNET IN RUSSIA.

THE KELCH EGG THAT WE HAVE HERE

IS CALLED THE "ROCAILLE EGG."

THE "ROCAILLE EGG" HAS THIS

WONDERFUL LOUIE THE 15TH STYLE

ROCOCO DECORATION ON IT,

WITH TWO PALM TREES SYMBOLIZING

"PALM SUNDAY"

AND IT'S IN A DEEP GREEN

GUILLOCHE ENAMEL SO YOU CAN SEE

THE PATTERN UNDERNEATH THE GREEN

ENAMEL,

THAT OVER THAT YOU HAVE THIS

ROCOCO CAGE WORK WITH PLATINUM

AND DIAMONDS.

IT'S AN EXQUISITE PIECE.

THE TURN OF THE CENTURY YOU HAVE

THE INVENTION OF PHOTOGRAPHY.

SO,

WE FIND THAT HE'S CATERING TO

THIS NEW PASSION FOR PHOTOGRAPHY

BY CREATING PICTURE FRAMES.

WOOD FRAMES, ENAMELED FRAMES,

GILDED FRAMES FROM VERY SIMPLE

TO VERY ELABORATE FOR THIS

NEW VICTORIAN PASSION

FOR PHOTOGRAPHY.

WE HAVE BELL PUSHES BECAUSE

OF THE INVENTION ELECTRICITY

WE NO LONGER HAVE A BELL POLE

FOR A SERVANT, BUT,

YOU PUSH A BUTTON AND IT RINGS

A BUZZER IN THE BASEMENT

FOR THE SERVANT.

CIGARETTE SMOKING CAME ABOUT

AFTER THE CRIMEAN WAR

IN THE LATE 1800'S.

IT BECAME VERY POPULAR

WITH BOTH MEN AND WOMEN.

SO,

THIS WAS A WHOLE NEW MARKET

FOR FABERGE TO CATER TO THEM

WITH THESE BEAUTIFUL CIGARETTE

CASES.

THE STORY OF NICHOLAS

AND ALEXANDER AND THEIR FIVE

CHILDREN IS VERY ROMANTIC.

IT WAS A WONDERFUL STORY,

BUT,

UNFORTUNATELY THEY HAD A TRAGIC

END.

THEY WERE ALL MURDERED BY

THE BOLSHEVIK'S IN 1918.

AND CARL FABERGE WAS GIVEN

15 MINUTES TO GET OUT OF HIS

PLACE,

JUST TO GET HIS HAT AND HIS COAT

AND TO LEAVE HIS PREMISES DURING

THE REVOLUTION.

THE BRITISH EMBASSY HAD TO GET

HIM OUT DISGUISED

AS A BRITISH COURTIER AND HE

ENDED UP LIVING IN SWITZERLAND

AND DYING IN 1920.

IF A FABERGE IMPERIAL EASTER EGG

CAME ON THE MARKET TODAY,

IT WOULD GO ANYWHERE FROM

25-30 MILLION DOLLARS MOST

LIKELY.

>> RHEA: A FEW YEARS AGO WE HAD

AN EXHIBIT OF "FABERGE EGGS"

AT THE WALTER'S ART MUSEUM.

AS FAR AS THESE ARE CONCERN,

I THINK MY FAVORITE WAS

THE FROSTED EGG WITH

THE SURPRISE ICE CRYSTAL

WATCH STUDDED WITH DIAMONDS.

>> IAN: I WAS STRUCK BY HOW

MODERN ADVANCES WERE REFLECTED

IN THE DESIGNS.

AND I GUESS DIAMONDS

ARE RHEA'S BEST FRIEND!

>> RHEA: WELL INDEED,

OUR LAST ARTIST'S WORK COULDN'T

BE MORE OPPOSITE THAN

FABERGE'S DELICATE DESIGNS.

THIS ARTIST REALLY LAYS IT ON

THICK.

IN PAINTS, I MEAN.

>> IAN: LITERALLY,

JIAN WANG BUYS TUBES OF PAINT

IN BULK.

NEXT TO HIS SWIRLING LANDSCAPES,

VAN GOGH LOOKS POSITIVELY TAME.

CHECK IT OUT.

>> ROB STEWART: NORTHERN

CALIFORNIA IS RICH WITH CULTURAL

DIVERSITY AND TALENT.

