1 00:00:00,800 --> 00:00:01,968 >>> PRODUCTION OF "BROAD & HIGH" 2 00:00:01,968 --> 00:00:03,269 IS FUNDED BY THE GREATER 3 00:00:03,269 --> 00:00:05,005 COLUMBUS ARTS COUNCIL, 4 00:00:05,005 --> 00:00:06,339 SUPPORTING ARTS, ADVANCING 5 00:00:06,339 --> 00:00:08,408 CULTURE AND CONNECTING COMMUNITY 6 00:00:08,408 --> 00:00:11,111 ARTISTS, EVENTS AND CLASSES AT 7 00:00:11,111 --> 00:00:13,913 COLUMBUS.COM. 8 00:00:13,913 --> 00:00:14,914 >> FROM THESE CONTRIBUTING 9 00:00:14,914 --> 00:00:19,152 SPONSORS AND VIEWERS LIKE YOU. 10 00:00:19,152 --> 00:00:21,254 THANK YOU. 11 00:00:21,254 --> 00:00:22,689 >>> THIS TIME ON "BROAD & HIGH" 12 00:00:22,689 --> 00:00:24,557 MEET A MULTIMEDIA ARTIST WHO 13 00:00:24,557 --> 00:00:25,925 COMBINES JAPANESE. 14 00:00:25,925 --> 00:00:26,926 FRENCH AESTHETICS. 15 00:00:26,926 --> 00:00:29,029 A VISUAL ARTIST DESCRIBES HOW A 16 00:00:29,029 --> 00:00:30,497 LOCAL RESTAURANT CHAIN MADE HIS 17 00:00:30,497 --> 00:00:32,432 DREAM COME TRUE. 18 00:00:32,432 --> 00:00:33,833 SEE HOW THE SCIENCE OF HUMANS 19 00:00:33,833 --> 00:00:37,370 INFLUENCED THE COLORADO 20 00:00:37,370 --> 00:00:40,940 WOODWORKER AND THIS AND MORE 21 00:00:40,940 --> 00:00:53,053 RIGHT NOW ON "BROAD & HIGH." 22 00:00:53,053 --> 00:00:55,455 [ music ] 23 00:00:55,455 --> 00:00:57,891 [ music ] 24 00:00:57,891 --> 00:01:00,293 [ music ] 25 00:01:00,293 --> 00:01:02,729 [ music ] 26 00:01:02,729 --> 00:01:03,730 >>> WELCOME TO "BROAD & HIGH." 27 00:01:03,730 --> 00:01:05,899 I'M YOUR HOST, KATE QUICKEL. 28 00:01:05,899 --> 00:01:07,700 TIFFANY LAWSON IS A MIXED MEDIA 29 00:01:07,700 --> 00:01:09,736 ARTIST WHO ATTRIBUTES HER 30 00:01:09,736 --> 00:01:10,904 ARTISTS TO COMMUNITY ARTS 31 00:01:10,904 --> 00:01:13,873 PROGRAM IN GALLERIES AND MUSEUMS 32 00:01:13,873 --> 00:01:15,375 ACROSS OHIO. 33 00:01:15,375 --> 00:01:16,910 HER GALLERIES IS A TESTAMENT TO 34 00:01:16,910 --> 00:01:20,580 THOSE NATURE AND NURTURE TO 35 00:01:20,580 --> 00:01:22,549 OTHER LOCAL ARTISTS LIKE AMINAH 36 00:01:22,549 --> 00:01:24,784 ROBINSON AND BROOKS IN HER LIFE. 37 00:01:24,784 --> 00:01:28,888 WE MET HER IN HER OFFICE AND 38 00:01:28,888 --> 00:01:31,891 COMMON THEMES IN HER WORK. 39 00:01:31,891 --> 00:01:35,495 >> I REALLY MAKE WORK BASED OFF 40 00:01:35,495 --> 00:01:37,931 OF WHAT I'M EXPERIENCING AND THE 41 00:01:37,931 --> 00:01:39,199 BOOKS THAT I READ. 42 00:01:39,199 --> 00:01:41,734 SO THAT'S A BIG PART OF MY 43 00:01:41,734 --> 00:01:42,735 PROCESS. 