>> HOST: IN THIS EDITION

OF ARTWORKS.

AN IN DEPTH LOOK AT THE COMPLEX

CHARACTERS OF "DOWNTON ABBEY."

>> WE CAN SEE SHADES OF GRAY

IN ALL OF THEM.

>> HOST: AN ACTOR DISCOVERS

THE CHALLENGE OF BEING CHAPLIN.

>> AND THAT SHOULD BE HARD.

SO IT IS.

>> HOST: A PAINTER WHO LAYERS

HIS MESSAGES.

AND STUDENTS WHO APPLY CLASSROOM

SKILLS FOR GLOBAL GOOD.

>> WE USE DESIGN AS A TOOL

TO HELP THESE ORGANIZATIONS.

>> HOST: IT'S ALL AHEAD ON THIS

EDITION OF ARTWORKS!

>> ANNOUNCER: ARTWORKS IS MADE

POSSIBLE IN PART BY:

THE MPT NEW INITIATIVES FUND,

FOUNDED BY

IRENE AND EDWARD H. KAPLAN.

>> HELLO,

I'M RHEA FEIKIN

AND THIS IS ARTWORKS,

A SERIES FOR THE CREATIVELY

CURIOUS.

>> AND I'M KWAME KWEI-ARMAH.

WELCOME BACK.

>> RHEA: FANS OF THE HIT SERIES

"DOWNTON ABBEY"

MIGHT THINK THEY KNOW ALL

OF THE CHARACTERS,

BUT IN HER NEW OFFICIAL

COMPANION BOOK TO THE SERIES,

"THE CHRONICLES

OF DOWNTON ABBEY,"

AUTHOR JESSICA FELLOWES GIVES

VIEWERS AN INSIDER'S SCOOP.

>> KWAME: FELLOWES HIGHLIGHTS

THE BEHIND-THE-SCENES DRAMA

DURING THE FILMING OF SEASON 3.

AS THE CAST OF "DOWNTON ABBEY"

ENTERS THE TUMULTUOUS 1920s.

HERE'S A LOOK.

>> JESSICA FELLOWES: THE

"CHRONICLES OF DOWNTON ABBEY"

IS THE OFFICIAL TIE-IN COMPANION

BOOK FOR THE TELEVISION SERIES

"DOWNTON ABBEY."

AND IT'S THE SECOND BOOK

THAT WE'VE DONE WITH THE SHOW.

AND THIS ONE IS VERY CHARACTER

LED SO EACH CHAPTER IS HEADED

UP BY ONE OR TWO CHARACTERS.

AND WE TOOK A TRIPLE-LED

APPROACH TO IT,

SO THERE'S A LOOK AT THE SHOW

ITSELF,

THE SERIES AS IF IT WERE A LIVE

AND PRESENT THING,

WHICH IS HOW IT FEELS WHEN

IT COMES INTO OUR TVS ON SUNDAY

NIGHTS.

AND THEN WE LOOK AT HOW

THE PRODUCTION BROUGHT ALL

OF THAT TOGETHER,

SO JULIAN'S SCRIPTS,

THE ACTORS AND WHAT THEY THINK

ABOUT THEIR OWN BACK STORIES,

THE ART DEPARTMENT,

THE HAIR AND COSTUMES

AND ALL THE, YOU KNOW,

PROPS AND ALL THE REST OF IT.

AND THEN THE THIRD LAYER

IS THE SOCIAL HISTORIES,

THE CONTEXT IN WHICH THE THING

IS SET,

WHICH DEMONSTRATES

THE AUTHENTICITY OF THE SHOW.

WHAT IS QUITE INTERESTING IS,

I THINK THERE'S A DIFFERENT

ATMOSPHERE ON THE SETS.

THE HIGHCLERE CASTLE,

WHICH WAS THE SETTING

FOR THE HOUSE AND ALL

THE ABOVE-STARS SCENES.

I MEAN IT IS A REAL,

WORKING HOUSE, YOU KNOW.

IT'S BEEN SITTING THERE

LIKE THAT FOR THE LAST 400,

500 YEARS OR WHATEVER.

AND THERE'S THAT REAL SENSE

OF ITS PRESENCE AS YOU ARRIVE.

AND I THINK IT MAKES

ALL THE ACTORS,

I MEAN I CAN FEEL MYSELF

SITTING UP STRAIGHTER JUST

TALKING ABOUT IT.

YOU KNOW,

YOU KIND OF HAVE TO HAVE

THAT PRESENCE IN A ROOM

AND YOU TALK IN A DIFFERENT KIND

OF WAY AND YOU HAVE TO HAVE

RESPECT FOR THE HOUSE,

IT'S A LOT OF VALUABLES THERE.

I MEAN,

THE ART DEPARTMENT DOESN'T PUT

VERY MUCH IN THERE APART

FROM A FEW POTTED PALMS.

I MEAN,

ALL THOSE THINGS LIKE COSTUMES,

THEY REALLY HELP.

AND THAT'S WHY,

THAT'S PARTLY WHY IT'S SO

IMPORTANT THAT EVERYTHING

IS AUTHENTIC IN THE WAY

THAT IT IS.

