WEBVTT 00:00.650 --> 00:02.060 align:start >>> PRODUCTION OF "BROAD & HIGH" 00:02.060 --> 00:03.370 align:start IS FUNDED IN PART BY THE GREATER 00:03.370 --> 00:04.880 align:start COLUMBUS ARTS COUNCIL. 00:04.880 --> 00:06.300 align:start SUPPORTING ARTS, ADVANCING 00:06.300 --> 00:08.010 align:start CULTURE AND CONNECTING THE 00:08.010 --> 00:09.800 align:start COMMUNITY TO ARTISTS, EVENTS AND 00:09.800 --> 00:12.580 align:start CLASSES AT COLUMBUSMAKESART.COM. 00:12.580 --> 00:14.760 align:start >> FROM THESE CONTRIBUTING 00:14.760 --> 00:16.410 align:start SPONSORS -- 00:16.410 --> 00:18.850 align:start AND VIEWERS LIKE YOU. 00:18.850 --> 00:21.730 align:start THANK YOU. 00:21.730 --> 00:23.170 align:start \M\M 00:23.170 --> 00:24.170 align:start >>> THIS TIME ON 00:24.170 --> 00:25.910 align:start "BROAD & HIGH" -- 00:25.910 --> 00:27.440 align:start A GRANVILLE ARTIST CREATES 00:27.440 --> 00:29.200 align:start PERFECTLY PIXELATED PORTRAITS 00:29.200 --> 00:30.830 align:start USING HAND-MADE CRAYONS. 00:30.830 --> 00:33.130 align:start >> I USUALLY COME UP WITH IDEAS 00:33.130 --> 00:36.290 align:start THAT ARE SOMEWHAT MASOCHISTIC. 00:36.290 --> 00:38.180 align:start >> MEET JASON WILSON, WHO PAINTS 00:38.180 --> 00:39.410 align:start QUILT PATTERNS, RATHER THAN 00:39.410 --> 00:40.510 align:start SEWING THEM. 00:40.510 --> 00:42.910 align:start AND CHASE THE WINTER BLUES AWAY 00:42.910 --> 00:43.910 align:start WITH MUSIC BY 00:43.910 --> 00:44.990 align:start THE SALTY CARAMELS. 00:44.990 --> 00:48.000 align:start \M I'M SICK AND TIRED 00:48.000 --> 00:49.000 align:start OF THIS COLD \M 00:49.000 --> 00:50.000 align:start \M TOO MANY LAYERS 00:50.000 --> 00:51.000 align:start OF CLOTHES \M 00:51.000 --> 00:52.000 align:start >> THIS AND MORE RIGHT NOW ON 00:52.000 --> 00:54.060 align:start "BROAD & HIGH." 00:54.060 --> 00:55.960 align:start \M\M 00:55.960 --> 00:57.870 align:start \M\M 00:57.870 --> 01:01.680 align:start >>> HI, EVERYONE. 01:01.680 --> 01:07.680 align:start WELCOME TO "BROAD & HIGH." 01:07.680 --> 01:08.860 align:start I'M YOUR HOST KATE QUICKEL, 01:08.860 --> 01:10.060 align:start COMING TO YOU FROM INSIDE THE 01:10.060 --> 01:11.750 align:start BEAUTIFUL DUBLIN ARTS COUNCIL. 01:11.750 --> 01:13.940 align:start SO, A LOT OF US PROBABLY HAD OUR 01:13.940 --> 01:15.870 align:start FIRST EXPERIENCE WITH ART BY WAY 01:15.870 --> 01:17.830 align:start OF A BOX OF CRAYOLAS. 01:17.830 --> 01:18.830 align:start MAYBE THAT'S WHY WE'RE 01:18.830 --> 01:20.250 align:start PARTICULARLY DRAWN TO THE WORK 01:20.250 --> 01:21.920 align:start OF CHRISTIAN FAUR. 01:21.920 --> 01:22.990 align:start HE ACTUALLY HAS A DEGREE IN 01:22.990 --> 01:24.450 align:start PHYSICS AND INCORPORATES 01:24.450 --> 01:25.990 align:start PRINCIPLES OF MATHEMATICS INTO 01:25.990 --> 01:26.990 align:start HIS ARTWORK. 01:26.990 --> 01:28.800 align:start AND THE RESULT IS SOME PERFECTLY 01:28.800 --> 01:30.830 align:start PIXELATED PORTRAITS MADE OUT OF 01:30.830 --> 01:32.540 align:start THOUSANDS OF CRAYONS THAT HE 01:32.540 --> 01:33.780 align:start ACTUALLY MAKES HIMSELF IN HIS 01:33.780 --> 01:35.160 align:start GRANVILLE STUDIO. 01:35.160 --> 01:36.280 align:start AND THAT'S WHERE WE'RE HEADED 01:36.280 --> 01:40.050 align:start FOR THIS FIRST STORY. 01:40.050 --> 01:42.980 align:start \M\M 01:42.980 --> 01:45.640 align:start >>> SO I'VE ALWAYS DONE ART WHEN 01:45.640 --> 01:47.510 align:start I WAS LITTLE, BUT I'VE ALSO 01:47.510 --> 01:49.490 align:start ALWAYS BEEN REALLY INTERESTED IN 01:49.490 --> 01:50.490 align:start THE -- IN SCIENCE AND MATH. 01:50.490 --> 01:52.600 align:start SO WHEN IT CAME TIME TO GO TO 01:52.600 --> 01:54.080 align:start COLLEGE, I WENT THE ROUTE OF 01:54.080 --> 01:55.730 align:start PHYSICS AND SO THAT, YOU KNOW, 01:55.730 --> 02:00.310 align:start WAS MY UNDERGRADUATE DEGREE. 02:00.310 --> 02:02.280 align:start I USUALLY COME UP WITH IDEAS 02:02.280 --> 02:05.710 align:start THAT ARE SOMEWHAT MASOCHISTIC. 02:05.710 --> 02:06.990 align:start I DON'T KNOW WHY, BUT LIKE I 02:06.990 --> 02:09.140 align:start HAVE THIS IDEA IN MY HEAD AND 02:09.140 --> 02:11.190 align:start THEN I NEED TO ACCOMPLISH IT. 02:11.190 --> 02:12.370 align:start I DON'T KNOW IF IT'S GOING TO 02:12.370 --> 02:13.370 align:start WORK OR NOT. 02:13.370 --> 02:14.870 align:start WHETHER IT'S LIKE, YOU KNOW, 02:14.870 --> 02:16.290 align:start SEWING HUMAN HAIR ON TO AN 02:16.290 --> 02:19.180 align:start UMBRELLA OR JUST DOING SOMETHING 02:19.180 --> 02:21.730 align:start THAT'S, YOU KNOW, RIDICULOUSLY 02:21.730 --> 02:22.740 align:start LABOR INTENSIVE. 02:22.740 --> 02:24.840 align:start I MEAN, YOU KNOW, STICKING 02:24.840 --> 02:26.430 align:start SHREDDED PAPER BACK TOGETHER TO 02:26.430 --> 02:27.630 align:start FORM AN IMAGE. 02:27.630 --> 02:29.110 align:start OR, YOU KNOW, STACKING 02:29.110 --> 02:30.110 align:start 20,000 CRAYONS. 02:30.110 --> 02:32.340 align:start AND USUALLY, YOU KNOW, SOME OF 02:32.340 --> 02:34.220 align:start THESE IDEAS I HAVE, I JUST DON'T 02:34.220 --> 02:40.130 align:start SEE ANYBODY DOING THEM. 02:40.130 --> 02:41.850 align:start >> I MET CHRIS WHEN I FIRST 02:41.850 --> 02:43.950 align:start OPENED THE SHERRIE GALLERIE. 02:43.950 --> 02:45.890 align:start THE SHERRIE GALLERIE FOCUSES ON 02:45.890 --> 02:48.380 align:start THREE DIMENSIONAL ART FORMS, AND 02:48.380 --> 02:51.580 align:start CHRIS CHOOSES THE MEDIUM TO HELP 02:51.580 --> 02:53.790 align:start EXPRESS HIS CONCEPTS AND IDEAS. 02:53.790 --> 02:54.790 align:start AND THAT'S EXACTLY WHAT THE 02:54.790 --> 02:56.150 align:start GALLERY IS ABOUT. 02:56.150 --> 02:58.060 align:start AND HE CALLS HIS WORK, THE 02:58.060 --> 03:02.410 align:start CRAYON WORKS, PAINTINGS. 