44 00:01:42,735 --> 00:01:44,504 GROWING UP, I ALWAYS WAS A 45 00:01:44,504 --> 00:01:47,373 DRAWER, IF YOU WILL. 46 00:01:47,373 --> 00:01:48,942 MY FAVORITE PLACE TO DRAW WAS IN 47 00:01:48,942 --> 00:01:51,277 THE END TABLE DRAWER AND BEHIND 48 00:01:51,277 --> 00:01:53,213 THE COUCH. 49 00:01:53,213 --> 00:01:54,547 MY MOTHER WASN'T A FAN OF THAT 50 00:01:54,547 --> 00:01:56,916 AT ALL, AND I SIGNED THEM. 51 00:01:56,916 --> 00:01:58,284 THEY WERE ALL MASTERPIECES IN MY 52 00:01:58,284 --> 00:01:59,285 MIND. 53 00:01:59,285 --> 00:02:00,553 SO IT'S ALWAYS BEEN SORT OF MY 54 00:02:00,553 --> 00:02:03,089 THING. 55 00:02:03,089 --> 00:02:04,924 MOM RAN A CHURCH PROGRAM ACROSS 56 00:02:04,924 --> 00:02:05,925 THE STREET. 57 00:02:05,925 --> 00:02:07,994 OHIO AVENUE METHODIST CHURCH AND 58 00:02:07,994 --> 00:02:09,462 WE HAVE AN ARTS SQUAD CALLED THE 59 00:02:09,462 --> 00:02:13,266 BEBE SQUAD AND THE WORK SHOPS 60 00:02:13,266 --> 00:02:14,901 BROUGHT IN LOCAL ARTISTS LIKE 61 00:02:14,901 --> 00:02:17,303 AMINAH ROBINSON, QUEEN BROOKS 62 00:02:17,303 --> 00:02:21,674 AND GRANDPA SMOKEY BROWN, SO ART 63 00:02:21,674 --> 00:02:23,643 HAS ALWAYS BEEN A PART OF MY 64 00:02:23,643 --> 00:02:25,178 LIFE. 65 00:02:25,178 --> 00:02:29,482 IT HAS VERY MUCH GIVEN ME 66 00:02:29,482 --> 00:02:33,786 FREEDOM BECAUSE IT IS VERY HARD 67 00:02:33,786 --> 00:02:35,288 TO SIT IN FRONT OF A STARK WHITE 68 00:02:35,288 --> 00:02:37,290 CANVAS AND FIGURE OUT WHERE TO 69 00:02:37,290 --> 00:02:38,658 MAKE YOUR FIRST MONTH. 70 00:02:38,658 --> 00:02:41,594 SO WITH WABI SABI, NO MATTER 71 00:02:41,594 --> 00:02:43,363 WHERE I MADE MY MARK AS 72 00:02:43,363 --> 00:02:45,899 IMPERFECT AS IT COULD BE IT WAS 73 00:02:45,899 --> 00:02:48,735 BEAUTIFUL AND IT FREED MY 74 00:02:48,735 --> 00:02:50,170 PRACTICE AND SO WHEN I MAKE 75 00:02:50,170 --> 00:02:52,572 MISTAKES THEY'RE HAPPY MISTAKES 76 00:02:52,572 --> 00:02:54,974 LIKE BOB ROSS. 77 00:02:54,974 --> 00:02:56,643 IT IS AN AESTHETIC OF 78 00:02:56,643 --> 00:02:59,179 IMPERMANENCE AND THERE'S BEAUTY 79 00:02:59,179 --> 00:03:01,214 IN THAT AS IT CONTINUES, AS 80 00:03:01,214 --> 00:03:03,349 THOSE IMPERFECTIONS CONTINUE TO 81 00:03:03,349 --> 00:03:07,720 BUILD EVEN OR AGE THROUGH TIME. 82 00:03:07,720 --> 00:03:10,156 THERE'S BEAUTY IN THOSE. 