>> Announcer: PRODUCTION OF
"BROAD & HIGH" IS FUNDED IN PART
BY THE GREATER COLUMBUS ARTS
COUNCIL.
SUPPORTING ARTS, ADVANCING AND
CONNECTING THE COMMUNITY TO
ARTISTS, EVENTS AND CLASSES AT
COLUMBUSMAKESART.COM.
!!musiC@!!!musiC@!
>> THIS TIME ON "BROAD & HIGH,"
EXPLORE THE RICH AND RECENT
HISTORY OF VALENTINE'S DAY
CARDS.
SATISFY YOUR SWEET TOOTH WITH A
VISIT TO MMELO CONFECTIONS, AND
WE WILL VISIT THE FICTIONAL TOWN
OF CHARLOTTESVILLE WHERE
EVERYONE IS LOVED.
THIS AND MORE RIGHT NOW ON
"BROAD & HIGH."
!!musiC@!!!musiC@!
WELCOME TO "BROAD & HIGH."
I AM YOUR HOST KATE QUICKEL, AND
WILL YOU BE MY VALENTINE?
THE TRADITION OF GIVING YOUR
SWEETHEART A WRITTEN LOVE NOTE
ON FEBRUARY 14th DATES BACK WAY
BEFORE HALLMARK.
IN FACT, THE OLDEST VALENTINE ON
RECORD IS A POEM WRITTEN IN THE
1400s.
BUT THE MASS PRODUCED FACTORY
MADE CARDS THAT WE ARE ALL
FAMILIAR WITH TODAY HAVE A MUCH
MORE RECENT PAST.
THEY'VE ONLY BEEN AROUND SINCE
THE 19TH CENTURY, WHEN THEY
STARTED TO REPLACE ALL OF THOSE
HANDMADE AND HAND WRITTEN LOVE
NOTES.
I RECENTLY MET WITH LOCAL
COLLECTOR GEORGE JOHNSON IN
LANCASTER TO TALK ABOUT HOW THIS
TRADITION HAS EVOLVED THOUGH THE
AGES.
!!musiC@!!!musiC@!
ALL RIGHT, GEORGE, YOU ARE A BIG
OF A VALENTINE HISTORIAN IN A
WAY, RIGHT?
>> YES.
>> SO TELL ME ABOUT YOUR
COLLECTION, HOW DID YOU GET
STARTED WITH THIS?
>> I STARTED COLLECTING IN THE
1970s, AND I REALLY ADMIRED THE
ARTWORK AND HOW LOVELY THEY
WERE.
I STARTED COLLECTING WHAT
COLLECTORS TODAY CALL FOLD DOWN
VALENTINES THAT PULL DOWN AND
OPEN UP.
>> OH, COOL.
>> BEAUTIFUL SCENES.
>> YOU AREN'T JUST GOING TO THE
DRUG STORE AND BUYING
VALENTINES, HOW ARE YOU FINDING
THESE?
>> I WAS BUYING THEM AT ANTIQUE
SHOWS AND ANTIQUE SHOPS, PLACES
LIKE THAT.
YOU KNOW, FLEA MARKETS.
A LOT OF TIMES VALENTINES HAVE
BEEN SAVED FOR MANY, MANY YEARS.
I HAVE SEVERAL IN THE COLLECTION
THAT ARE 200 YEARS OLD.
>> WOW.
>> AND STILL IN GOOD SHAPE.
>> DO YOU HAVE ANY CONCEPT OF
HOW MANY YOU HAVE COLLECTED, AND
HOW YOUR COLLECTION HAS GROWN
OVER THE YEARS?
>> UMM, NOT REALLY.
BUT THERE IS PROBABLY
200-300 VALENTINES ON DISPLAY
HERE.
>> SO MUCH LOVE.
IT'S KIND OF GREAT >> THAT'S
RIGHT.
THIS PARTICULAR ONE IS THE
EARLIEST ONE THAT WE HAVE IN THE
COLLECTION.
SO THIS ONE IS ESSENTIALLY, YOU
KNOW, 200 YEARS OLD.
>> WOW.
>> ON THE BACK THEN IS THE HAND
WRITTEN.
>> THAT IS HAND WRITTEN?
>> POEM.
>> OUR PENMANSHIP SKILLS HAVE
GONE DOWN.
I LIKE THIS "MANY WATERS CANNOT
QUENCH LOVE."
>> THIS ONE, IT DATES FROM THE
1840s, AND IT HAS PERFORATED
LACE ON IT.
IT HAS SATIN IN THE CENTER.