03:02.410 --> 03:04.470 align:start \M\M 03:04.470 --> 03:06.910 align:start >> I THINK OF IT LIKE A 03:06.910 --> 03:08.470 align:start PHOTOGRAPH MADE OF PIXELS, BUT 03:08.470 --> 03:13.790 align:start EACH PIXEL IS ACTUALLY A CRAYON. 03:13.790 --> 03:16.600 align:start >> HE MAKES ALL OF HIS OWN 03:16.600 --> 03:17.600 align:start CRAYONS. 03:17.600 --> 03:18.720 align:start >> INITIALLY I DID LOOK INTO 03:18.720 --> 03:21.080 align:start USING CRAYOLA CRAYONS FOR MY 03:21.080 --> 03:22.840 align:start FIRST PIECE, AND I FIND THAT 03:22.840 --> 03:23.840 align:start THEY ONLY MADE LIKE 03:23.840 --> 03:25.820 align:start 128 DIFFERENT COLORS, FOR THE 03:25.820 --> 03:26.820 align:start MOST PART. 03:26.820 --> 03:27.820 align:start THEY WERE EXPENSIVE. 03:27.820 --> 03:28.820 align:start I COULD BUY THEM, THEY WERE A 03:28.820 --> 03:32.030 align:start DOLLAR A PIECE. 03:32.030 --> 03:33.220 align:start THE MATERIAL THAT THEY WERE MADE 03:33.220 --> 03:36.330 align:start OUT OF WAS PARAFFIN WAX, SO IT'S 03:36.330 --> 03:38.890 align:start A WAX THAT'S NOT GOING TO HOLD 03:38.890 --> 03:42.230 align:start UP OVER TIME. 03:42.230 --> 03:44.590 align:start AND THEN, FINALLY, NOBODY BUYS 03:44.590 --> 03:45.980 align:start LIGHT CRAYONS. 03:45.980 --> 03:47.700 align:start SO WHEN YOU BOUGHT A BOX OF 03:47.700 --> 03:58.570 align:start THEM, EVERYTHING WAS DARK. 03:58.570 --> 04:00.450 align:start AFTER WORKING ON THE COMPUTER, 04:00.450 --> 04:01.960 align:start I'LL FINALLY GET LIKE WHAT I 04:01.960 --> 04:04.990 align:start CALL AN INDEXED PHOTOGRAPH, 04:04.990 --> 04:07.300 align:start WHICH IS A PHOTOGRAPH THAT HAS A 04:07.300 --> 04:09.310 align:start CERTAIN NUMBER OF SWATCHES OR 04:09.310 --> 04:10.580 align:start COLORS. 04:10.580 --> 04:12.930 align:start THOSE SWATCHES OR COLORS IS WHAT 04:12.930 --> 04:16.780 align:start I'LL USE TO CAST THE BATCHES OF 04:16.780 --> 04:18.050 align:start CRAYONS. 04:18.050 --> 04:19.050 align:start THEN IT IS JUST A MATTER OF 04:19.050 --> 04:20.730 align:start ASSEMBLING BASED ON THE MAP THAT 04:20.730 --> 04:21.730 align:start I CREATE. 04:21.730 --> 04:24.470 align:start AND THEN WHEN IT IS ASSEMBLED, 04:24.470 --> 04:26.710 align:start I'M ABLE TO THEN FLIP IT AROUND 04:26.710 --> 04:28.630 align:start AND AT THAT TIME IT'S USUALLY A 04:28.630 --> 04:30.400 align:start LITTLE BIT OF WORK TO FIX 04:30.400 --> 04:31.400 align:start CERTAIN ELEMENTS. 04:31.400 --> 04:33.080 align:start EVEN THOUGH EVERYTHING IS 04:33.080 --> 04:34.760 align:start USUALLY LOOKS 04:34.760 --> 04:36.390 align:start PHOTO-REALISTICALLY CORRECT, 04:36.390 --> 04:37.660 align:start THERE ARE, LIKE, ELEMENTS THAT 04:37.660 --> 04:39.180 align:start YOU SOMETIMES NEED TO ENHANCE. 04:39.180 --> 04:41.230 align:start SO I'LL PULL CRAYONS IN AND OUT 04:41.230 --> 04:44.290 align:start UNTIL IT LOOKS OR FEELS RIGHT. 04:44.290 --> 04:45.680 align:start \M\M 04:45.680 --> 04:50.800 align:start >> YOU WANT TO BE CLOSE TO SEE, 04:50.800 --> 04:51.800 align:start WHAT IS IT? 04:51.800 --> 04:53.670 align:start OH, MY GOSH, IT'S CRAYONS. 04:53.670 --> 04:55.450 align:start AND THEN YOU STEP AWAY AND YOU 04:55.450 --> 04:57.160 align:start ENGAGE IN IT AT A DISTANCE TO 04:57.160 --> 04:59.560 align:start SEE THE IMAGE COME INTO FULL 04:59.560 --> 05:00.950 align:start FOCUS. 05:00.950 --> 05:02.040 align:start >> EVEN THOUGH WHEN YOU SEE THE 05:02.040 --> 05:03.160 align:start PIECES, IN THE END THEY FEEL 05:03.160 --> 05:05.490 align:start LIKE YOU'RE SEEING SOMETHING 05:05.490 --> 05:07.140 align:start THAT FEELS VERY PHOTO-REALISTIC, 05:07.140 --> 05:08.560 align:start THE CLOSER YOU GET TO IT YOU 05:08.560 --> 05:10.000 align:start REALIZE THERE'S JUST NOT THAT 05:10.000 --> 05:11.000 align:start MUCH INFORMATION. 05:11.000 --> 05:12.300 align:start YOUR BRAIN IS ACTUALLY FILLING 05:12.300 --> 05:15.860 align:start IN ALL THAT INFORMATION FOR THE 05:15.860 --> 05:16.860 align:start WORK. 05:16.860 --> 05:19.410 align:start SO THE MELODIE SERIES I STARTED 05:19.410 --> 05:20.700 align:start SEVERAL YEARS AGO. 05:20.700 --> 05:22.020 align:start I CREATED -- IT'S BASED ON A 05:22.020 --> 05:23.870 align:start PORTRAIT OF MY DAUGHTER. 05:23.870 --> 05:25.430 align:start AT THE TIME I THINK SHE WAS LIKE 05:25.430 --> 05:26.430 align:start 13 OR 14. 05:26.430 --> 05:28.480 align:start AND I GOT TO THINKING MAYBE I 05:28.480 --> 05:30.250 align:start COULD DO A POP ART TYPE OF THING 05:30.250 --> 05:31.320 align:start WHERE I COULD TAKE THE SAME 05:31.320 --> 05:32.930 align:start IMAGE AND JUST REINTERPRET IT 05:32.930 --> 05:35.030 align:start OVER AND OVER IN DIFFERENT WAYS. 05:35.030 --> 05:36.870 align:start >> HE PLANS TO DO A HUNDRED IN 05:36.870 --> 05:37.870 align:start HIS LIFETIME. 05:37.870 --> 05:39.620 align:start >> AND I'M CURRENTLY ON NUMBER 05:39.620 --> 05:40.620 align:start 79. 05:40.620 --> 05:41.930 align:start AND IT'S JUST A GREAT WAY OF 05:41.930 --> 05:44.380 align:start LIKE PUSHING MYSELF, BECAUSE I'M 05:44.380 --> 05:46.040 align:start NOT REALLY COMPETING AGAINST A 05:46.040 --> 05:47.700 align:start LOT OF PEOPLE ON THE PLANET WITH 05:47.700 --> 05:49.120 align:start THIS PROCESS, BECAUSE IT IS SO 05:49.120 --> 05:50.750 align:start RIDICULOUSLY HARD. 05:50.750 --> 05:54.880 align:start BUT, LIKE, I'M COMPETING AGAINST 05:54.880 --> 05:57.080 align:start MYSELF. 05:57.080 --> 05:58.720 align:start I THINK JUST THE NATURE OF THE 05:58.720 --> 05:59.920 align:start CRAYON IS SO PLAYFUL AND 05:59.920 --> 06:01.020 align:start EVERYONE STARTS -- 06:01.020 --> 06:02.890 align:start YOU KNOW, EVERYONE STARTS OFF 06:02.890 --> 06:04.210 align:start BEING AN ARTIST. 06:04.210 --> 06:06.140 align:start AND I THINK CRAYONS IS LIKE, YOU 06:06.140 --> 06:07.340 align:start KNOW, IT'S THE PLACE WHERE 06:07.340 --> 06:08.500 align:start PEOPLE START. 