NOT JUST THAT IT LOOKS RIGHT

FOR US,

BUT IT HELPS THE ACTORS TO SIT

PROPERLY.

I MEAN,

THE STARCHED COLLARS

PARTICULARLY FOR THE MEN,

I GATHER,

ARE PRETTY HORRIBLE,

RUBBING THEIR NECKS QUITE RAW.

THE WOMEN OBVIOUSLY HAVE

THE CORSETS,

HAVE BEGUN TO GET A LITTLE BIT

EASIER NOW FOR THE THIRD SEASON,

THEY'RE NOT QUITE AS

CONSTRICTING AND SORT OF,

THEY HAVE THIS SORT

OF S-BEND SHAPE ALMOST

IN THE FIRST SEASON.

NOW IT'S MORE ABOUT FLATTENING

THE FIGURE OUT.

NEVERTHELESS,

THEY ALL HAVE TO WEAR THEM

AND LIVE WITH THAT.

BUT THAT DOES MAKE THEM SIT

IN THE RIGHT WAY AND WALK

IN THE RIGHT WAY.

AND I THINK ALSO THEY'VE PICKED

IT UP AS THEY GO.

ROB COLLIER,

WHO PLAYS THOMAS,

SAYS THAT HE DOESN'T REALLY

LIKE WATCHING SCENES

FROM THE FIRST SEASON

BECAUSE HE THINKS

HE WAS WALKING THE WRONG WAY,

BECAUSE THEY LEARN

YOU'RE NOT SUPPOSED TO PUT

YOUR HANDS IN YOUR POCKETS

AND HAVING TO SIT UP

AND SIT DOWN AND STAND UP.

YOU KNOW,

THEY HAD TO RE-SHOOT A SCENE

WHEN THE HISTORICAL ADVISER

WAS AWAY THAT DAY

AND MATTHEW CRAWLEY

DIDN'T STAND UP WHEN THE DOWAGER

COUNTESS CAME INTO THE ROOM.

HE SAID THERE'S ABSOLUTELY

NO WAY THAT COULD EVER HAVE

HAPPENED.

YOU COULDN'T POSSIBLY AIR

A SCENE LIKE THAT.

SO THEY HAD TO REDO IT.

JULIAN SAID THAT HE ALWAYS

BEGINS WITH THE FUNDAMENTAL

BELIEF THAT EVERYBODY IS GOOD.

THEY START GOOD

AND THEN SOMETHING MAY TAKE

THEM OFF THAT PATH ALONG

THE WAY.

AND I THINK THAT'S WHAT

IS REALLY INTERESTING ABOUT

THE CHARACTERS IS THAT

THEY'RE NOT BLACK OR WHITE.

THEY'RE NOT GOODIES OR BADDIES.

WE CAN SEE SHADES OF GRAY

IN ALL OF THEM.

I MEAN, EVEN O'BRIEN,

WHO'S PROBABLY THE MOST EVIL

SCHEMER OF ALL AND EVEN JULIAN

WILL ADMIT THAT,

THERE ARE STILL TIMES WHEN

YOU SEE HER AND YOU THINK,

THERE ARE SOME SOFT SPOTS

IN THAT HEART.

NOW WE WOULD PROBABLY CALL

HER DAMAGED AND SEND

HER TO THERAPY AND THINGS.

BUT THEN SHE JUST HAD TO LIVE

HER WAY THROUGH IT.

I ALWAYS GET ASKED WHAT'S

MY FAVORITE CHARACTER

AND IT'S SLIGHTLY LIKE SELECTING

YOUR CHILDREN OUT.

I'VE GOT TO KNOW THEM ALL

SO WELL NOW,

I FEEL LIKE I'VE SEEN THEM

DEVELOP OVER THREE SEASONS

AND TALK TO THE ACTORS AND TALK

TO THE PRODUCTION AND,

YOU KNOW,

ALL THESE SORT OF DETAILS

ABOUT THEM.

I KIND OF LOVE THEM ALL

IN THEIR OWN SPECIAL WAY.

>> RHEA: YOU'LL FIND "THE

CHRONICLES OF DOWNTON ABBEY"

ON BOOKSHELVES NOW AND YOU CAN

SEE SEASON THREE ONLINE AT:

VIDEO.MPT.TV.

ENJOY!

>> KWAME: THE NAME

"CHARLIE CHAPLIN"

CONJURES IMAGES OF A BOWLER HAT

AND MUSTACHE.

BUT THE ACTOR'S CAREER WAS MUCH

BIGGER THAN HIS OVERSIZED

TROUSERS AS WE SEE IN THIS

INTERVIEW WITH ROB MCCLURE,

WHO PLAYS THE MUSTACHED MAN

IN THE BROADWAY MUSICAL,

"CHAPLIN."

>> STEVE ADUBATO: THAT GUY'S

GOOD.

HE'S RIGHT HERE.

HIS NAME'S ROB MCCLURE,

HE'S STARRING IN "CHAPLIN,"

PLAYING AT THE ETHEL BARRYMORE

THEATRE.

HE'S AN ACTOR

AND HE IS TERRIFIC.

GOOD TO SEE YOU.

>> ROB MCCLURE: THANKS, STEVE,

THANKS FOR HAVING ME.