AND IT'S A VERY LOVELY CARD, BUT
THE MOST INTERESTING PART, AT
LEAST TO ME, IS THAT EACH OF
THESE WREATHS -- MONDAY,
TUESDAY, WEDNESDAY, THURSDAY,
FRIDAY, SATURDAY -- AND EACH OF
THESE WILL LIFT TO REVEAL --
>> A LITTLE MESSAGE.
>> A LITTLE MESSAGE BEHIND IT.
>> THAT'S SO CUTE!
>> AND EVERY ONE -- EXCEPT
SUNDAY, BECAUSE SUNDAY IS FOR
CHURCH AND WE'RE NOT GOING TO DO
ANY OF THAT HANKY-PANKY TYPE
STUFF.
[ LAUGHTER ]
>> AND THESE LITTLE ENVELOPES --
>> EACH ONE OF THE SIX DAYS OF
THE WEEK.
>> WOW.
>> HAS A LITTLE TINY ENVELOPE.
>> THAT DOESN'T OPEN?
>> AND IT OPENS.
>> OH, STOP.
>> AND INSIDE IS ANOTHER SMALL
HANDWRITTEN MESSAGE.
THIS ONE IS FROM THE 1870s,
PROBABLY.
AND IT'S GILDED, PERFORATED LACE
PAPER.
IT'S VERY UNUSUAL IN THE SENSE
THAT THE BACK IS JUST AS
DECORATED AS THE FRONT.
>> OH MY GOSH, IT IS.
>> WITH A -- THAT'S A SPUN GLASS
MEDALLION IN IT.
>> WHAT?
THAT'S AMAZING.
>> AND THIS IS THE HIDDEN
PICTURE.
TAKE THAT OTHER SIDE AND WE'LL
OPEN IT UP.
>> AND THERE'S THE LITTLE
COUPLE.
RUNNING AWAY TOGETHER.
!!musiC@!!!musiC@!
>> SO THIS IS A, WHAT THEY
CALLED THE TRICK VALENTINE.
SO WE'VE GOT A LITTLE SILK CORD
WITH A LITTLE PIECE OF SILVER
CARDBOARD ON IT.
AND WHEN YOU PULL THE STRING IT
WILL STOP INTO A
THREE-DIMENSIONAL FORM WITH A
LOVE NOTE AT THE TOP.
>> THAT'S BEAUTIFUL.
HOW ELABORATE.
>> LET GO OF IT, AND IT LAYS
FLAT.
SO IT'LL GO THROUGH THE MAIL
LIKE THAT.
>> RIGHT.
>> AND THEN SIMPLY PULLING THE
STRING --
>> WHAT ERA IS THIS FROM?
>> THIS AGAIN IS PROBABLY 1870s,
MAYBE 1880s.
>> WOW, SO INTRICATE.
>> THE MAJORITY OF THE DISPLAY
HERE RUNS FROM 1820 TO 1930s,
'40s.
BUT THERE'S A FEW WHERE YOUNGER
KIDS WILL RECOGNIZE, TOO.
!!musiC@!!!musiC@!
>> EXPRESSIONS OF LOVE, THE
VALENTINE COLLECTION OF GEORGE
JOHNSON IS ON DISPLAY AT THE
DECORATIVE ARTS CENTER AT
LANCASTER THROUGH FEBRUARY 28th.
VISIT THEM ONLINE AT
DECARTSOHIO.ORG TO LEARN MORE.
!!musiC@!!!musiC@!
>>> AS WE JUST SAW, FOLKS SEND
CARDS FOR VALENTINE'S DAY.
SOME SEND FLOWERS.
AND SOME SEND CANDY.
WE MET UP WITH MICHELLE ALLEN AT
HER NEW SHOP IN THE ARENA
DISTRICT TO CHECK OUT HER TASTY
CONFECTIONS THAT ARE SWEET TO
RECEIVE ANY TIME OF THE YEAR.
!!musiC@!!!musiC@!
>> WE ARE IN MY NEW CAF…, MY
CONFECTIONARY CAF…, MMELO
BOUTIQUE CONFECTIONS.
M-M-E-L-O, WHICH FUNNILY ENOUGH
CAME OUT OF A SOUND THAT MY
HUSBAND WOULD HEAR, BECAUSE I
STARTED KIND OF DOING THIS IN
SPAIN.
AND MY HUSBAND -- PEOPLE WOULD
TRY MY FOOD, AND PEOPLE WOULD GO
"MMM."
AND IT JUST KIND OF GREW OUT OF
THAT SOUND.
SO YEAH, THAT'S WHERE MMELO
COMES FROM.