06:08.500 --> 06:10.060 align:start IT'S AFFORDABLE, YOU KNOW, AND 06:10.060 --> 06:11.090 align:start PEOPLE LOVE THEM. 06:11.090 --> 06:13.500 align:start I KNOW WHEN I WAS A KID, I 06:13.500 --> 06:15.680 align:start ALWAYS FELT A TWINGE OF GUILT 06:15.680 --> 06:17.510 align:start LIKE TO USE THE BEAUTIFUL 06:17.510 --> 06:18.540 align:start CRAYONS, BECAUSE THEY LOOKED SO 06:18.540 --> 06:19.640 align:start GORGEOUS WHEN YOU OPENED THE 06:19.640 --> 06:20.640 align:start BOX. 06:20.640 --> 06:21.670 align:start LIKE IF YOU WERE LUCKY ENOUGH TO 06:21.670 --> 06:24.220 align:start GET LIKE 64 DIFFERENT COLORS, 06:24.220 --> 06:25.540 align:start YOU ALMOST DIDN'T WANT TO USE 06:25.540 --> 06:26.540 align:start THEM BECAUSE THEY WERE JUST 06:26.540 --> 06:27.540 align:start LIKE -- 06:27.540 --> 06:28.540 align:start THERE WAS SO MUCH POTENTIAL 06:28.540 --> 06:29.540 align:start THERE, IT JUST LOOKED SO 06:29.540 --> 06:30.540 align:start BEAUTIFUL. 06:30.540 --> 06:32.610 align:start SO MAYBE THAT IS A LITTLE BIT OF 06:32.610 --> 06:33.660 align:start WHAT PEOPLE THINK OF WHEN THEY 06:33.660 --> 06:36.530 align:start THINK OF MY WORK. 06:36.530 --> 06:37.880 align:start I HAVE, YOU KNOW, BEEN WORKING 06:37.880 --> 06:41.300 align:start WITH THE CRAYONS FOR MAYBE MORE 06:41.300 --> 06:42.450 align:start THAN A DECADE NOW. 06:42.450 --> 06:44.170 align:start SO I'VE GOT ALL OF THESE 06:44.170 --> 06:46.270 align:start LEFTOVER CRAYONS DOWNSTAIRS, AND 06:46.270 --> 06:47.470 align:start I DON'T THROW THEM AWAY BECAUSE 06:47.470 --> 06:49.110 align:start I'VE WORKED SO HARD TO MAKE 06:49.110 --> 06:50.110 align:start THEM. 06:50.110 --> 06:51.750 align:start SO HUNDREDS AND THOUSANDS OF 06:51.750 --> 06:52.750 align:start CRAYONS. 06:52.750 --> 06:53.750 align:start AND I THOUGHT, WELL, IT WOULD BE 06:53.750 --> 06:56.420 align:start KIND OF INTERESTING TO SEE WHAT 06:56.420 --> 06:57.930 align:start THESE CRAYONS WOULD LOOK LIKE IF 06:57.930 --> 06:59.430 align:start THEY WERE MELTED. 06:59.430 --> 07:02.070 align:start BUT WHAT I'M USING IS LIKE 07:02.070 --> 07:04.420 align:start LITTLE WAX MOSAICS AND CREATING 07:04.420 --> 07:09.470 align:start A SERIES OF PORTRAITS. 07:09.470 --> 07:10.600 align:start I THINK I'M CHOOSING 07:10.600 --> 07:12.340 align:start MATHEMATICIANS JUST BECAUSE THEY 07:12.340 --> 07:14.250 align:start HAVEN'T BEEN REPRESENTED VERY 07:14.250 --> 07:16.900 align:start MUCH IN THE ART COMMUNITY, AS 07:16.900 --> 07:18.990 align:start WELL AS MY BACKGROUND BEING IN 07:18.990 --> 07:19.990 align:start PHYSICS. 07:19.990 --> 07:22.090 align:start I FEEL LIKE THEY DESERVE -- THEY 07:22.090 --> 07:24.020 align:start DESERVE TO BE PART OF THE 07:24.020 --> 07:26.860 align:start CONTEMPORARY CANON OF PORTRAITS. 07:26.860 --> 07:30.410 align:start I'M GOING TO BE THE ONE MAKING 07:30.410 --> 07:31.410 align:start THEM. 07:31.410 --> 07:32.410 align:start AS LONG AS I'M ABLE TO CREATE 07:32.410 --> 07:34.250 align:start AND HAVE FUN AS AN ARTIST, I 07:34.250 --> 07:36.220 align:start THINK I'LL BE GOOD, YOU KNOW. 07:36.220 --> 07:37.720 align:start I DON'T SEE MYSELF RUNNING OUT 07:37.720 --> 07:47.460 align:start OF, LIKE, IDEAS ANY TIME SOON. 07:47.460 --> 07:49.090 align:start \M\M 07:49.090 --> 07:50.290 align:start >> CHRISTIAN FAUR IS REPRESENTED 07:50.290 --> 07:51.940 align:start IN COLUMBUS BY SHERRIE GALLERIE 07:51.940 --> 07:53.140 align:start IN THE SHORT NORTH, WHERE YOU 07:53.140 --> 07:54.360 align:start CAN ALWAYS SEE HIS WORK ON 07:54.360 --> 07:56.260 align:start DISPLAY OR ONLINE AT 07:56.260 --> 07:57.260 align:start SHERRIEGALLERY.COM. 07:57.260 --> 07:58.470 align:start AND YOU CAN ALWAYS GIVE THE 07:58.470 --> 08:05.810 align:start ARTIST A FOLLOW ON INSTAGRAM. 08:05.810 --> 08:06.940 align:start >>> OUR NEXT STORY TONIGHT TAKES 08:06.940 --> 08:08.850 align:start US OUT WEST TO OKLAHOMA TO MEET 08:08.850 --> 08:09.960 align:start AN ARTIST BY THE NAME OF 08:09.960 --> 08:11.280 align:start JASON WILSON. 08:11.280 --> 08:12.740 align:start HE ALSO EMPLOYS MATHEMATICAL 08:12.740 --> 08:14.500 align:start PRINCIPLES IN HIS ARTWORK. 08:14.500 --> 08:16.310 align:start HE PAINTS GEOMETRICALLY EXACT 08:16.310 --> 08:17.840 align:start CANVASES THAT ARE INFLUENCED BY 08:17.840 --> 08:19.060 align:start THE DESIGNS OF THE QUILTS HIS 08:19.060 --> 08:20.200 align:start GRANDMOTHER MADE. 08:20.200 --> 08:21.860 align:start AND HIS ART PRACTICE LED HIM TO 08:21.860 --> 08:23.540 align:start FORM A COLLECTIVE OF PAINTERS 08:23.540 --> 08:24.560 align:start AND QUILTERS. 08:24.560 --> 08:26.330 align:start TOGETHER, THESE ARTISTS CREATE 08:26.330 --> 08:27.710 align:start BRAND NEW WORKS OF ART THAT DRAW 08:27.710 --> 08:29.200 align:start INSPIRATION FROM EACH OTHER. 08:29.200 --> 08:30.510 align:start ENJOY THIS STORY FROM OUR 08:30.510 --> 08:35.050 align:start FRIENDS AT OKLAHOMA PBS IN 08:35.050 --> 08:36.750 align:start TULSA. 08:36.750 --> 08:38.460 align:start \M\M 08:38.460 --> 08:41.770 align:start >> WHEN I CREATE MY PAINTINGS, I 08:41.770 --> 08:46.070 align:start WANT THEM TO BE PERFECT. 08:46.070 --> 08:47.570 align:start I WANT THERE TO BE NO 08:47.570 --> 08:48.570 align:start DISTRACTIONS. 08:48.570 --> 08:49.710 align:start I WANT THE EDGES TO BE REALLY 08:49.710 --> 08:51.870 align:start HARD EDGE. 08:51.870 --> 08:52.870 align:start I DON'T WANT YOU TO SEE 08:52.870 --> 08:54.240 align:start PAINTBRUSH STROKES. 08:54.240 --> 08:58.580 align:start I WANT IT TO BE SO CLEAN AND SO 08:58.580 --> 08:59.680 align:start PRECISE THAT IT'S JUST LIKE, 08:59.680 --> 09:06.790 align:start "WOW, THAT'S A PAINTING?" 09:06.790 --> 09:12.010 align:start \M\M 09:12.010 --> 09:13.900 align:start I'M JASON WILSON. 