>> STEVE: WHAT'S IT LIKE TO SEE

YOURSELF STARRING IN "CHAPLIN"

LIKE THAT.

>> ROB: IT'S WILD, IT'S WILD.

IT'S PROFOUNDLY MOVING EVERY

NIGHT.

YOU KNOW,

PEOPLE COME TO THIS SHOW

WITH EXPECTATIONS.

THEY KNOW THAT SILHOUETTE.

THEY KNOW THE HAT,

THE CANE AND THE MOUSTACHE.

AND FANS OR NOT,

YOU OWE IT TO THAT MAN

AND THAT LEGACY TO GET

THAT RIGHT,

AND IT'S REALLY AN HONOR

TO TAKE A STAB AT IT EIGHT SHOWS

A WEEK.

>> STEVE: I WANT YOU TO SHARE

WITH US A LITTLE BIT BY THE WAY,

YOU'RE BORN AND RAISED

IN NEW JERSEY.

>> ROB: YEAH, THAT'S RIGHT,

JUST OVER THE BRIDGE.

>> STEVE: PROUD TO HAVE YOU,

AS SOMEONE WHO WAS BORN

AND RAISED IN JERSEY,

TO SEE SOMEONE WHO MADE

IT ON BROADWAY.

>> ROB: YEAH,

I GOT MY START OUT THERE

AT THE PAPER MILL.

>> STEVE: YEAH,

THE PAPER MILL PLAYHOUSE

IN MILLBURN.

>> ROB: RIGHT, IN MILLBURN.

>> STEVE: I CAN'T EVEN IMAGINE

WHAT IT'S LIKE TO BE PERFORMING,

TO GO FROM THE PAPER MILL

PLAYHOUSE IN MILLBURN

TO BROADWAY.

BUT I'VE GOT TO ASK YOU,

YOU WERE TELLING ME BEFORE

YOU GOT ON THE AIR THE RESEARCH

YOU DID TO UNDERSTAND CHAPLIN.

BY THE WAY, CHAPLIN BOOTCAMP?

>> ROB: YES.

>> STEVE: BECAUSE HE'S SO

PHYSICAL.

YOU HAD TO LEARN

TO ROLLER SKATE,

PLAY THE VIOLIN AND DO THE LAST

PART.

>> ROB: AND TIGHT ROPE WALKING.

>> STEVE: GET OUT OF HERE.

>> ROB: YES, IT'S WILD.

>> STEVE: YOU DIDN'T KNOW

HOW TO TIGHT ROPE WALK?

>> ROB: I DIDN'T KNOW HOW TO DO

ANY OF THAT STUFF.

AND BELIEVE IT OR NOT,

PLAYING THE VIOLIN IS ULTIMATELY

HARDER THAN EVEN THE TIGHTROPE.

IT'S AN INSTRUMENT

YOU CAN'T HIDE BEHIND,

YOU'RE DEALING WITH HORSE HAIR,

YOU KNOW.

ANY LITTLE NERVE THEY CAN HEAR.

BUT YOU KNOW,

IF YOU'RE PLAYING ONE

OF THE MOST FAMOUS FUNNY MANS

OF ALL TIME,

THAT SHOULD BE HARD.

SO IT IS.

>> STEVE: WELL, TALK ABOUT HARD.

CHAPLIN GROWS UP IN A VERY POOR

SECTION OF LONDON.

>> ROB: SOUTH LONDON, YEAH.

>> STEVE: AND YOU SAY 1913

HE COMES TO HOLLYWOOD.

AND SEVEN YEARS LATER?

>> ROB: HE'S THE MOST FAMOUS

MAN IN THE WORLD.

>> STEVE: NOW,

YOU SAID BEFORE WE WENT

ON THE AIR THAT YOU REALLY

WANTED TO UNDERSTAND

THAT JOURNEY AND UNDERSTAND

SO MUCH ABOUT WHO HE WAS,

WHICH IMPACTED HOW HE PERFORMED.

>> ROB: YEAH.

>> STEVE: TELL FOLKS SOME

OF THE THINGS YOU WERE TELLING

ME THAT HAD TO DO WITH HIS

PHYSICAL PERSONA,

WHICH WAS MUCH DEEPER THAN

WE WOULD HAVE THOUGHT.

>> ROB: YEAH,

THE LITTLE TRAMP CHARACTER

I DESPERATELY WANTED TO KNOW

WHAT WAS IT ABOUT THAT CHARACTER

THAT WAS SO TRANSCENDENT

THAT ALLOWED HIM TO BECOME

SO FAMOUS SO QUICKLY

AND SO UNIVERSALLY.

I MEAN,

FIRST OF ALL THEY WERE SILENT

PICTURES SO THEY HAD A UNIVERSAL

APPEAL THAT IS UNLIKE ANY MEDIUM

TODAY.

YOU KNOW,

WE GET PEOPLE AT THE STAGE DOOR

WHO ARE FROM EASTERN EUROPE

AND FROM JAPAN AND FROM ALL OVER

THE WORLD AND THEY SAY, LISTEN,

YOU DON'T KNOW HOW MUCH HE MEANS

TO US BECAUSE WHEN WE WERE

CHILDREN GROWING UP,

THOSE WERE THE ONLY AMERICAN

MOVIES WE COULD WATCH BECAUSE

OF THE LANGUAGE BARRIER.