83 00:03:10,156 --> 00:03:11,925 [ music ] 84 00:03:11,925 --> 00:03:13,493 >> A SEAT AT THE TABLE ACTUALLY 85 00:03:13,493 --> 00:03:17,197 STARTED OFF AS A DAILY SKETCH-- 86 00:03:17,197 --> 00:03:19,232 PRACTICE SKETCH, AND IT 87 00:03:19,232 --> 00:03:21,367 DEVELOPED INTO A SERIES. 88 00:03:21,367 --> 00:03:24,504 IN EXPLORING BLACK LIFE OR EVEN 89 00:03:24,504 --> 00:03:26,539 THE HEALING COMPONENT OF IT, 90 00:03:26,539 --> 00:03:27,774 IT'S IMPORTANT FOR US TO HAVE A 91 00:03:27,774 --> 00:03:29,108 SEAT AT THE TABLE TO BEGIN TO 92 00:03:29,108 --> 00:03:31,344 HAVE THESE CONVERSATIONS SO THAT 93 00:03:31,344 --> 00:03:34,314 NEW WORK CAN BE DONE, AND IN A 94 00:03:34,314 --> 00:03:35,882 LOT OF WAYS THERE HAVEN'T BEEN 95 00:03:35,882 --> 00:03:38,084 THOSE SEATS OR TABLE. 96 00:03:38,084 --> 00:03:40,353 SO IN REGARD TO MY SEVERAL 97 00:03:40,353 --> 00:03:42,222 SEATS, I'LL BRING MY OWN SEATS, 98 00:03:42,222 --> 00:03:44,123 SEVERAL OF THEM, AS A MATTER OF 99 00:03:44,123 --> 00:03:45,124 FACT. 100 00:03:45,124 --> 00:03:46,960 NO TWO PEOPLE'S SEAT IS ALIKE. 101 00:03:46,960 --> 00:03:47,961 EVERYBODY BRINGS SOMETHING 102 00:03:47,961 --> 00:03:49,429 DIFFERENT TO THE TABLE SO IT WAS 103 00:03:49,429 --> 00:03:51,364 IMPORTANT TO MAKE EACH SEAT 104 00:03:51,364 --> 00:03:54,667 SEPARATE FROM EACH OTHER. 105 00:03:54,667 --> 00:03:56,236 >> IN MY OPINION, BLACK ART OF 106 00:03:56,236 --> 00:03:58,304 THE PAST AS WE ARE MOVING INTO A 107 00:03:58,304 --> 00:04:00,173 NEWER GENERATION AND THAT'S WHAT 108 00:04:00,173 --> 00:04:04,377 I MEAN IN TERMS OF CAPTURING JOY 109 00:04:04,377 --> 00:04:06,446 AND HEALING AS OPPOSED TO JUST 110 00:04:06,446 --> 00:04:11,551 THE-- I GUESS, THERE IS DESPAIR 111 00:04:11,551 --> 00:04:13,953 WITH BLACK ART SPECIFICALLY 112 00:04:13,953 --> 00:04:16,422 REGARDING SLAVERY AND THE GREAT 113 00:04:16,422 --> 00:04:19,092 MIGRATION AND DISCRIMINATION AND 114 00:04:19,092 --> 00:04:20,426 ALL THOSE THINGS ARE STILL VERY 115 00:04:20,426 --> 00:04:22,562 MUCH IMPORTANT, BUT I DO BELIEVE 116 00:04:22,562 --> 00:04:24,631 THOSE STORIES HAVE BEEN TOLD AND 117 00:04:24,631 --> 00:04:25,732 THOSE AREN'T NECESSARILY THE 118 00:04:25,732 --> 00:04:29,335 STORIES THAT I CAN TELL. 119 00:04:29,335 --> 00:04:31,137 I WOULD LIKE TO HIGHLIGHT THE 120 