09:13.900 --> 09:16.560 align:start I HAVE BEEN AN ART TEACHER IN 09:16.560 --> 09:18.250 align:start THE STATE OF OKLAHOMA FOR 09:18.250 --> 09:20.690 align:start 31 YEARS. 09:20.690 --> 09:23.020 align:start I'M NOW A PROFESSIONAL ARTIST, 09:23.020 --> 09:25.390 align:start TRYING TO BE, AND SEE WHAT 09:25.390 --> 09:27.960 align:start HAPPENS WITH THAT. 09:27.960 --> 09:31.200 align:start I'M KNOWN KIND OF AS A PAINTER 09:31.200 --> 09:33.710 align:start OF QUILTS, I EMBRACE THAT. 09:33.710 --> 09:35.140 align:start I THINK IT'S PART OF THE LEGACY 09:35.140 --> 09:38.130 align:start THAT I HOPE TO LEAVE. 09:38.130 --> 09:41.140 align:start I'VE ALWAYS HAD ART IN MY LIFE. 09:41.140 --> 09:43.020 align:start GROWING UP AS A CHILD, I 09:43.020 --> 09:45.960 align:start REMEMBER GOING TO MY GRANDMA'S 09:45.960 --> 09:47.100 align:start HOUSE. 09:47.100 --> 09:50.160 align:start THE QUILTS WOULD BE HANGING FROM 09:50.160 --> 09:52.310 align:start THE -- FROM THE CEILING. 09:52.310 --> 09:54.340 align:start AND I USED TO BE FASCINATED WITH 09:54.340 --> 09:55.780 align:start THE DESIGNS AND THE PATTERNS IN 09:55.780 --> 09:58.430 align:start THOSE QUILTS, AND ESPECIALLY THE 09:58.430 --> 10:01.280 align:start 3D ONES. 10:01.280 --> 10:04.480 align:start MA WILSON WAS MY GREAT GRANDMA. 10:04.480 --> 10:06.000 align:start SHE WAS IN THE PAPER A LOT FOR 10:06.000 --> 10:07.000 align:start HER QUILTS. 10:07.000 --> 10:10.230 align:start SHE MADE QUILTS FOR SEVERAL OF 10:10.230 --> 10:14.350 align:start THE DEMOCRATIC PRESIDENTS AND 10:14.350 --> 10:16.670 align:start GOVERNORS, BUT ONLY THE 10:16.670 --> 10:17.670 align:start DEMOCRAT. 10:17.670 --> 10:18.760 align:start SHE WAS QUITE A CHARACTER, SHE'D 10:18.760 --> 10:20.020 align:start TELL YOU EXACTLY WHAT SHE 10:20.020 --> 10:21.020 align:start THOUGHT. 10:21.020 --> 10:24.260 align:start THIS QUILT IS AT LEAST 55 YEARS 10:24.260 --> 10:25.590 align:start OLD. 10:25.590 --> 10:29.040 align:start AND IT WAS MADE BY MA WILSON. 10:29.040 --> 10:31.990 align:start WHY DO I KEEP THE QUILTS THAT I 10:31.990 --> 10:32.990 align:start HAVE FROM MY GRANDMAS? 10:32.990 --> 10:35.500 align:start I CHERISH THOSE, BECAUSE NOW 10:35.500 --> 10:37.860 align:start THEY BECOME A PART OF ME BECAUSE 10:37.860 --> 10:40.430 align:start OF THE ART THAT I HAVE DEVELOPED 10:40.430 --> 10:42.350 align:start OUT OF THE STYLE OF SEEING AND 10:42.350 --> 10:47.550 align:start BEING INSPIRED BY THEIR QUILTS. 10:47.550 --> 10:49.550 align:start WHEN I START A PAINTING OF MY 10:49.550 --> 10:52.310 align:start TRADITIONAL STYLE, I WILL DRAW 10:52.310 --> 10:55.740 align:start IT TO SCALE ON A PIECE OF GRID 10:55.740 --> 10:56.760 align:start PAPER. 10:56.760 --> 10:58.960 align:start IT KIND OF GOES BACK TO THE 10:58.960 --> 11:00.500 align:start TECHNIQUE IN QUILTING WHERE THEY 11:00.500 --> 11:04.380 align:start DID QUILTINGS BY BLOCKS, BUT I 11:04.380 --> 11:08.110 align:start DO IT ON GRID PAPER. 11:08.110 --> 11:09.940 align:start THEN I GET THE CANVAS AND I 11:09.940 --> 11:12.360 align:start START BRINGING THAT UP TO THE 11:12.360 --> 11:17.730 align:start CANVAS. 11:17.730 --> 11:19.990 align:start IT HAS TO BE SO PRECISE, BECAUSE 11:19.990 --> 11:21.790 align:start IF YOU -- IF YOU GET IT OFF, 11:21.790 --> 11:27.640 align:start LINES WON'T MATCH. 11:27.640 --> 11:28.870 align:start I HAD MY STUDENTS THROUGH THE 11:28.870 --> 11:30.060 align:start YEARS WOULD TELL ME, 11:30.060 --> 11:31.180 align:start "MR. WILSON, THAT'S CHEATING. 11:31.180 --> 11:32.740 align:start YOU'RE USING TAPE, I CAN DO 11:32.740 --> 11:33.740 align:start THAT." 11:33.740 --> 11:38.750 align:start AND I'D SAY, "HERE, GO DO IT." 11:38.750 --> 11:40.020 align:start ABOUT TWO DAYS LATER, THEY'D 11:40.020 --> 11:41.140 align:start BRING IT BACK, "OKAY, 11:41.140 --> 11:42.640 align:start MR. WILSON, YOU CAN DO THAT. 11:42.640 --> 11:48.300 align:start I CAN'T QUITE HANDLE IT." 11:48.300 --> 11:49.830 align:start IT TOOK ME YEARS TO DISCOVER 11:49.830 --> 11:52.080 align:start THIS, TO FIGURE IT OUT. 11:52.080 --> 11:54.020 align:start YOU KNOW, THIS BRUSH HERE WAS 11:54.020 --> 11:55.290 align:start THE BIG SECRET, BECAUSE I 11:55.290 --> 11:57.600 align:start LEARNED TO VARNISH THOSE EDGES 11:57.600 --> 11:58.600 align:start BASICALLY. 11:58.600 --> 11:59.600 align:start \M\M 11:59.600 --> 12:08.880 align:start I DECIDE THE COLORS AFTER I HAVE 12:08.880 --> 12:12.050 align:start THE GRID DRAWING. 12:12.050 --> 12:14.930 align:start I WILL DRAW IT TO THE CANVAS AND 12:14.930 --> 12:17.130 align:start THEN I WILL SET IT ASIDE. 12:17.130 --> 12:19.490 align:start AND I MAY WAIT THREE, FOUR WEEKS 12:19.490 --> 12:20.630 align:start BEFORE I START, BECAUSE I'M 12:20.630 --> 12:22.780 align:start TRYING TO FIGURE OUT THE COLOR 12:22.780 --> 12:23.780 align:start SCHEME. 12:23.780 --> 12:25.550 align:start AND IT'S WEIRD BECAUSE THEN YOU 12:25.550 --> 12:27.780 align:start START PAINTING IN YOUR HEAD AT 12:27.780 --> 12:28.880 align:start NIGHT. 12:28.880 --> 12:32.770 align:start AND SO THOSE COLORS END UP KIND 12:32.770 --> 12:34.330 align:start OF COMING FROM YOUR DREAMS, 12:34.330 --> 12:35.440 align:start BECAUSE YOU GO TO SLEEP AND 12:35.440 --> 12:37.070 align:start YOU'RE DREAMING ABOUT THIS 12:37.070 --> 12:38.070 align:start PIECE. 12:38.070 --> 12:39.730 align:start AND THOSE COLORS SOMETIMES END 12:39.730 --> 12:41.850 align:start UP BEING THE COLORS THAT YOU USE 12:41.850 --> 12:48.240 align:start IN THE ACTUAL PAINTING. 12:48.240 --> 12:52.170 align:start IT'S TEDIOUS, BUT I ENJOY IT. 12:52.170 --> 12:54.680 align:start NOT EVERYBODY DOES, SO -- 12:54.680 --> 12:56.480 align:start A LOT OF TIMES PEOPLE THINK THAT 12:56.480 --> 13:01.010 align:start IT'S COMPUTER-GENERATED, AND 13:01.010 --> 13:02.120 align:start SOMETIMES THEY THINK THAT 13:02.120 --> 13:03.120 align:start INSULTS ME. 13:03.120 --> 13:04.380 align:start BUT TO ME, THAT'S A COMPLIMENT 13:04.380 --> 13:09.460 align:start THAT I CAN -- I CAN GET IT THAT 13:09.460 --> 13:10.470 align:start CLEAN. 