YOU KNOW, MARSHMALLOWS HAVE
REALLY FALLEN FROM GRACE.
THEY WERE A CONFECTION FOR
KINGS.
AND THE REASON FOR THAT IS YOU
CAN DO SO MANY THINGS WITH THE
KNOW, YOU RAISE IT A FEW DEGREES
AND YOU GET A SWEDISH
MARSHMALLOW, WHICH IS A BIT
RUBBERY.
AND THAT'S HOW THEY LIKE IT.
OR, YOU KNOW, YOU ADD A BIT OF
EGG WHITE TO IT AND IT'S ALMOST
LIKE A FOAM.
THE FRENCH CALL THAT A GUIMAUVE.
SO THAT'S ONE OF THE REASONS I'M
KIND OF PUSHING THE VIRTUES OF
MARSHMALLOWS.
WE ARE ON THE CLOCK NOW.
I GREW UP JUST OFF OF LIVINGSTON
AVENUE AND THE SOUTH EAST SIDE,
AND WENT TO OHIO STATE.
AND WAS JUST CHOMPING AT THE BIT
TO GET OUT OF TOWN.
I TRAVELLED ALL OVER THE WORLD,
AND A LOT OF THAT TRAVEL
ACTUALLY ENDED UP FORMING THE
RECIPES I DESIGN NOW.
IN SEPTEMBER OF 2015, I QUICKLY
CAME BACK TO THE UNITED STATES,
INCORPORATED MMELO, CONTACTED A
CONTACT THAT I HAD OVER AT
EASTON.
THEY GAVE ME THIS CR»ME DE LA
CR»ME SPOT ON THE STRAND.
I HAD LOUIS VITTON ACROSS THE
STREET AND APPLE ONE SIDE AND
MICHAEL KORS ON THE OTHER.
IT WAS MAD.
THAT WOULD NEVER IN A MILLION
YEARS HAPPEN IN EUROPE.
I WAS THERE FOR EIGHT WEEKS.
BASED ON THE STRENGTH OF THAT, I
GOT CORPORATE CLIENTS.
I FOUND THE FUNDING FOR MY
BUSINESS.
I WOULD NEVER HAVE GOTTEN THIS
FAR IN SPAIN.
EVER.
PART OF THE RESEARCH THAT I'VE
DONE IN FOOD IS REALLY TRYING TO
MAKE SURE THAT I AND MY TEAM
REALLY UNDERSTAND WHY YOU MAKE
THE INGREDIENT CHOICE THAT YOU
MAKE AND HOW THAT BASICALLY
INTERACTS WITH THE HUMAN BODY.
THAT, IN ADDITION TO THE
COMMITMENT TO USING AND
DESIGNING ALL THE RECIPES AROUND
REAL FOOD, WHOLE FOOD
INGREDIENTS, NOT USING
UBER-REFINED FLOURS, NOT USING
UBER-REFINED SUGARS, NOT USING
ARTIFICIAL FLAVORS OR
SWEETENERS.
ALL THAT SORT OF STUFF THAT WE
NOW KNOW WE SHOULDN'T REALLY
CONSUME.
YOU KNOW, PEOPLE ASK ME ALL THE
TIME -- CAN YOU DO A SUGAR-FREE
TREAT?
AND MY RESPONSE TO THAT IS, I
WOULD LOVE TO, BUT THERE ISN'T A
NATURAL WAY TO DO THAT.
WE CAN DO LOW-GLYCEMIC, BUT WE
CAN'T DO SUGAR FREE.
I'M NOT TRYING TO SAY THAT MMELO
IS HEALTH FOOD, BUT IT IS FOOD.
IT IS NOT JUNK.
IT IS NOT MADE WITH JUNKY
INGREDIENTS.
THERE'S THOUGHT BEHIND THE WAY
THAT IT WAS BUILT AND
CONSTRUCTED.
A LOT OF PEOPLE HERE IN COLUMBUS
HAVE DONE SOME AMAZING WORK IN
TERMS OF CREATING THE FOOD
LANDSCAPE HERE IN COLUMBUS.
IT'S SO IMPRESSIVE, AND I'M SO
PROUD OF MY HOMETOWN.
AND I HOPE THAT MMELO CAN
CONTRIBUTE TO THAT IN A REALLY
POSITIVE WAY.
!!musiC@!!!musiC@!
>> FROM GOURMET MARSHMALLOWS TO
HAND-MADE TEACAKES, YOU CAN FIND
ALL MANNER OF SWEET TREATS AT
THE STORE FRONT AT THE ARENA
DISTRICT.
AND CHECK THEM OUT ON INSTAGRAM.