OH MY GOSH, OF COURSE.

SO IT TRULY EXPLODED

IN A UNIVERSAL WAY, THOUGH,

THAT HAD NOT BEEN SEEN BEFORE

IN THAT MEDIUM.

AND WHAT WAS IT ABOUT

THAT CHARACTER THAT MADE PEOPLE

CARE SO MUCH?

AND I THINK IT WAS WHAT

WAS UNDERNEATH THE COMEDY.

>> STEVE: SO THE BIG PANTS,

ILL-FITTING CLOTHES.

>> ROB: YEAH,

THEY DIDN'T FIT NOT ONLY BECAUSE

THEY MAKE A FUNNY SILHOUETTE

BUT BECAUSE THEY'RE NOT HIS

CLOTHES.

HE'S A HOMELESS NOBODY LIVING

ON THE STREET,

HE PICKED THOSE CLOTHES

OUT OF A TRASH CAN,

THAT'S WHY THEY DON'T FIT.

A LOT OF WHAT GOES ON UNDERNEATH

THAT CHARACTER IS A VERY SWEET,

MELANCHOLY EVERYMAN TRYING

TO MAKE IT AND BE TAKEN

SERIOUSLY.

>> STEVE: TALK ABOUT THE HAT.

>> ROB: YEAH,

HE USED TO TIP HIS HAT AT PEOPLE

AS THEY WALKED BY,

WHETHER IT BE THE FRONT

OF THE HAT OR THE BACK

OF THE HAT,

AND WE ASSOCIATE THAT WITH

THE COMEDY OR THE QUIRK

OF THAT CHARACTER,

BUT REALLY THE MORE I WATCH

THE MORE I REALIZE

HE WAS DESPERATELY TRYING

TO BE TAKEN SERIOUSLY BY PEOPLE.

SO IF HE COULD FOOL THEM

INTO THINKING HE WAS A DIGNITARY

OR A WEALTHY PERSON,

SOMEONE WOULD TAKE

HIM SERIOUSLY.

AND WHAT'S SO HEARTBREAKING

IS THAT HE WAS FOOLING NOBODY

BUT HIMSELF.

SO YOU WOULD WATCH THIS SWEET

NOBODY OF A MAN AND TRYING

TO PUT ONE OVER ON PEOPLE

INTO TAKING HIM SERIOUSLY.

AND I THINK THAT'S WHAT REALLY

DREW PEOPLE TO HIM.

>> STEVE: TALK ABOUT DRAWING

PEOPLE TO PERFORMERS,

PEOPLE ARE DRAWN TO YOU.

HAVE NOT SEEN IT,

BUT EVERYTHING I'VE HEARD

AND PAULA IS IN MY EAR

RIGHT NOW SAYING,

ASK ROB ABOUT HIS ABANDON

WHEN HE IS PERFORMING.

AND THAT'S WHAT I KEEP HEARING,

THAT YOU JUST GO FOR IT.

WHAT DOES THAT REALLY MEAN?

>> ROB: I THINK THERE'S A SENSE

OF PLAY WHEN IT COMES

WITH THEATER,

AND A SENSE OF MAKE BELIEVE.

I MEAN, REALLY,

WHAT I THINK WE'RE DOING

IS PLAYING MAKE BELIEVE

IN THE WAY YOU DID WHEN YOU WERE

FOUR OR FIVE,

YOU JUST GET GOOD ENOUGH

AT IT THAT PEOPLE PAY TO WATCH

YOU DO IT.

THEY START BELIEVING YOU ARE WHO

YOU'RE PRETENDING TO BE.

>> STEVE: ARE YOU?

>> ROB: I THINK FOR THOSE

TWO-AND-A-HALF HOURS I THINK

I AM.

AND WHAT'S GREAT IS THAT

IN THOSE MOMENTS IN THE SHOW

WHEN THE MAGIC STARTS TO HAPPEN

AND THE MOUSTACHE GOES ON,

AND THE CANE GOES ON,

AND THE HAT,

I DO START TO FEEL THE AUDIENCE

LEAN IN AND GIVE ME PERMISSION

TO BE CHARLIE CHAPLIN FOR THOSE

TWO HOURS.

AND IT'S A HUGE GIFT AND I GET

ALL OF THAT AFFECTION THEY HAVE

FOR THAT MAN AND THAT CHARACTER

PUT ON ME,

WHICH IS SUCH A GREAT HONOR.

>> STEVE: AND IT WAS NOT EASY

GETTING THAT GIG.

YOU HAD SIX CALL BACKS.

YOU FOUGHT FOR THIS ROLE.

WHY?

>> ROB: I DID, I DID.

I LOVED IT.

I LOVED THE MAN,

I LOVED HIS STORY,

HE HAD A WILDLY COMPLICATED LIFE

WITH UPS AND DOWNS.

AND, YEAH,

THE AUDITION PROCESS

WAS INTENSE.

I REMEMBER FOR THE FINAL

CALL BACK,

IT WAS 5 O'CLOCK ON A MONDAY

AND THEY SAID TOMORROW TUESDAY

AT 10 A.M. COME BACK AND HAVE

TWO MINUTES OF A CHAPLIN-Y

THING.