13:10.470 --> 13:11.670 align:start THAT'S THE PART THAT SCARED ME 13:11.670 --> 13:21.210 align:start THE MOST AFTER THE WRECK. 13:21.210 --> 13:25.330 align:start [ SIREN ] 13:25.330 --> 13:27.260 align:start IN OCTOBER, OCTOBER THE 7th, I 13:27.260 --> 13:29.260 align:start WAS IN A VERY SERIOUS CAR 13:29.260 --> 13:30.260 align:start ACCIDENT. 13:30.260 --> 13:33.680 align:start I WAS ON MY WAY TO WORK, AND I 13:33.680 --> 13:37.650 align:start WAS IN A HEAD-ON COLLISION. 13:37.650 --> 13:40.640 align:start I HAD THREE FRACTURED RIBS, A 13:40.640 --> 13:43.380 align:start FRACTURED STERNUM, A SEVERE HEAD 13:43.380 --> 13:46.660 align:start INJURY WITH A SEVERE CONCUSSION. 13:46.660 --> 13:49.680 align:start MY ANKLE WAS BENT COMPLETELY IN 13:49.680 --> 13:53.130 align:start TWO AND CRUSHED. 13:53.130 --> 13:56.750 align:start I WAS SCARED THAT I WOULDN'T -- 13:56.750 --> 13:58.120 align:start I WOULDN'T BE ABLE TO RETURN TO 13:58.120 --> 14:00.250 align:start WHAT I LOVED. 14:00.250 --> 14:06.620 align:start IN THIS WORLD, WE CAN'T CONTROL 14:06.620 --> 14:07.620 align:start ANYTHING. 14:07.620 --> 14:08.810 align:start IT'S JUST CHAOTIC. 14:08.810 --> 14:11.860 align:start BUT WHEN I AM CREATING THAT 14:11.860 --> 14:14.810 align:start PAINTING, THAT'S THE ONE THING I 14:14.810 --> 14:16.470 align:start CAN CONTROL. 14:16.470 --> 14:19.220 align:start I REMEMBER GOING INTO THE DINING 14:19.220 --> 14:22.530 align:start ROOM AND SETTING DOWN AND 14:22.530 --> 14:26.180 align:start DEVELOPING A GRID PAINTING. 14:26.180 --> 14:27.550 align:start BECAUSE I WANTED TO KNOW THAT I 14:27.550 --> 14:30.130 align:start COULD STILL COME UP WITH AN 14:30.130 --> 14:31.880 align:start IDEA. 14:31.880 --> 14:33.310 align:start SO I SAT DOWN AND I DREW THIS 14:33.310 --> 14:36.170 align:start PIECE OUT ON THE GRID PAPER, AND 14:36.170 --> 14:37.860 align:start IT ENDED UP BEING THE FIRST 14:37.860 --> 14:42.080 align:start PAINTING COMPLETED AFTER THE 14:42.080 --> 14:43.370 align:start WRECK. 14:43.370 --> 14:47.270 align:start IT'S CALLED "FRACTURED." 14:47.270 --> 14:49.870 align:start I KNOW THAT SOME OF MY PAINTINGS 14:49.870 --> 14:52.290 align:start ARE VERY BUSY AND THEY CAN -- 14:52.290 --> 14:54.020 align:start THAT CAN BE PART OF THE REACTION 14:54.020 --> 14:56.100 align:start THEY PROVOKE. 14:56.100 --> 14:58.230 align:start I THINK A LOT MY ART DOES NEED 14:58.230 --> 14:59.750 align:start TO BE SEEN FROM A DISTANCE, 14:59.750 --> 15:01.130 align:start BECAUSE FROM A DISTANCE IS WHEN 15:01.130 --> 15:04.450 align:start THAT VISUAL MOVEMENT HAPPENS. 15:04.450 --> 15:06.290 align:start THIS KIND OF GOES BACK TO THE 15:06.290 --> 15:07.480 align:start PERCEPTUAL ART. 15:07.480 --> 15:09.590 align:start PEOPLE SEE WHAT THEY WANT TO SEE 15:09.590 --> 15:11.190 align:start IN IT. 15:11.190 --> 15:12.660 align:start SOMETIMES THE ONES THAT I THINK 15:12.660 --> 15:15.730 align:start ARE, I DON'T LIKE THAT, THE 15:15.730 --> 15:17.730 align:start FIRST ONE'S THAT SELL, BECAUSE 15:17.730 --> 15:19.030 align:start SOMEBODY ELSE WILL SEE IT AND 15:19.030 --> 15:20.030 align:start THEY LOVE IT. 15:20.030 --> 15:23.040 align:start >> IT MAKES IT LOOK LIKE IT HAS 15:23.040 --> 15:24.550 align:start SEVERAL MORE LAYERS RATHER 15:24.550 --> 15:25.550 align:start THAN -- 15:25.550 --> 15:27.380 align:start >> I HAD ALWAYS THOUGHT, WELL, 15:27.380 --> 15:30.850 align:start I'M DOING ART INSPIRED BY MY 15:30.850 --> 15:33.260 align:start GRANDMA'S AND GREAT GRANDMA'S 15:33.260 --> 15:35.180 align:start QUILTS, AND THE PATTERNS I SEE 15:35.180 --> 15:38.480 align:start OF OTHER QUILTS. 15:38.480 --> 15:40.230 align:start I WANTED TO BRING TOGETHER A 15:40.230 --> 15:41.950 align:start GROUP OF PROFESSIONAL QUILTERS 15:41.950 --> 15:45.900 align:start WHO WOULD TAKE THE PAINTINGS 15:45.900 --> 15:48.480 align:start THAT I HAD PAINTED INSPIRED BY 15:48.480 --> 15:51.600 align:start QUILTS, AND THEN THEY WOULD DO 15:51.600 --> 15:53.450 align:start QUILTS INSPIRED BY THOSE 15:53.450 --> 15:55.570 align:start PAINTINGS. 15:55.570 --> 15:58.990 align:start AND SO I'VE BEEN DREAMING ABOUT 15:58.990 --> 16:00.670 align:start THIS FOR A LONG TIME, AND SO I 16:00.670 --> 16:02.480 align:start PUT A DEAL ON FACEBOOK. 16:02.480 --> 16:03.530 align:start IF YOU'RE A PROFESSIONAL 16:03.530 --> 16:04.840 align:start QUILTER, AND YOU'RE INTERESTED 16:04.840 --> 16:07.090 align:start IN GOING DOWN THIS JOURNEY 16:07.090 --> 16:09.530 align:start TOGETHER WHERE YOU'RE DOING 16:09.530 --> 16:11.340 align:start QUILTS INSPIRED BY MY PAINTINGS, 16:11.340 --> 16:12.780 align:start AND I'M DOING PAINTINGS INSPIRED 16:12.780 --> 16:14.060 align:start BY YOUR QUILTS, JUST LET ME 16:14.060 --> 16:15.060 align:start KNOW. 16:15.060 --> 16:17.810 align:start >> I WAS WONDERING, "WHO IS THIS 16:17.810 --> 16:18.810 align:start PERSON?" 16:18.810 --> 16:20.070 align:start SO I LOOKED HIM UP, AND WHEN I 16:20.070 --> 16:21.820 align:start SAW HIS PAINTINGS, I KNEW RIGHT 16:21.820 --> 16:23.290 align:start AWAY, I WANTED TO MAKE QUILTS 16:23.290 --> 16:25.310 align:start BASED ON HIS PAINTINGS. 16:25.310 --> 16:26.310 align:start \M\M 16:26.310 --> 16:30.830 align:start >> I JUST KINDA WENT GAGA. 16:30.830 --> 16:36.360 align:start >> I LOVE HIS USE OF COLOR. 16:36.360 --> 16:40.970 align:start >> I REALLY LIKED THE STRONG 16:40.970 --> 16:41.970 align:start GEOMETRIC SENSE THAT IT HAD. 16:41.970 --> 16:44.500 align:start >> AND WE SAID, "OH MY GOSH, 16:44.500 --> 16:47.180 align:start THIS GUY IS BASICALLY JUST 16:47.180 --> 16:49.230 align:start PAINTING QUILTS." 