!!musiC@!!!musiC@!
>> THIS NEXT STORY IS ABOUT
FINDING LOVE AND ACCEPTANCE.
WHEN CHARLOTTE MCGRAW WAS A
TEENAGER, SHE WAS IN DESPERATE
NEED OF LOVE AND GUIDANCE.
INSTEAD SHE WAS
INSTITUTIONALIZED.
BUT NOW THROUGH HER ART SHE HAS
CREATED THE KIND OF PLACE SHE
CRAVED AS A CHILD.
ONE WHERE EVERYONE IS WELCOME
AND NO ONE IS TURNED AWAY.
SHE CALLS IT CHARLOTTESVILLE.
>> CODY USED TO ALWAYS TRY TO
GET ME IN THE ART ROOM.
AND I TOLD CODY, I SAID, "LOOK.
I DON'T DO ART."
HE SAID, "CHARLOTTE, YOU DON'T
KNOW UNLESS YOU COME IN A TRY."
AND I TOLD HIM, "NOPE, I DON'T
DO ART!"
SO HE KEPT BUGGING ME AND
BUGGING ME AND BUGGING ME.
SO I SAID, "OH GOD.
LET ME GO IN HERE AND KEEP HIM
QUIET."
!!musiC@!!!musiC@!
WELL, CHARLOTTESVILLE IS A
LITTLE TOWN.
WHERE MY CREATURES CAN COME.
AND THEY'RE NOT LOOKED AT LIKE
THEY HAVE A DISEASE.
THEY'RE LOOKED AT LIKE THEY'RE
HUMAN.
AND EVERYONE IN CHARLOTTESVILLE
IS LOVED.
NO ONE GETS TURNED AWAY.
NO ONE GETS MADE FUN OF.
WE IN CHARLOTTESVILLE LOVE EACH
OTHER.
AND I HAPPEN TO BE THE MAYOR.
>> WHEN SHE FIRST STARTED
WORKING WITH US AND WE HAD THAT
BACKDROP, IT WAS ONE OF THE
FIRST CREATURES SHE DID.
AND JUST SANG.
IT JUST, IT WAS JUST WONDERFUL.
IT HAD SO MUCH CHARACTER AND IT
REALLY CONVEYED A LOT ABOUT WHO
CHARLOTTE WAS AS A PERSON AND
HER IDEA OF WHAT LIFE SHOULD
LOOK LIKE.
>> MY CREATURES SOMETIMES GO
THROUGH THE SAME THINGS I'VE
BEEN THROUGH.
SO I UNDERSTAND HOW THEY FEEL.
>> THEY COME TO CHARLOTTESVILLE.
THEY'RE GIVEN A JOB AND THEY'RE
AN INTEGRAL PART OF THE
COMMUNITY.
THEY'RE ACCEPTED.
THEY'RE SEEN.
THEY'RE LOVED.
>> GENERALLY I DO COLLAGING,
PAINTING.
SOME DRAWING.
>> I MEAN, A LOT OF HER IMAGES,
THERE'S A CERTAIN SWEETNESS
ABOUT THEM BUT SOME OF THEM ARE
A LITTLE BIT.
A LITTLE INTIMIDATING.
>> CRAZY.
[ LAUGHTER ]
BECAUSE THEY LOOK AT MY ART AND
THEY'RE LIKE, "WHERE DOES YOUR
MIND GO?"
AND I SAID, "I HAVE MY OWN
LITTLE WORLD, YOU KNOW."
AND THEY SAY, "WHAT MAKES YOU DO
CREATURES?"
I SAID, "BECAUSE I LOVE IT."
I SAID, "THEY'RE MY OWN PEOPLE."
I WAS IN AN INSTITUTION AND I
WENT THERE WHEN I WAS 16 YEARS
OLD.
AND I DIDN'T GET OUT UNTIL I WAS
ABOUT 27, 28 YEARS OLD.
AND IT'S FOR PEOPLE THAT HAVE
PHYSICAL AND MENTAL
DISABILITIES.
BUT IT WAS A ROUGH GO.
YOU JUST NEVER KNOW WHAT YOU'RE
GOING TO SEE WHEN YOU GO INTO
ONE OF THESE PLACES.
AND A LOT OF PEOPLE DON'T NEED
TO BE THERE.
I THINK WHAT IT IS, PEOPLE GET
PUT IN THESE PLACES BECAUSE NO
ONE WANTS TO TAKE THE TIME.
IT'S NOT NECESSARILY THAT
THERE'S SOMETHING WRONG WITH
THEM.
IT'S JUST THAT THEY NEED SOMEONE
TO GUIDE THEM.