>> STEVE: A CHAPLIN-Y THING.

>> ROB: A CHAPLIN-Y THING.

I SAID,

I DON'T EVEN KNOW WHAT

THAT MEANS.

SO I RAN HOME AND I WAS TRYING

TO COME UP WITH SOMETHING

AND IT WAS 2:30 IN THE MORNING

AND MY WIFE ROLLED OVER IN BED

AND SAID,

WELL WHY DON'T YOU BRING MUSIC

SO YOU'RE NOT COMPLETELY

HUNG OUT TO DRY

WITH THE SILENCE OF THE ROOM

AND I THOUGHT,

OH THAT'S GOOD.

SO I STARTED LOOKING THROUGH

MY PHONE AND IN MY CLASSICAL

MUSIC PLAYLIST AND I HAD

FLIGHT OF THE BUMBLE BEE.

AND I THOUGHT I'M GOING TO BRING

THAT AND A FLY SWATTER.

AND I'LL FIGHT AN INVISIBLE

FLY AND LOSE.

AND I THOUGHT, THAT'S IT,

AND I FELL ASLEEP.

AND THEN THE NEXT MORNING

I WOKE UP AND I GOT ON

THE AMTRAK TRAIN ON MY WAY

TO NEW YORK FROM BOSTON,

I WAS DOING A SHOW IN BOSTON,

AND I HAD MY HEADPHONES

AND A FLY SWATTER AND I'M SURE

EVERYONE ON THE TRAIN THOUGHT

I WAS OUT OF MY MIND,

TRYING TO COME UP WITH THIS BIT.

AND THE FIRST TIME I DID IT ON

MY FEET WAS IN THE ROOM

FOR THE TEAM,

AND IT WENT WELL I GUESS.

>> STEVE: WHEN YOU WERE DOING

IT AND THEY HAD TO MAKE

A DECISION, HOW NERVOUS?

>> ROB: OH, I'M ALWAYS VERY,

VERY NERVOUS.

ALWAYS.

AND, YOU KNOW,

AUDITIONING DOESN'T GET EASIER.

YOU KNOW,

PEOPLE TALK ABOUT MAKING IT.

YOU KNOW,

WHEN I DID AVENUE Q

I DID AVENUE Q FOR THREE YEARS,

ONE OF THE GREATEST THRILLS

THEY SAID, YOU MADE IT.

WELL WHENEVER THAT JOB ENDS,

YOU'VE GOT TO MAKE IT AGAIN.

YOU KNOW WHAT I MEAN?

YOU'VE GOT TO DO IT AGAIN.

SO THERE IS THAT SENSE,

EVERY AUDITION YOU'VE GOT

TO GO IN AND GIVE IT

AND HOPEFULLY YOU'RE THE RIGHT

FIT.

>> STEVE: IT'S NO DIFFERENT

HERE.

WE'RE MAKING IT.

WE'RE HERE IN LINCOLN CENTER

DOING THE SHOW.

I'M LIKE,

HEY I HOPE THIS SHOW KEEPS

GOING.

IT'S LIKE,

WHATEVER IT IS.

>> ROB: THAT'S IT, THAT'S IT,

THAT'S THE WAY IT GOES.

AND IT'S ONE OF THE THRILLING

THINGS ABOUT THIS BUSINESS,

IS THAT EVERY SHOW I DO,

THERE'S A NEW BAG OF TRICKS.

AND THIS ONE ESPECIALLY,

YOU KEEP ADDING THINGS

TO YOUR SPECIAL SKILLS SECTION

OF YOUR RESUME AND LEARNING

TO DO CRAZY PUPPETRY

OR WALKING TIGHTROPE OR PLAYING

THE VIOLIN AND IT ALLOWS

YOU TO FLEX DIFFERENT MUSCLES.

>> STEVE: I CAN'T LIKE I SAID,

I CAN'T IMAGINE WHAT IT'S LIKE,

TO ME,

GROWING UP LOVING THE YANKEES,

IT'S KIND OF LIKE PLAYING

IN YANKEE STADIUM.

I'M JUST HAPPY FOR YOU

AND I WISH YOU NOTHING

BUT THE BEST.

ALL THE BEST.

>> ROB: THANKS SO MUCH, STEVE,

I APPRECIATE IT.

>> KWAME: ROB MCCLURE ORIGINALLY

CREATED HIS ROLE

OF CHARLIE CHAPLIN

IN CALIFORNIA'S LA JOLLA

PLAYHOUSE IN 2010.

>> RHEA: GREGORY EUCLIDE IS NOT

YOUR AVERAGE LANDSCAPE ARTIST.

WITH INTUITIVE LAYERING

OF SPATULA APPLIED PAINT

AND FOUND MATERIALS,

EUCLID'S PROCESS IS ALMOST

AS BREATHTAKING AS THE FINISHED

PIECE.

TAKE A LOOK.