16:49.230 --> 16:51.680 align:start >> IT IS A NEAT GROUP OF PEOPLE, 16:51.680 --> 16:54.340 align:start BECAUSE ALL SEVEN OF THEM ARE 16:54.340 --> 16:55.340 align:start DIFFERENT. 16:55.340 --> 16:56.540 align:start AND THAT'S WHAT I WANTED. 16:56.540 --> 16:59.700 align:start >> "QU'AINT" IS "Q-U" FOR 16:59.700 --> 17:02.230 align:start QUILTING, AND THE "AIN'T" PART 17:02.230 --> 17:04.140 align:start IS FOR PAINTING. 17:04.140 --> 17:08.590 align:start >> WE DON'T COPY IT, WE JUST DO 17:08.590 --> 17:11.130 align:start AN INTERPRETATION OF HIS 17:11.130 --> 17:12.130 align:start PAINTING. 17:12.130 --> 17:15.420 align:start >> WELL, I TOOK THE BASIC 17:15.420 --> 17:16.910 align:start COMPONENTS HE HAD HERE OF THE 17:16.910 --> 17:19.750 align:start STRIPES AND THE CROSS BARS. 17:19.750 --> 17:22.420 align:start I WANTED TO, WITH THIS PIECE, 17:22.420 --> 17:25.080 align:start SHOW NOT ONLY WHAT WAS GOING ON, 17:25.080 --> 17:26.850 align:start BUT HIGHLIGHTS AND DARKNESS. 17:26.850 --> 17:32.450 align:start >> SO THE "BOOM POW" CAME FROM 17:32.450 --> 17:36.020 align:start AN ACTUAL COMIC BOOK, BUT ALSO 17:36.020 --> 17:39.790 align:start THE WAY THESE DRAWINGS ARE PUT 17:39.790 --> 17:42.410 align:start TOGETHER IS VERY MUCH WHAT YOU 17:42.410 --> 17:46.070 align:start WOULD SEE IN A GRAFFITI OUT IN 17:46.070 --> 17:47.120 align:start THE STREET. 17:47.120 --> 17:49.740 align:start >> WE'VE BEEN CALLING IT "THE 17:49.740 --> 17:50.780 align:start INVASION QUILT." 17:50.780 --> 18:04.590 align:start AS SOON AS I SAW THIS -- BECAUSE 18:04.590 --> 18:05.590 align:start I WAS LIKE, "I DON'T KNOW WHAT 18:05.590 --> 18:06.590 align:start I'M GOING TO DO." 18:06.590 --> 18:07.590 align:start AND THEN I SAW THAT, AND I WAS 18:07.590 --> 18:08.590 align:start JUST LIKE, "THAT'S IT." 18:08.590 --> 18:09.590 align:start IT WAS LIKE, "IT WAS LIKE A 18:09.590 --> 18:10.590 align:start SPIDER BOT." 18:10.590 --> 18:11.590 align:start \M\M 18:11.590 --> 18:12.590 align:start >> I THINK IF MA WILSON CAME IN 18:12.590 --> 18:13.590 align:start HERE, SHE WOULD BE ASTOUNDED AT 18:13.590 --> 18:14.590 align:start THE COLORS. 18:14.590 --> 18:15.590 align:start >> PEOPLE ALWAYS ALREADY LOOK AT 18:15.590 --> 18:16.590 align:start PAINTING AS A FINE ART, AND WE'D 18:16.590 --> 18:17.590 align:start LIKE TO SEE THEM SEE QUILTING 18:17.590 --> 18:19.280 align:start MORE AS A FINE ART AND NOT JUST 18:19.280 --> 18:20.410 align:start AS A CRAFT. 18:20.410 --> 18:21.500 align:start >> THE PEOPLE WHO PUT THOSE 18:21.500 --> 18:23.480 align:start TOGETHER REALLY TOOK THE TIME TO 18:23.480 --> 18:25.300 align:start THINK ABOUT HOW THE COLORS WORK 18:25.300 --> 18:26.650 align:start TOGETHER, HOW THE PATTERNS WORK 18:26.650 --> 18:28.230 align:start TOGETHER, AND TO CREATE 18:28.230 --> 18:30.520 align:start SOMETHING BEAUTIFUL. 18:30.520 --> 18:34.050 align:start >> WE HOPE THAT THEY'LL SEE ON 18:34.050 --> 18:35.480 align:start THE WALL HOW BEAUTIFUL THEY ARE 18:35.480 --> 18:37.700 align:start TOGETHER, MAYBE TO MAKE PEOPLE 18:37.700 --> 18:40.280 align:start LOOK A LITTLE CLOSER. 18:40.280 --> 18:42.870 align:start >> WE MIGHT JUST STEP UP AND 18:42.870 --> 18:46.400 align:start SHOW OKLAHOMA FIRST OF ALL, SHOW 18:46.400 --> 18:49.310 align:start THE UNITED STATES AND HEY, WHO 18:49.310 --> 18:51.240 align:start KNOWS, MAYBE SHOW THE WORLD WHAT 18:51.240 --> 18:54.290 align:start THE MIDWESTERN ART QUILTS AND 18:54.290 --> 18:57.910 align:start ART CAN BE LIKE. 18:57.910 --> 18:59.990 align:start >> I HAVEN'T SEEN ANYTHING LIKE 18:59.990 --> 19:00.990 align:start QU'AINT YET. 19:00.990 --> 19:03.570 align:start AND I THINK THAT'S PRETTY GOOD, 19:03.570 --> 19:05.620 align:start BECAUSE I THINK IT'S GOING TO 19:05.620 --> 19:06.620 align:start GIVES US SOMETHING UNIQUE TO 19:06.620 --> 19:10.490 align:start OFFER THE ART WORLD. 19:10.490 --> 19:14.220 align:start THIS IS KIND OF BEEN A JUST A 19:14.220 --> 19:16.940 align:start DREAM COME TRUE TO BE HONEST 19:16.940 --> 19:17.940 align:start WITH YOU. 19:17.940 --> 19:18.940 align:start THAT WE FINALLY HAVE GOT TO THIS 19:18.940 --> 19:19.940 align:start POINT. 19:19.940 --> 19:20.940 align:start AND I LOOK FORWARD TO 19:20.940 --> 19:23.840 align:start CONTINUING, BECAUSE WE STILL 19:23.840 --> 19:28.040 align:start WANT TO GO FURTHER. 19:28.040 --> 19:30.290 align:start I OFTEN THINK WHAT WOULD MY 19:30.290 --> 19:33.940 align:start GRANDMAS THINK ABOUT THIS. 19:33.940 --> 19:35.520 align:start I THINK THAT THEY WOULD ENJOY 19:35.520 --> 19:36.860 align:start SEEING WHAT I'VE DONE. 19:36.860 --> 19:39.330 align:start AND I HOPE THEY WOULD BE PROUD 19:39.330 --> 19:41.390 align:start OF WHAT I'VE ACCOMPLISHED. 19:41.390 --> 19:44.610 align:start NOW I'M IN NATIONAL SHOWS. 19:44.610 --> 19:46.880 align:start I'M IN SEVERAL PUBLICATIONS. 19:46.880 --> 19:48.620 align:start MY FIRST BOOK I WAS PUBLISHED IN 19:48.620 --> 19:49.750 align:start THIS YEAR. 19:49.750 --> 19:54.790 align:start IT JUST, IT BLOWS MY MIND WHERE 19:54.790 --> 19:57.610 align:start I'VE GONE SINCE 2014. 19:57.610 --> 20:01.470 align:start IT JUST AMAZES ME THAT THE 20:01.470 --> 20:03.140 align:start JOURNEY HAS BEEN AS SUCCESSFUL 20:03.140 --> 20:06.300 align:start AS IT HAS BEEN. 20:06.300 --> 20:10.430 align:start AND I'M ENJOYING EVERY SECOND OF 20:10.430 --> 20:13.250 align:start IT. 20:13.250 --> 20:21.710 align:start I LOVE IT. 20:21.710 --> 20:24.530 align:start \M\M 20:24.530 --> 20:25.560 align:start >>> WE'RE CONTINUING OUR LOCAL 20:25.560 --> 20:26.810 align:start MUSIC SERIES TODAY WITH A 20:26.810 --> 20:28.410 align:start SEASONALLY APPROPRIATE TUNE BY 20:28.410 --> 20:29.880 align:start THE SALTY CARAMELS. 