AND WHEN I WENT IN THERE AT 16,
I WAS JUST A HOT HEADED
TEENAGER.
AND I DIDN'T WANT TO LISTEN TO
ANYONE.
BUT I WAS LABELED.
I HAD PROBLEMS AT HOME SO I
REALLY DIDN'T HAVE ANYONE THAT I
COULD GO TALK TO.
MISSING A LOT OF LOVE FROM HOME.
IT MAKES YOU DO THINGS THAT YOU
NORMALLY WOULDN'T DO BECAUSE YOU
DON'T HAVE THAT STABILIZATION AT
HOME.
I WORKED MY WAY OUT.
I SHOWED THEM THAT I COULD
SUCCEED IN SOCIETY AND THAT I
WAS NOT INCAPABLE OF TAKING CARE
OF MYSELF.
RIGHT NOW I'M DOING A SERIES AND
IT'S CALLED "POPO."
AND I DON'T KNOW IF A LOT OF
PEOPLE KNOW WHAT "POPO" IS.
BUT IT'S THE POLICE.
I DO CREATURES THAT ARE COMING
TO JAIL.
IT'S CALLED "CHARLOTTE'S
CORRECTIONAL FITNESS CENTER."
ONCE THEY LEAVE MY JAIL THEY
HAVE LOST A LOT OF WEIGHT.
AND THEY GO TELL THEY'RE
FRIENDS, "IF YOU WANT TO LOSE
WEIGHT.
YOU KNOW, GO TO CHARLOTTE'S
FITNESS CENTER.
YOU'LL LOSE SOME WEIGHT GOING
THERE."
SO IT'S BASICALLY YOU COME TO MY
JAIL, I'M GOING TO WORK YOU.
AND YOU'RE NOT GOING TO GET A
LOT TO EAT.
[ LAUGHTER ]
>> OKAY, SO WE'RE GOING TO HAVE
THE POPO, WE'RE GOING TO HAVE
THE SIGN THERE.
>> IF IT WASN'T FOR DEBBIE AND
KATE AND CODY.
THIS WOULDN'T BE HAPPENING.
SO I APPRECIATE ALL OF THEM.
EVERYBODY THAT'S IN HERE, AND
LIKE I SAID BEFORE, THEY'RE
FAMILY.
YOU KNOW, WE ALL LOOK OUT FOR
EACH OTHER.
SO, IT MAKES IT WORTH WHILE.
!!musiC@!!!musiC@!
>> YOU CAN SEE MORE OF
CHARLOTTE'S WORK AT THE GOODWILL
ART STUDIO AND GALLERY ON
EDGEHILL ROAD IN GRANDVIEW.
CHECK OUT THEIR FACEBOOK PAGE
FOR DETAILS.
LET'S GET BACK TO CANDY BECAUSE
IT'S THE SOURCE OF INSPIRATION
FOR OUR NEXT ARTIST.
AT FIRST GLANCE HIS WORK MIGHT
LEAVE YOU LONGING FOR CANDY
NECKLACES OR A BAG OF SWEET
TARTS.
BUT A CLOSER LOOK WILL REVEAL A
SLIGHTLY DARKER SIDE TO HIS
COLORFUL ILLUSTRATIONS.
>> WHEN I SIT DOWN AT A BLANK
CANVAS OR A BLANK PIECE OF PAPER
AND THE PROCESS THAT GOES
THROUGH MY HEAD IS, I WANT TO
TAKE WHATEVER HAPPENED IN THE
DAY, GOOD OR BAD, AND TRANSLATE
IT INTO MY WORLD.
AND THEREFORE I FEEL LIKE I HAVE
CONTROL IN SUCH A CHAOTIC WORLD.
SOMEONE DESCRIBED IT AND I LOVE
THE TERM.
THEY SAID, HE CREATES SUGAR RUSH
ART.
I'M INSPIRED BY CARTOONS AND
ACTUAL CANDY, THE COLORS IN
CANDY.
AND THE WHIMSY AND KIND OF
CHILDLIKE FEEL THAT GOES ALONG
WITH ALL THAT.
BUT THERE'S ALSO A SLIGHT
DARKNESS TO IT WITHIN THE
COLORS, THE BRIGHT COLORS.
LIKE, CANDY IS DELICIOUS AND
GOOD, IT'S NOT REALLY GOOD FOR
YOU TECHNICALLY.
I GET A LOT OF MIXED REACTIONS
WITH MY WORK.
I'LL HAVE KIDS THAT JUST TOTALLY
GET IT AND THEY'LL COME UP AND
I'M THINKING THEY'RE JUST
ATTRACTED TO THE COLORS WHICH
MAY HAVE BROUGHT THEM TO IT AT
FIRST.