>> GREGORY EUCLIDE: WELL

AS A YOUNG ARTIST,

I STARTED JUST DRAWING MOSTLY

BECAUSE THAT'S HOW YOU COULD

GET ATTENTION AND,

LIKE ANY PSYCHOLOGIST WILL

TELL YOU,

IF YOU CAN GET ATTENTION

FROM DOING SOMETHING THEN

YOU'LL CONTINUE TO DO IT.

THIS IS WHERE I GET MY MATERIAL.

EVERY TIME IT RAINS YOU CAN

FIND,

THIS IS SOME KIND OF STYROFOAM,

YOU'LL FIND IT ALL OVER HERE.

*

IF SOMEONE HASN'T SEEN MY WORK

BEFORE,

I TEND TO DESCRIBE IT

AS LANDSCAPE PAINTING,

MAYBE CONTEMPORARY LANDSCAPE

PAINTING.

SO WHAT I'LL DO IS PICK IT ALL

UP AND PUT IT IN MY POCKET

AND BRING IT ALL BACK.

WHENEVER I TRY TO EXPLAIN

IT TO SOMEONE IT ENDS UP

GETTING VERY LONG WINDED

AND VERY CONFUSING AND I USUALLY

JUST END UP SAYING

IT'S LANDSCAPE PAINTING.

I GOT TO KEEP RAINING OTHERWISE

I'LL RUN OUT OF SUPPLIES.

WELL I USE THE STYROFOAM IN MY

WORK TO KIND OF SYMBOLIZE

THIS THING THAT'S MAN-MADE.

BUT OMNIPRESENT

IN THE LANDSCAPE,

SO IT'S NOT VERY DIFFICULT

TO FIND THIS STUFF EVERYWHERE

YOU GO.

SO SOMETIMES I'LL USE A SPATULA

TO SCRAPE THE PAINT ACROSS

THE SURFACE AND LET THE PAINT

KIND OF ACT AS PAINT AND NOT

APPEAR SO REPRESENTATIONAL.

I ALSO LIKE THE WAY

THAT IT KIND OF STUMBLES ALONG

THE SURFACE.

*

SO THERE'S LAND HERE

AND IN THE CENTER OF THIS SCENE

I'M GOING TO CREATE SOME TYPE

OF INDUSTRY THAT MOVES

IN AND KIND OF STARTS,

IS BUILT UPON THAT LAND.

THE STUFF THAT'S AROUND

THIS IS GOING TO BE MORE

DELIBERATE AND ORGANIZED BECAUSE

IT'S A CITY,

SO CITY PLANNING IS MUCH

DIFFERENT THAN, YOU KNOW,

A NATURAL PRAIRIE OR A FOREST.

I THINK OF IT AS AN EXPERIENCE

IN MEMORY SO WHEN I GO OUT

INTO A FOREST I WALK THROUGH

THE FOREST AND I'M EXPERIENCING

THESE VIGNETTES,

MOMENT BY MOMENT.

AND BY VIGNETTES I MEAN,

MAYBE YOU WALK DOWN A HILL

AND YOU REMEMBER THAT MOMENT

OF WALKING DOWN THE HILL

OR YOU COME ACROSS A POND

AND THEN YOU REMEMBER SEEING

THAT OR SPENDING TIME THERE

AND THEN YOU MOVE ON TO A NEW

PLACE.

YOU START TO THINK ABOUT

THE ECOSYSTEMS AND IN GENERAL

IT'S JUST OVERWHELMING.

IT'S IMPOSSIBLE FOR ONE PERSON

TO UNDERSTAND WHAT'S EVEN

GOING ON IN ONE FOOT OF SPACE

IN THE FOREST.

AND THAT COMPLEXITY AND THAT

DENSITY HAS ALWAYS BEEN A PART

OF MY WORK.

IT'S LIKE YOU THINK THAT'S JUST

A CITY?

WELL, NO IT'S A,

THERE USED TO BE OAK SAVANNAH

THERE AND BEFORE

THE OAK SAVANNAH IT USED

TO BE HUNTED BY, YOU KNOW,

DAKOTA AND SUE,

AND BEFORE THAT IT'S LIKE.

THE HISTORY OF SPACE IS,

WE OFTEN FORGET ABOUT.

THIS IS NATURE,

LIKE DEAD NATURE AND THEN

CULTURE.

SO YOU'VE GOT COFFEE CUPS,

STYROFOAM,

IT'S LIKE THIS IS THE PERFECT

BLENDING POT RIGHT HERE.

THIS IS LIKE REALITY OF WHAT

EXISTS.

I'VE GOT THIS FRAMEWORK

ESTABLISHED HERE,

AND THE WATER WORKS GREAT

BECAUSE I CAN GO AND ERASE

THINGS.

LIKE THIS AREA RIGHT HERE,

IF I SPRAY THAT UP CLOSE

YOU CAN SEE THAT LIKE ANY PAINT

THAT WAS STILL WET WILL START

TO FALL AWAY.

AND YOU GET THIS PATTERN

OF DECAY AND THEN HAVING

THAT ACTUALLY HAPPEN ON

THE SURFACE OF THE PAINTING

ALWAYS SEEMED INTERESTING.

IN ORDER TO HOLD THEM,

THEY NEED TO DRY LIKE THAT.