00:04:31,137 --> 00:04:32,872 THINGS THAT ARE MORE PREVALENT 121 00:04:32,872 --> 00:04:35,575 TODAY FOR BLACK PEOPLE WHICH, 122 00:04:35,575 --> 00:04:38,378 AGAIN, ARE SIMILAR, BUT MOST 123 00:04:38,378 --> 00:04:40,046 IMPORTANTLY THE HEALING PROCESS 124 00:04:40,046 --> 00:04:42,548 LIKE WHERE WE HAVE COME FROM TO 125 00:04:42,548 --> 00:04:44,350 WHERE WE ARE NOW BECAUSE THERE 126 00:04:44,350 --> 00:04:45,885 IS GREATER WORK TO DO. 127 00:04:45,885 --> 00:04:48,888 SO THE HEALING ASPECT OF BLACK 128 00:04:48,888 --> 00:04:52,325 LIFE, IT EXISTS, BUT I THINK, IN 129 00:04:52,325 --> 00:04:57,263 A LOT OF WAYS JUST NOT EXPLORED. 130 00:04:57,263 --> 00:04:58,865 THERE IS A COMPONENT OF BLACK 131 00:04:58,865 --> 00:05:00,533 RESILIENCE, I THINK, THAT NEEDS 132 00:05:00,533 --> 00:05:02,368 TO BE CAPTURED IN A DIFFERENT 133 00:05:02,368 --> 00:05:03,536 WAY. 134 00:05:03,536 --> 00:05:07,674 >> IT IS A FRENCH WORD THAT 135 00:05:07,674 --> 00:05:10,109 MEANS USING BASICALLY THINGS 136 00:05:10,109 --> 00:05:11,744 THAT ARE AT HAND. 137 00:05:11,744 --> 00:05:13,846 THIS IS A BOX. 138 00:05:13,846 --> 00:05:18,818 MY BELIEF IS THAT I AM EXPLORING 139 00:05:18,818 --> 00:05:20,386 BLACK RESILIENCE IN A WAY THAT 140 00:05:20,386 --> 00:05:23,389 WE ALWAYS HAD TO MAKE USE OF 141 00:05:23,389 --> 00:05:24,724 WHAT WE HAD. 142 00:05:24,724 --> 00:05:26,426 USE WHAT YOU'VE GOT AND THAT IS 143 00:05:26,426 --> 00:05:27,994 VERY MUCH A BIG COMPONENT OF 144 00:05:27,994 --> 00:05:29,529 BLACK LIFE. 145 00:05:29,529 --> 00:05:31,998 >> MOSTLY, IN GENERAL THE TIE 146 00:05:31,998 --> 00:05:34,233 THAT BINDS IS MOSTLY THE BROWN 147 00:05:34,233 --> 00:05:36,035 PAPER BAG. 148 00:05:36,035 --> 00:05:38,037 SO A LOT OF TIMES I'LL START 149 00:05:38,037 --> 00:05:39,839 WITH JUST OPENING UP THE BROWN 150 00:05:39,839 --> 00:05:42,008 PAPER BAG AND ATTEMPT TO 151 00:05:42,008 --> 00:05:44,277 CONSIDER WHAT WAS IN THE BAG OR 152 00:05:44,277 --> 00:05:45,878 BECAUSE BROWN PAPER IS RECYCLED 153 00:05:45,878 --> 00:05:50,516 AND I TEND TO THINK OF THE 154 00:05:50,516 --> 00:05:51,751 RECYCLE AND WHO HAD THE BAG 155 00:05:51,751 --> 00:05:53,786 BEFORE ME AND WHO WAS IN THE BAG 156 00:05:53,786 --> 00:05:57,323 AND THAT'S A BIG PART OF WHAT 157 00:05:57,323 --> 00:06:00,960 SHOWS UP ON THE BROWN BAG. 158 00:06:00,960 --> 00:06:02,195 IT GIVES ME DIFFERENT ASPECTS TO 159 00:06:02,195 --> 00:06:03,830 KIND OF BE CREATIVE WITH IN 160 00:06:03,830 --> 00:06:05,665 REGARDS WITH THE IMPERFECTIONS 161 00:06:05,665 --> 00:06:06,933 OF THE BAG. 162 00:06:06,933 --> 00:06:08,901 SO IT BRINGS A LITTLE BIT MORE 163 00:06:08,901 --> 00:06:11,404 CHARACTER, I THINK, TO THE 164 00:06:11,404 --> 00:06:12,405 PIECE. 