BUT THEY GET THE MONSTERS, THEY
LOVE THE MONSTERS.
IT'S FUNNY WITH ADULTS, SOME
ADULTS DO GET IT, BUT THERE ARE
SOME ADULTS WHO REFUSE TO SEE
THE DARKNESS.
THEY'LL SEE THE LIGHT COLORS AND
THEY'LL SEE IT'S ADORABLE AND I
ALMOST HAVE TO POINT OUT, "LOOK,
IT'S NOT ALL SWEET."
THAT CONFUSES THEM AT FIRST.
THEY'LL BUY A PIECE AND
SOMETIMES THEY'LL MESSAGE ME
LATER AND SAY, "I DID NOT SEE
THAT THERE WAS THIS DARKNESS
HAPPENING OR THIS MONSTER THAT'S
RIGHT IN THAT BACKGROUND."
IT'S JUST A MATTER OF WHAT THEY
EXPERIENCE FIRST.
YOU HAVE THESE TALENTS, WHY NOT
DRAW WHATEVER YOU WANT TO?
I'M NOT REALLY WORRIED ABOUT
WHAT PEOPLE ARE GOING TO THINK
ABOUT IT.
THERE'S ALWAYS JUST THE PERSONAL
THING THAT'S GOING ON WITH ME
THAT I'M JUST GETTING IT OUT.
ALMOST LIKE, IT'S ALMOST LIKE
THERAPY SORT OF.
HOWEVER, PEOPLE WILL SEE IT AND
THEY WILL TRANSLATE MESSAGES TO
IT AND HOW THEY APPLY IT TO
THEIR LIVES AND WHAT THEY'RE
GOING THROUGH.
AND I DON'T THINK IT'S WRONG
INTERPRETATIONS.
I THINK ALL OF THOSE
INTERPRETATIONS ARE RIGHT.
THAT'S ALMOST WHERE THE ART
BECOMES SOMETHING NEW TO ME.
AS FAR AS MY INSPIRATION WITH
THE DARK SIDE OF THINGS AND THE
LIGHTER SIDE OF THINGS IS, I
FEEL LIFE IS JUST FULL OF THAT.
THERE'S SO MUCH BEAUTY AND UGLY
HAPPENING AT THE SAME EXACT
TIME.
SO I PUT THAT IN MY WORK.
WHEN I FIRST STARTED THIS WHOLE
ART THING I NEVER THOUGHT IT CAN
ACTUALLY GET TO WHERE I'M AT
NOW.
I'VE HAD OPPORTUNITIES I NEVER
THOUGHT WOULD BE POSSIBLE.
I'VE HAD IT IN MUSEUMS, I'VE
BEEN PUBLISHED IN MAGAZINES LIKE
"THE NEW YORKER" AND I DON'T
HAVE A SPECIFIC GOAL.
JUST SEE WHERE IT GOES, I KIND
OF LIKE THE ORGANIC BRANCHING OF
IT.
I JUST KIND OF LIKE SEEING WHERE
IT TAKES ME.
SORT OF A DESTINY THING I GUESS.
!!musiC@!!!musiC@!
!!musiC@!!!musiC@!
>> THE COUPLE IN OUR FINAL STORY
TODAY ENJOYED A LIFETIME OF
COLLECTING GLASS ART.
THAT IS, UNTIL THEY RETIRED AND
DECIDED THEY WANTED TO START
MAKING IT.
!!musiC@!!!musiC@!
>> I WOULD HOPE THAT SOMEONE
COMING INTO THE STUDIO FOR THE
FIRST TIME TO LOOK AND CHOOSING
TO TAKE SOMETHING HOME FOR THEIR
OWN WOULD BE FINDING SOME OF THE
JOY THAT WE FIND IN MAKING THE
GLASS.
!!musiC@!!!musiC@!
>> NEITHER OF US HAVE HAD ANY
ART BACKGROUND BEFORE WE GOT
INVOLVED IN BUILDING THE GLASS
BLOWING STUDIO.
I'M DICK MOIEL.
I WAS IN THE MEDICAL FIELD AS A
NEUROSURGEON.
>> AND I'M KATHY POEPPEL.
FOR THE LAST 25 YEARS I'VE BEEN
MARRIED TO DICK MOIEL AND FOR
THE LAST 20 YEARS WE'VE HAD A
GLASS BLOWING STUDIO TOGETHER.
!!musiC@!!!musiC@!