ONE OF THIS AREA'S BRIGHTEST

GEMS IS HARD AT WORK BEHIND ME

RIGHT NOW.

JIAN WANG,

CONTEMPORARY ARTIST,

GOOD TO SEE YOU.

>> JIAN WANG: GOOD TO SEE YOU,

ROB.

>> ROB: THANK YOU FOR HAVING US

AT YOUR CARMICHAEL HOME HERE.

YOU'RE PAINTING THESE BEAUTIFUL

OAK TREES HERE.

>> JIAN: YES, IT'S MY PLEASURE.

>> ROB: IT'S AMAZING TO SEE HOW

QUICKLY YOU WORK.

I'M IN AWE OF HOW FAST THIS IS.

>> JIAN: I CONSIDER MYSELF

LIKE A 100-METER DASHER RATHER

THAN A MARATHON RUNNER.

BUT AFTER THE INITIAL PAINTING

COVERS UP THE CANVAS,

I WORK VERY CAREFULLY TO FIX

UP ALL THE DETAILS.

>> ROB: THE TOUCH UPS.

>> JIAN: THE TOUCH UPS WHICH

THE VIEWER MAY NOT SEE

THE CORRECTIONS THAT I HAVE MADE

SO THAT IT WOULD HAVE HARMONY

TO THE WHOLE CANVASES.

>> ROB: WHERE DO YOU FIND

YOUR INSPIRATION?

TODAY,

YOU'RE PAINTING THESE TREES,

BUT YOU ALSO LOVE THE AMERICAN

RIVER.

>> JIAN: ABSOLUTELY,

I THINK THAT I'VE PAINTED

THE AMERICAN RIVER NO LESS THAN

HUNDREDS OF TIMES.

>> ROB: THEY'RE JUST BEAUTIFUL.

AND YOUR SKIES ARE SO PRETTY.

>> JIAN: THIS IS FROM

THE AMERICAN RIVER SKY.

I CARRIED IT ON ALL

THE DIFFERENT PAINTINGS EVEN

THOUGH THIS IS SAN DIEGO.

>> ROB: DO YOU PREFER PAINTING

NATURE.

>> JIAN: FOR ME,

I THINK ANY VISUAL ELEMENTS

THAT IS INTERESTING TO ME

AND NATURE,

IF YOU CONSIDER IT A SET UP

STILL LIFE, AND UH,

OR THE WONDER OF A HUMAN FACE.

AND TO ME ALL VERY

INSPIRATIONAL.

>> ROB: NOW YOU CAME TO

THE STATES IN 1986 FROM CHINA.

DESCRIBE THE TYPE OF PAINTING

THAT YOU DO.

IT IS CONTEMPORARY,

BUT HOW WOULD YOU DESCRIBE

IT TO SOMEONE.

>> JIAN: I THINK A MORE

EXPRESSIONISTIC WAY OF HANDLING

THE PAINTING SURFACE.

WHICH MEANS THAT YOU ARE NOT

MIMICKING THE NATURE,

BUT TO EXPRESS IN YOUR OWN

INDIVIDUAL WAY OF WHAT NATURE

IS IN YOUR ARTISTIC SENSE,

RATHER THAN A PICTORIAL SENSE?

MOST ARTISTS THAT ARE WORKING

ARE PREMIX THE COLOR ON PALLETS,

BUT WHAT I DID FOR MY PAINTING

IS THAT MOST OF THE COLORS

WERE MIXED RIGHT ON THE CANVAS

WHILE I WAS WORKING ON

THE CANVAS.

SO WHICH HAS THE ADVANTAGE

OF EACH COLOR,

EACH BRUSHSTROKE CARRIED REALLY

MULTIPLE COLORS.

>> ROB: SO I SEE THAT YOUR PAINT

IS VERY THICK.

HOW LONG DOES IT TAKE FOR THESE

TO DRY?

>> JIAN: IT TAKES ABOUT A HALF

A YEAR TO COMPLETELY DRY.

>> ROB: A HALF A YEAR?

>> JIAN: RIGHT,

BUT THE SURFACE DRIES

IN A COUPLE OF WEEKS.

AND THERE'S NO AIR COMING INTO

IT BECAUSE THE BACK

OF THE CANVAS IS A SEAL.