I THINK ABOUT WHAT'S

REPRESENTED TWO-DIMENSIONALLY

AND SOMETIMES TRY TO CREATE

A COMPLEMENT TO IT

THREE-DIMENSIONALLY.

THIS ALL STARTED BY,

I MADE SOME PAINTINGS THAT

HAD TWO OR THREE SHEETS

OF PAPER ON IT.

AND I WOULD GO THROUGH

AND I WOULD RIP THROUGH THEM

AND THEN I'D START PAINTING

THE NEXT SCENE ON TO THAT

AS THOUGH IT'S LIKE A MOMENT

IN TIME.

AND THEN YOU PASS THROUGH

THE THRESHOLD OF THAT MOMENT

INTO THE NEXT STAGE.

THE PAINT THAT DRIPS DOWN

WOULD POOL UP INSIDE OF THESE,

LIKE, RELIEF AREAS.

I THOUGHT OKAY WELL THAT RELIEF

AREA THEN BECOMES A LAKE.

WHAT'S GOING TO HAPPEN

AROUND A LAKE?

YOU'RE GONNA GET,

THERE'S WATER THERE

SO YOU'RE GONNA HAVE GROWTH

UP AROUND THE LAKE,

SO IT SEEMED LIKE A RICH PLACE

TO KIND OF START PUTTING

THE RELIEF ELEMENTS IN.

JUST HAVING THEM STAND THERE

LIKE THAT BECAUSE THEY CAN

BECAUSE THE PAPER COMES OUT

IN RELIEF,

THEN THE OBJECTS CAN USE

THAT AS A FOOTHOLD TO START,

IT'S LIKE ON THE SIDE

OF A CLIFF.

ANY ROCK THAT COMES OUT,

THERE'S GOING TO BE SOMETHING

THAT'S GROWING ON THERE,

WHERE AS THE CLIFF FACE

IT'S MUCH MORE RARE.

WHEN I BRING SCULPTURAL ELEMENTS

IN OR LIKE PIECES FROM THE LAND,

I HAVE A TENDENCY TO THINK ABOUT

MODES OF REPRESENTATION.

DO YOU HAVE AN ILLUSIONISTIC

SPACE THAT IS PAINTED

WHERE PEOPLE CAN GO

AND WITH THEIR MIND YOU HAVE

A SPACE THAT ACTUALLY COMES OUT

THAT PEOPLE CAN MOVE AROUND

WITH THEIR BODY AND THEN

YOU HAVE THESE LIKE FAKE KIND

OF MODEL TYPE MATERIALS THAT

ARE PRODUCED ON THERE.

TREES THAT I MAKE FROM SEDUM

OR LIKE THE TEXTURAL TYPE

OF THINGS.

SO I STARTED FOOLING AROUND

WITH VARIOUS PLASTIC BAGS.

THE IDEA THAT YOU CAN TAKE

AND MAKE A FORM THAT LOOKS

LIKE SOMETHING NATURAL OUT

OF SOMETHING THAT'S YOU KNOW,

PETROLEUM BASED AND COMPLETELY

DESTRUCTIVE AND HAVE THAT

IN THIS LANDSCAPE THAT'S KIND

OF IMPORTANT BECAUSE

THE LANDSCAPE ITSELF SEEMS

VERY PICTURESQUE.

BUT, YOU KNOW,

THESE ARE THE THINGS WE USE

ON A DAILY BASIS THAT ARE

THE ANTITHESIS TO THIS KIND

OF IDEA.

ALL OF THESE DIFFERENT MODES

OF REPRESENTATION

GET INTRODUCED INTO

THE SCULPTURAL MIX AND IT'S

KIND OF LEFT TO THE VIEWER

TO NEGOTIATE HOW THOSE THINGS

BLEND TOGETHER.

IF I JUST MADE BEAUTIFUL

PAINTINGS,

WHAT I'M TRYING TO GET

AT WITHIN THE WORK WOULD BE

LOST, YOU KNOW.

SO IF I COULD INTRODUCE AS MUCH

GARBAGE AS POSSIBLE

FROM THE LAND INTO THE WORK,

THAT KIND OF REFLECTS ON

THE STATE OF LAND TODAY

AS WELL AS MAKING THE PAINTING

A LITTLE MORE REALISTIC TO ME.

I WANT IT TO FEEL LIKE

I'M PRESENT IN THE LAND

IN GENERAL, YOU KNOW,

AND IT CONTAINS ALL

OF THE THOUGHTS THAT I HAVE.

I THINK THAT'S HOW I WANT

TO JUST KEEP MAKING IT MORE

AND MORE REALISTIC IN THAT

SENSE.

WHEN I LOOK AT A LANDSCAPE

PAINTING I THINK WELL

THAT'S LIKE ONE-TWELFTH

OF THE STORY.

>> RHEA: GREGORY EUCLIDE

RECENTLY WRAPPED SHOWS

IN MINNEAPOLIS, MIAMI,

AND NEW YORK.

HIS ART IS ALSO FEATURED

ON THE COVERS OF SEVERAL

BON IVER ALBUMS.

TO FIND OUT MORE,

VISIT

GREGORYEUCLIDE.COM.

NEXT,

WE VISIT PRATT INSTITUTE

IN BROOKLYN, NEW YORK.