BEFORE WE TOOK ON THIS VENTURE I
WAS A PHYSICIAN ASSISTANT, AND
BEFORE THAT AN OPERATING ROOM
NURSE.
SO DICK AND I WERE ACCUSTOMED TO
SPENDING A LOT OF TIME TOGETHER
AND WORKING TOGETHER.
THE ROLES MAY HAVE CHANGED A
LITTLE BIT ONCE WE GOT INTO THE
GLASS BLOWING STUDIO.
BUT THERE WAS STILL A DYNAMIC
THAT SEEMED TO TRANSFER PRETTY
WELL TO THIS SETTING.
COULD YOU GET THE DOOR FOR ME?
AND THEN I'M GOING TO GO PAST
YOU TO COOL THE PIPE BEFORE I GO
TO THE BENCH.
>> OKAY.
>> THE PROCESS OF GLASS BLOWING
IS REALLY SEDUCTIVE AND
ADDICTIVE APPARENTLY.
SO WE JUST WANTED TO TRY IT AND
DIDN'T HAVE THE TIME TO DO THAT
BEFORE RETIREMENT.
SO AFTER RETIREMENT WE STARTED
TAKING CLASSES.
DON'T YOU THINK WE TENDED TO BE
THE OLDEST STUDENTS IN THE
CLASS?
>> I THINK WE'RE THE OLDEST AS
THEY REFER TO US AS MA'AM AND
SIR.
BUT WE'VE LEARNED A LOT.
!!musiC@!!!musiC@!
THERE WAS AN ART CLASS COMMUNITY
IN HOUSTON.
WE MADE ATTEMPTS TO CHECK THE
VARIOUS COLLEGES AND
UNIVERSITIES.
AND THERE WASN'T A PROGRAM SO WE
DECIDED TO BUILD OUR OWN STUDIO
I THINK WE'RE THE OLDEST AS THEY
REFER TO US AS MA'AM AND SIR.
BUT WE'VE LEARNED A LOT.
!!musiC@!!!musiC@!
THERE WAS AN ART CLASS COMMUNITY
IN HOUSTON.
WE MADE ATTEMPTS TO CHECK THE
VARIOUS COLLEGES AND
UNIVERSITIES.
AND THERE WASN'T A PROGRAM SO WE
DECIDED TO BUILD OUR OWN STUDIO.
!!musiC@!!!musiC@!
>> BEGINNING GLASS BLOWERS ALL
HAVE THE SAME STYLE.
IT'S THE GLASS BEING ITSELF.
OVER TIME, WITH AN UNDERSTANDING
OF HOW THE MATERIAL WORKS AND
HOW IT HANDLES, THEN YOU CAN
START TO ASK IT TO DO SOME
THINGS WE'RE INTERESTED IN
HAVING IT DO.
BUT IT'S REALLY A RELATIONSHIP
THAT CONTINUES TO GO ON WITH THE
MATERIAL.
THERE'S SOME BASIC STEPS FOR ALL
BLOWN OBJECTS.
GETTING ENOUGH GLASS ON THE END
OF THE BLOWPIPE TO ACCOMPLISH
THE PIECE.
USUALLY TAKES UP THE MOST AMOUNT
OF TIME BECAUSE THAT'S WHERE THE
COLORING AND THE PATTERNING
OCCURS.
WE START OUT WITH THE SHAPE IDEA
BUT IF THE FEEDBACK WE'RE
GETTING FROM THE PIECE RUNS
COUNTER TO THAT THEN WE MAKE
ADJUSTMENTS DURING THE PROCESS.
SO ONCE ALL OF THE PATTERN AND
THE GLASS IS ON THE END OF THE
BLOWPIPE THE GLASS IS BLOWN OUT,
THE WALLS ARE THINNED, THE SHAPE
IS REFINED AND THEN THE GLASS IS
TRANSFERRED FROM THE BLOWPIPE TO
ANOTHER STEEL ROD SO THAT THE
RAW END THAT'S BROKEN OFF THE
BLOWPIPE CAN BE SHAPED AND
FORMED.
AND WHEN THAT'S DONE THE GLASS
IS PUT INTO AN ANNEALING OVEN
WHERE IT IS COOLED AT A VERY
PRESCRIBED RATE DEPENDING ON THE
THICKNESS OF THE GLASS.
TO RELIEVE THE STRESS IN THE
GLASS.
TO BRING IT DOWN TO ROOM
TEMPERATURE.
>> THE CHALLENGE HAS BEEN TO
KNOW WHAT OUR LIMITATIONS.
WE HAVE SMALLER SIZED EQUIPMENT
SO WE'RE NOT GOING TO BE ABLE TO
DO GIGANTIC PIECES.