20:29.880 --> 20:31.140 align:start THIS SONG IS SURE TO HELP YOU 20:31.140 --> 20:32.640 align:start CHASE AWAY THOSE WINTER BLUES 20:32.640 --> 20:34.290 align:start WITH DREAMS OF SUNNY BEACHES AND 20:34.290 --> 20:35.320 align:start DRINKING COCKTAILS OUT OF 20:35.320 --> 20:36.480 align:start COCONUTS. 20:36.480 --> 20:37.480 align:start HERE THEY ARE PERFORMING THEIR 20:37.480 --> 20:39.080 align:start SONG "BEACH BUMS." 20:39.080 --> 20:40.080 align:start \M\M 20:40.080 --> 20:42.050 align:start \M I'M SICK AND TIRED 20:42.050 --> 20:44.030 align:start OF THIS COLD \M 20:44.030 --> 20:46.010 align:start \M TOO MANY LAYERS 20:46.010 --> 20:47.490 align:start OF CLOTHES \M 20:47.490 --> 20:49.470 align:start \M WE'RE JUST LIKE 20:49.470 --> 20:50.470 align:start TWO MARSHMALLOWS 20:50.470 --> 20:52.440 align:start ALL BUNDLED UP \M 20:52.440 --> 20:54.460 align:start \M AND I AM 20:54.460 --> 20:59.650 align:start DREAMING OF THE SUN \M 20:59.650 --> 21:04.850 align:start \M IT'S HARD TO GIVE 21:04.850 --> 21:09.000 align:start YOU A KISS \M 21:09.000 --> 21:11.090 align:start \M WHEN I CAN'T 21:11.090 --> 21:12.090 align:start REACH YOUR LIPS \M 21:12.090 --> 21:13.090 align:start \M PILE ON THE SCARVES 21:13.090 --> 21:14.090 align:start AND SWEATERS \M 21:14.090 --> 21:15.090 align:start \M TRYING TO US 21:15.090 --> 21:16.090 align:start THROUGH THIS WEATHER \M 21:16.090 --> 21:17.090 align:start \M I WANNA BE 21:17.090 --> 21:18.090 align:start A BEACH BUM \M 21:18.090 --> 21:19.090 align:start \M DRINKING COCKTAILS 21:19.090 --> 21:20.730 align:start WITH RUM \M 21:20.730 --> 21:25.860 align:start \M DRINKING OUT OF COCONUTS 21:25.860 --> 21:27.920 align:start BIKINIS WITH 21:27.920 --> 21:32.030 align:start PINK POLKA DOTS \M 21:32.030 --> 21:34.410 align:start \M CAN I PERSUADE 21:34.410 --> 21:35.720 align:start YOU TO COME \M 21:35.720 --> 21:37.030 align:start \M JUST PICTURE US 21:37.030 --> 21:38.340 align:start BY THE SEA \M 21:38.340 --> 21:39.650 align:start \M THE WAVES CRASHING 21:39.650 --> 21:40.960 align:start AT OUR FEET \M 21:40.960 --> 21:42.270 align:start \M WE'RE JUST LIKE 21:42.270 --> 21:43.580 align:start TWO BEACH BABES \M 21:43.580 --> 21:45.220 align:start \M WE LOST OUR COVER-UPS 21:45.220 --> 21:47.180 align:start WE'RE SOAKING UP THE SUN \M 21:47.180 --> 21:54.460 align:start \M TANK TOPS AND FLIP FLOPS 21:54.460 --> 21:55.460 align:start AND SHORTS \M 21:55.460 --> 21:56.460 align:start \M I DON'T WANT 21:56.460 --> 21:57.460 align:start NOTHING MORE \M 21:57.460 --> 21:58.460 align:start \M WE CAN WALK DOWN 21:58.460 --> 21:59.460 align:start TO THE SHORE \M 21:59.460 --> 22:00.460 align:start \M AND THE SAND WILL BE 22:00.460 --> 22:01.460 align:start OUR DANCE FLOOR \M 22:01.460 --> 22:02.460 align:start \M I WANNA BE 22:02.460 --> 22:03.460 align:start A BEACH BUM \M 22:03.460 --> 22:04.460 align:start \M DRINKING COCKTAILS 22:04.460 --> 22:05.460 align:start WITH RUM \M 22:05.460 --> 22:06.460 align:start \M DRINKING OUT OF COCONUTS 22:06.460 --> 22:07.460 align:start BIKINIS WITH 22:07.460 --> 22:08.460 align:start PINK POLKA DOTS \M 22:08.460 --> 22:09.460 align:start \M CAN I PERSUADE 22:09.460 --> 22:10.460 align:start YOU TO COME \M 22:10.460 --> 22:11.460 align:start \M\M 22:11.460 --> 22:12.460 align:start \M\M 22:12.460 --> 22:13.460 align:start \M LET'S HOP IN 22:13.460 --> 22:14.560 align:start YOUR LITTLE RED CAR \M 22:14.560 --> 22:21.520 align:start \M AND DRIVE UNTIL 22:21.520 --> 22:22.840 align:start THE SNOW IS ALL GONE \M 22:22.840 --> 22:23.840 align:start \M LET'S HOP IN 22:23.840 --> 22:24.840 align:start YOUR LITTLE RED CAR \M 22:24.840 --> 22:27.270 align:start \M AND DRIVE UNTIL 22:27.270 --> 22:35.670 align:start THE SNOW IS ALL GONE \M 22:35.670 --> 22:41.260 align:start \M LET'S HOP IN 22:41.260 --> 22:48.260 align:start YOUR LITTLE RED CAR \M 22:48.260 --> 22:51.520 align:start \M AND DRIVE UNTIL 22:51.520 --> 22:56.960 align:start THE SNOW IS ALL GONE \M 22:56.960 --> 22:57.960 align:start \M\M 22:57.960 --> 22:58.960 align:start \M\M 22:58.960 --> 23:00.550 align:start \M I WANNA BE 23:00.550 --> 23:01.550 align:start A BEACH BUM \M 23:01.550 --> 23:02.550 align:start \M DRINKING COCKTAILS 23:02.550 --> 23:03.550 align:start WITH RUM \M 23:03.550 --> 23:04.550 align:start \M DRINKING OUT OF COCONUTS 23:04.550 --> 23:05.550 align:start BIKINIS WITH 23:05.550 --> 23:06.550 align:start PINK POLKA DOTS \M 23:06.550 --> 23:07.550 align:start \M CAN I PERSUADE 23:07.550 --> 23:08.550 align:start YOU TO COME \M 23:08.550 --> 23:09.550 align:start \M OOOO CAN I PERSUADE 23:09.550 --> 23:13.030 align:start YOU TO COME \M 23:13.030 --> 23:17.480 align:start \M OOOO CAN I PERSUADE 23:17.480 --> 23:21.040 align:start YOU TO COME \M 23:21.040 --> 23:22.040 align:start \M\M 23:22.040 --> 23:23.040 align:start >>> AND WE'RE CLOSING OUT OUR 23:23.040 --> 23:24.180 align:start SHOW TONIGHT WITH MORE MUSIC BY 23:24.180 --> 23:25.180 align:start THE SALTY CARAMELS. 23:25.180 --> 23:26.210 align:start BE SURE TO CHECK THEM OUT ON 23:26.210 --> 23:27.740 align:start FACEBOOK OR INSTAGRAM. 23:27.740 --> 23:29.260 align:start MEANWHILE, YOU CAN ALWAYS CHECK 23:29.260 --> 23:31.150 align:start OUT ALL OF OUR STORIES ONLINE AT 23:31.150 --> 23:33.490 align:start WOSU.ORG, AS WELL AS ON OUR 23:33.490 --> 23:34.490 align:start YOUTUBE CHANNEL. 23:34.490 --> 23:36.420 align:start FOR ALL OF US HERE AT WOSU, I'M 23:36.420 --> 23:37.420 align:start KATE QUICKEL. 