PRATT IS ONE OF THE WORLD'S

MOST PRESTIGIOUS COLLEGES

OF ART, DESIGN,

AND ARCHITECTURE.

ITS ALUMNI AND FACULTY HAVE

PRODUCED WORKS THAT HAVE CHANGED

THE WORLD.

NOW CELEBRATING ITS 125TH YEAR,

PRATT INSTITUTE IS HELPING

DESIGN STUDENTS MAKE

A MEANINGFUL IMPACT ON THE WORLD

WITH ITS "DESIGN INCUBATOR."

STUDENTS USE THEIR SKILLS

TO CREATE SUSTAINABLE PRODUCTS

AND SOCIALLY RESPONSIBLE

COMPANIES.

HERE'S A LOOK.

>> DEBERA JOHNSON: THE "DESIGN

INCUBATOR" IS REALLY FOCUSING

ON TRANSITIONING DESIGNERS

INTO DESIGN ENTREPRENEURS.

THESE CREATIVE,

TALENTED PEOPLE

STARTING ENTERPRISES,

BEING ENTREPRENEURS AND THIS

IS A PLACE WHERE THEY CAN COME

IN AND THEY CAN FIGURE OUT

HOW TO DO THIS.

WE WANT TO DO THINGS THAT

ARE ENVIRONMENTALLY BETTER,

SOCIALLY BETTER AND SO IT'S

THOSE VALUES THAT CONNECT

US ALL.

>> SAMUEL COCHRAN: YOU KNOW,

WHEN WE STARTED,

WE DIDN'T KNOW A LOT ABOUT

HOW TO START A BUSINESS

AND THE INCUBATOR

AND ITS RESOURCES HAS ALLOWED

FOR US TO GAIN THAT EDUCATION

IN A SAFE ENVIRONMENT.

WE'RE LOOKING AT ONE OF OUR

FIRST PROTOTYPES OF SOLAR IVY

AND SOLAR IVY IS A SYSTEM

OF SOLAR PANELS OR PHOTOVOLTAICS

THAT INTERACT WITH OUR BUILT

ENVIRONMENT SUCH THAT THEY

CAN BE TUNED TO BE OPTIMIZED

FOR CAPTURING ENERGY

AND PRODUCING ELECTRICITY

WHILE LOOKING LIKE IVY ON

THE SIDE OF A BUILDING.

>> ASHLEY THORFINNSON: DESIGNING

HOPE IS AN INTERDISCIPLINARY

DESIGN FIRM THAT WORKS

WITH NON-PROFITS AND SOCIAL

VENTURES AND WE USE DESIGN

AS A TOOL TO HELP THESE

ORGANIZATIONS MAKE A POSITIVE

IMPACT.

WE HAVE BEEN WORKING

WITH TILONIA,

THEY ARE A NOT PROFIT ARTISAN

GROUP BASED OUT OF INDIA.

AND WE'VE BEEN WORKING

WITH THEIR DESIGNERS

IN A COLLABORATIVE WAY TO HELP

BRING A LEVEL OF SOPHISTICATION

TO THEIR ALREADY EXISTING

CRAFT WORK WHICH GIVES THEM

MARKET ACCESS IN NORTH AMERICA.

>> DEBERA: IN THE

"DESIGN INCUBATOR" WE'RE REALLY

QUITE PRACTICAL.

AND I THINK THAT WAS ONE

OF CHARLES PRATT'S IDEAS

WAS THIS IDEA OF BEING ABLE

TO TRAIN PEOPLE TO GO OUT

AND DO THINGS IN A PRACTICAL

WAY.

>> RHEA: AS PART OF ITS

125TH ANNIVERSARY CELEBRATION,

PRATT INSTITUTE IS HOSTING

AN EXHIBITION AT ITS NEW YORK

CAMPUS OF ICONIC WORKS CREATED

BY PRATT ALUMNI AND FACULTY.

THESE RANGE FROM THE SCRABBLE

BOARD GAME TO THE CHRYSLER

BUILDING TO OX-OH GOOD GRIPS

KITCHEN UTENSILS.

AND NOW,

HERE'S A LOOK AT SOME

OF THE ARTS EVENTS HAPPENING

THIS WEEK IN OUR TOWN.

>> KWAME: THAT WRAPS IT UP

FOR THIS EDITION OF ARTWORKS.

I'M KWAME KWEI-ARMAH.

>> RHEA: FOR MORE ARTS

AND CULTURE,

VISIT MPT.ORG/ARTWORKS.

I'M RHEA FEIKIN,

THANKS FOR WATCHING.

AND,

I WOULD LIKE TO SAY

CONGRATULATIONS TO YOU ON

YOUR INDUCTION TO THE ORDER

OF THE BRITISH EMPIRE.

WE ARE VERY PROUD TO HAVE YOU

ON ARTWORKS.

>> KWAME: THANK YOU SO MUCH.

AND PLEASE,

DO TUNE IN NEXT WEEK AND SUPPORT

THE ARTS.

>> ANNOUNCER: ARTWORKS IS MADE

POSSIBLE IN PART BY:

THE MPT NEW INITIATIVES FUND,

FOUNDED BY

IRENE AND EDWARD H. KAPLAN.