>> HOW DOES IT FEEL?
>> IT FEELS GOOD.
I'LL GO RIGHT TO THE GLORY HOLE
THEN AS SOON AS YOU BREAK IT
OFF.
>> I THINK THE BIGGEST
DIFFERENCE IS THAT THERE'S ROOM
FOR PLAY AND EXPERIMENTATION
HERE WHEREAS IN THE OPERATING
ROOM THERE WAS NONE OF THAT AND
THERE WAS A STRESS THAT'S HARD
TO KIND OF DEFINE.
BUT THAT'S SOMETHING THAT WE
DON'T FEEL AT ALL HERE.
BLOW AGAIN.
>> WHEN WE'RE IN THE OPERATING
ROOM, THE PATIENT'S ASLEEP.
>> STOP.
>> STOP.
>> NICE.
>> AND EVERYTHING THAT'S
MOVEMENT IS MOVEMENT WITH THE
HANDS.
BUT HERE THE GLASS IS MOVING AND
WE'RE GETTING UP AND REHEATING
AND COOLING.
SO IT'S THAT ASPECT.
WE'RE NOT STABLE IN ONE POSITION
FOR HOURS.
>> GLASS BLOWING IS A TEAM
EFFORT.
[ GASP ]
>> GOT IT.
TORCH.
>> BECAUSE IT'S SAFER TO DO WITH
SOMEONE HELPING.
BUT IT'S ALSO A COMMUNITY
PROJECT AND PROCESS.
AND THAT'S PART OF THE JOY OF
WORKING WITH GLASS AND BLOWING
GLASS.
AND TO BE ABLE TO PARTNER WITH
MY PARTNER IS REALLY SOMETHING
THAT'S PRETTY SPECIAL.
WE WOULDN'T GIVE THAT UP FOR
ANYTHING.
[ LAUGHTER ]
TEAMWORK!
>> THAT'S OUR SHOW.
YOU CAN SEE ALL OF TODAY'S
STORIES AT WOSU.ORG.
AND OF COURSE BE SURE TO CHECK
US OUT ON FACEBOOK, TWITTER AND
INSTAGRAM.
WE'RE CLOSING THE SHOW WITH A
BALLAD BY LOCAL POP BAND
TRUSLOW.
THE TRACK IS CALLED "LOVER" AND
IT CAN BE FOUND ON THEIR
2014 ALBUM "HURRICANE."
THANKS FOR WATCHING, WE'LL CATCH
YOU BACK HERE NEXT WEEK ON BROAD
AND HIGH.
!!musiC@! YOU, YOU AND I
IN THE SPELL OF THE NIGHT !!musiC@!
!!musiC@! THE BUTTERFLIES
THEY DREAM !!musiC@!
!!musiC@! JUST TO FEEL
WHAT WE'VE SEEN !!musiC@!
!!musiC@! TO BE LOST IN THE BEAUTY OF
LOVE !!musiC@!
!!musiC@!!!musiC@!
>> CARLA RISCH CHAFFIN.
SCENIC DESIGN ARTIST.
I LOVE MAKING A WHOLE NEW PLACE
OUT OF BLANK CANVAS.
I COLLABORATE WITH THE DIRECTOR
AND THE DESIGNERS OF LIGHT,
SOUND AND COSTUMES.
RESEARCH AND CLEAR COMMUNICATION
ARE MY BEST TOOLS.
IT TAKES ME DAYS TO PAINT A
BACKDROP.
IT'S HARD AND JOYFUL WORK.
I'VE TRAINED HORSES, I'VE DRAWN
FLOWERS IN CHURCH.
I'VE BEEN IN AN ALTERNATIVE ROCK
BAND.
THE PATH OF AN ARTIST IS NOT
LINEAR AND COLUMBUS UNDERSTANDS
THAT.
I CAN EARN A LIVING HERE AND I
GET TO EXPLORE IN A PLACE WHERE
THE WORKS OF OTHER ARTISTS
INSPIRE ME TOO.
I AM CARLA RISCH CHAFFIN.
SCENIC DESIGN IS MY ART.
AND THERE'S NO PLACE I'D RATHER
MAKE IT.
!!musiC@!!!musiC@!
>> Announcer: PRODUCTION OF
"BROAD & HIGH" IS FUNDED IN PART
BY THE GREATER COLUMBUS ARTS
COUNCIL.
SUPPORTING ARTS, ADVANCING AND
CONNECTING THE COMMUNITY TO
ARTISTS, EVENTS AND CLASSES AT
COLUMBUSMAKESART.COM.