23:37.420 --> 23:38.420 align:start WE'LL SEE NEXT WEEK. 23:38.420 --> 23:39.420 align:start \M THINK ABOUT ALL THOSE 23:39.420 --> 23:40.420 align:start TAXI RIDES WHEN SOMEONE ELSE 23:40.420 --> 23:41.420 align:start DRIVES YOU AROUND \M 23:41.420 --> 23:42.420 align:start \M OR ALL THOSE TERRIBLY LONG 23:42.420 --> 23:43.420 align:start AIRPLANE FLIGHTS 23:43.420 --> 23:44.420 align:start THAT CAN MAKE YOU SICK 23:44.420 --> 23:45.420 align:start FOR THE GROUND \M 23:45.420 --> 23:46.420 align:start \M GET IN THE CAR 23:46.420 --> 23:50.930 align:start DRUNK AFTER DARK 23:50.930 --> 23:51.930 align:start AND THEY'RE 23:51.930 --> 23:52.930 align:start SPEEDING YOU HOME \M 23:52.930 --> 23:53.930 align:start \M YOU'RE AFRAID 23:53.930 --> 23:54.930 align:start WONDERING WHO IS THIS 23:54.930 --> 23:55.930 align:start MANIAC THAT I TRUST WITH 23:55.930 --> 23:57.030 align:start MY LIFE IN THE NIGHT \M 23:57.030 --> 24:10.510 align:start \M SO LATE SO LATE 24:10.510 --> 24:23.980 align:start SO LATE SO LATE \M 24:23.980 --> 24:26.680 align:start \M\M 24:26.680 --> 24:29.890 align:start >> I'M ORIGINALLY FROM 24:29.890 --> 24:30.960 align:start TOLEDO, OHIO. 24:30.960 --> 24:31.960 align:start MY FAMILY'S FROM DETROIT. 24:31.960 --> 24:34.460 align:start AND THEN WE ALL KIND OF MIGRATED 24:34.460 --> 24:36.060 align:start DOWN HERE WHEN I WENT TO 24:36.060 --> 24:37.510 align:start COLUMBUS COLLEGE OF ART AND 24:37.510 --> 24:40.380 align:start DESIGN. 24:40.380 --> 24:41.900 align:start I REMEMBER BEING YOUNGER AND, 24:41.900 --> 24:43.910 align:start LIKE, NOT REALLY SEEING MYSELF 24:43.910 --> 24:44.910 align:start IN PLACES. 24:44.910 --> 24:47.360 align:start LIKE, WHEN I WAS YOUNGER, I 24:47.360 --> 24:48.760 align:start COULDN'T FIND PAPER DOLLS THAT 24:48.760 --> 24:50.040 align:start LOOKED -- THAT WERE BROWN. 24:50.040 --> 24:51.040 align:start YOU KNOW? 24:51.040 --> 24:52.790 align:start I COULDN'T, SO I MADE MY OWN. 24:52.790 --> 24:55.000 align:start AND I DID THAT AS, LIKE, A 24:55.000 --> 24:56.240 align:start 6-YEAR-OLD LITTLE GIRL. 24:56.240 --> 24:57.790 align:start I MADE MY OWN PAPER DOLLS AND IT 24:57.790 --> 24:58.810 align:start GREW TO A COLLECTION OF LIKE A 24:58.810 --> 25:00.620 align:start THOUSAND PAPER DOLLS. 25:00.620 --> 25:02.370 align:start BECAUSE THAT'S HOW DEDICATED I 25:02.370 --> 25:04.080 align:start WAS OR PASSIONATE ABOUT SEEING 25:04.080 --> 25:05.970 align:start THINGS THAT LOOK LIKE ME IN THE 25:05.970 --> 25:07.980 align:start WORLD, YOU KNOW. 25:07.980 --> 25:10.890 align:start SO WITH MY WORK, I WANT TO SHOW, 25:10.890 --> 25:12.870 align:start LIKE, PEOPLE OF COLOR, BLACK 25:12.870 --> 25:14.560 align:start PEOPLE, DOING REGULAR THINGS. 25:14.560 --> 25:15.700 align:start YOU KNOW WHAT I MEAN? 25:15.700 --> 25:17.020 align:start EXISTING IN THEIR REGULAR LIFE 25:17.020 --> 25:19.050 align:start AND BEING HAPPY, OR BEING SAD, 25:19.050 --> 25:20.730 align:start OR BEING PLAYFUL, OR BEING IN 25:20.730 --> 25:21.730 align:start LOVE. 25:21.730 --> 25:22.730 align:start LIKE, THAT'S ALL VERY IMPORTANT 25:22.730 --> 25:24.960 align:start TO ME, TO JUST ILLUSTRATE THOSE 25:24.960 --> 25:25.960 align:start MOMENTS. 25:25.960 --> 25:26.960 align:start BECAUSE YOU DON'T SEE THEM AS 25:26.960 --> 25:29.950 align:start MUCH AS YOU SHOULD, YOU KNOW. 25:29.950 --> 25:32.130 align:start I THINK IT WAS IN 2012 IS KIND 25:32.130 --> 25:33.610 align:start OF WHEN I FIGURED OUT THAT I 25:33.610 --> 25:34.880 align:start COULD ACTUALLY SELL MY ARTWORK 25:34.880 --> 25:35.880 align:start ON PRODUCTS. 25:35.880 --> 25:38.120 align:start AND THAT'S WHEN ARIEL BRANDS 25:38.120 --> 25:39.620 align:start CAME ABOUT. 25:39.620 --> 25:42.970 align:start I BASICALLY TOOK MY ARTWORK AND 25:42.970 --> 25:44.310 align:start STARTED PUTTING IT ON EVERYTHING 25:44.310 --> 25:45.310 align:start THAT I COULD THINK OF. 25:45.310 --> 25:46.340 align:start LIKE, LITERALLY PRINTING IT ON 25:46.340 --> 25:48.320 align:start EVERYTHING I COULD THINK OF. 25:48.320 --> 25:49.320 align:start \M\M 25:49.320 --> 25:53.050 align:start BACK BEFORE, YOU KNOW, WHEN I 25:53.050 --> 25:54.840 align:start WAS YOUNGER, WHEN I WAS A KID 25:54.840 --> 25:55.840 align:start LIKE THAT -- 25:55.840 --> 25:56.900 align:start I DIDN'T HAVE ACCESS TO SEEING, 25:56.900 --> 25:58.800 align:start LIKE, A BLACK ARTIST, A BLACK 25:58.800 --> 26:00.270 align:start WOMAN ARTIST CREATING ARTWORK 26:00.270 --> 26:01.380 align:start AND MAKING MONEY OFF OF IT, AND 26:01.380 --> 26:02.840 align:start ACTUALLY HAVING YOUR OWN STUDIO 26:02.840 --> 26:03.840 align:start AND STUFF LIKE THAT. 26:03.840 --> 26:04.840 align:start LIKE, I DIDN'T KNOW THAT 26:04.840 --> 26:06.390 align:start EXISTED. 26:06.390 --> 26:08.310 align:start AND SO BEING ABLE TO FILL THAT 26:08.310 --> 26:09.910 align:start GAP FEELS GREAT FOR ME, BECAUSE 26:09.910 --> 26:11.950 align:start I KNOW THE NEXT GENERATION, 26:11.950 --> 26:14.060 align:start THEY'LL HAVE MORE EXAMPLES THAT 26:14.060 --> 26:15.060 align:start I DIDN'T HAVE WHEN I WAS 26:15.060 --> 26:16.530 align:start YOUNGER. 26:16.530 --> 26:18.210 align:start \M\M 26:18.210 --> 26:19.210 align:start >>> CATCH COLUMBUS AT ITS 26:19.210 --> 26:21.470 align:start CREATIVE BEST ON "BROAD & HIGH", 26:21.470 --> 26:24.640 align:start THURSDAY NIGHTS AT 8:00 ON 26:24.640 --> 26:27.310 align:start WOSU TV. >> PRODUCTION OF "BROAD & HIGH" 26:27.310 --> 26:28.610 align:start IS FUNDED IN PART BY THE GREATER 26:28.610 --> 26:30.120 align:start COLUMBUS ARTS COUNCIL. 26:30.120 --> 26:31.550 align:start SUPPORTING ARTS, ADVANCING 26:31.550 --> 26:33.260 align:start CULTURE, AND CONNECTING THE 26:33.260 --> 26:34.940 align:start COMMUNITY TO ARTISTS, EVENTS, 26:34.940 --> 26:35.940 align:start AND CLASSES AT 26:35.940 --> 26:37.100 align:start COLUMBUSMAKESART.COM. 26:37.100 --> 26:40.040 align:start >> FROM THESE CONTRIBUTING 26:40.040 --> 26:41.700 align:start SPONSORS -- 26:41.700 --> 26:43.100 align:start AND VIEWERS LIKE YOU. 26:43.100 --> 26:48.100 align:start THANK YOU.