AND SO THE PAINT IS ACTUALLY

NOT DRY.

IT'S JUST SET.

>> ROB: YOU MUST GO THROUGH

SO MUCH PAINT.

>> JIAN: ABSOLUTELY.

AND I USED UP MAYBE 600 TUBES,

260 A YEAR.

WHEN THEY DELIVER IT AND THEY

COME WITH A LIFTER,

THEY HAVE A PALLET.

>> ROB: A PALLET.

>> JIAN: ABSOLUTELY.

MAYBE A PALLET TO PAINT

AND 2 PALLET CANVASES.

EACH BRUSHSTROKE IS ALIVE.

AND WHEN PEOPLE ONCE SAID,

JIAN'S PAINTINGS ARE NEVER

COMPLETE,

IT'S ALWAYS GIVES YOU A SENSE

OF LIVELINESS AND IT'S LIKE

HE'S STILL WORKING ON IT.

>> ROB: DO YOU EVER GET SAD

TO SEE YOUR PAINTINGS GO?

>> JIAN: NOT QUITE,

BECAUSE I'M AN ARTIST THAT

I HAVE TO LIVE ON AND SECONDLY,

THAT I ALWAYS FANTASIZE THAT

THE UNFINISHED PAINTING

OR THE NEXT PAINTING WILL BE

A BETTER ONE.

NORTHERN CALIFORNIA HAS SUCH

A RICH SEASON THAT'S CHANGING.

VISUALLY,

IT STIMULATES ARTISTS TO MAKE

A GREAT PAINTING.

AND THAT FOR MY OPINION EXPLAINS

IT WHY NORTHERN CALIFORNIA

HAS VERY DISTINGUISHED

PAINTINGS.

AND EVEN THOUGH I BRING MY

PAINTING TO NEW YORK,

MEMPHIS, OR ATLANTA,

I STILL BELIEVE THE QUALITY

IN NORTHERN CALIFORNIA

IS SUPERB.

>> ROB: HOW DOES YOUR ART

INSPIRE YOU?

>> JIAN: ACTUALLY,

IT WAS VERY MUCH LATER ON

WHEN THE PAINTING IS COMPLETED

THAT I AM ABLE TO ENJOY THEM.

BUT WHILE I WAS WORKING ON

A PAINTING,

I RARELY HAVE SATISFACTION

OF IT.

>> ROB: REALLY?

>> JIAN: BECAUSE I'M ALWAYS

FRUSTRATED WITH THE BETTER MIND

THAN WHAT IT SHOWS ON THE CANVAS

WHAT I DID.

AND SO VERY OFTEN WHEN I WAS

LOOKING BACK AT THE PAINTING

A FEW DAYS LATER,

I SAY, WOW,

THAT WAS NOT THAT BAD.

I WAS SO UPSET WITH MYSELF

WHILE I WAS WORKING ON IT.

>> ROB: WELL,

WHATEVER YOU'RE DOING,

YOU'RE DOING RIGHT AND WE

CERTAINLY DO ENJOY YOUR

PAINTINGS AND WE LOVE WATCHING

YOU AT WORK SO I WOULD LOVE TO

WATCH YOU DO SOME MORE PAINTING.

>> JIAN: THANK YOU SO MUCH.

>> ROB: THANK YOU FOR HAVING US

HERE AT YOUR CARMICHAEL HOME

AND STUDIO.

>> RHEA: FOR MORE INFORMATION,

VISIT

GINWANGART.COM.

>> RHEA: THAT'S ALL WE HAVE TIME

FOR TONIGHT,

BUT THERE ARE DOZENS OF PREVIOUS

EPISODES AT

MPT.ORG/ARTWORKS.

I'M RHEA FEIKIN.

>> IAN: AND I'M IAN GALLANAR,

WITH THE CHESAPEAKE SHAKESPEARE

MPANY.

>> RHEA: WE'LL SEE YOU NEXT

WEEK.

THANKS FOR WATCHING.

>> ANNOUNCER: ARTWORKS IS

MADE POSSIBLE IN PART BY

THE CITIZENS OF BALTIMORE.

CLOSED CAPTIONING HAS BEEN

MADE POSSIBLE BY

MARYLAND RELAY,

EMPOWERING THOSE WITH

HEARING AND SPEECH LOSS

TO STAY CONNECTED.