165 00:06:12,405 --> 00:06:13,406 [ music ] 166 00:06:13,406 --> 00:06:14,374 [ music ] 167 00:06:14,374 --> 00:06:15,375 >> FROM THE BEGINNING I JUST 168 00:06:15,375 --> 00:06:17,276 THINK OF A STORY THAT I'M TRYING 169 00:06:17,276 --> 00:06:18,277 TO TELL. 170 00:06:18,277 --> 00:06:19,479 THE PROJECT THAT I'M WORKING ON 171 00:06:19,479 --> 00:06:21,981 NOW IS-- HER NAME IS MOTHER 172 00:06:21,981 --> 00:06:23,149 DRUM. 173 00:06:23,149 --> 00:06:26,586 I'M EXPLORING THE TROMBONE AND 174 00:06:26,586 --> 00:06:28,921 THE SEVEN SERMONS THAT HE 175 00:06:28,921 --> 00:06:31,491 BELIEVES THAT BLACK PEOPLE HAVE 176 00:06:31,491 --> 00:06:36,362 KIND OF THRIVED ON. 177 00:06:36,362 --> 00:06:37,697 I GENERALLY START FROM SOMETHING 178 00:06:37,697 --> 00:06:40,666 THAT I'M READING OR A STORY I'M 179 00:06:40,666 --> 00:06:44,871 TRYING TO TELL AND I SIFT 180 00:06:44,871 --> 00:06:47,173 THROUGH MEDIA OR TEAR OUT FROM 181 00:06:47,173 --> 00:06:49,242 MAGAZINES AND CUT OUT. 182 00:06:49,242 --> 00:06:51,310 A LOT OF TEXTURE IS WHAT I FIND 183 00:06:51,310 --> 00:06:54,280 MYSELF USING. 184 00:06:54,280 --> 00:06:56,649 AROUND THE WAY USA VERY MUCH IS 185 00:06:56,649 --> 00:07:00,186 AN EXPLORATION OF COMMUNITY. 186 00:07:00,186 --> 00:07:02,121 IT'S A TALE OF TWO CITIES. 187 00:07:02,121 --> 00:07:04,190 ON ONE SIDE YOU HAVE A 188 00:07:04,190 --> 00:07:06,626 BEAUTIFUL, THRIVING, VIBRANT 189 00:07:06,626 --> 00:07:07,627 COMMUNITY AND ON THE OTHER SIDE 190 00:07:07,627 --> 00:07:12,398 IT'S DILAPIDATED AND I WAS 191 00:07:12,398 --> 00:07:15,668 EXPLORING COMMUNITY, IF THERE IS 192 00:07:15,668 --> 00:07:17,737 A DIFFERENCE BETWEEN A COMMUNITY 193 00:07:17,737 --> 00:07:19,772 AND THE NEIGHBORHOOD BECAUSE IN 194 00:07:19,772 --> 00:07:21,274 A LOT OF CASES ESPECIALLY HERE 195 00:07:21,274 --> 00:07:23,176 IN COLUMBUS AS NEIGHBORHOODS ARE 196 00:07:23,176 --> 00:07:26,279 BEING GENTRIFIED, YOU LOSE THAT. 197 00:07:26,279 --> 00:07:28,247 IT ALMOST SEEMS LIKE THEY 198 00:07:28,247 --> 00:07:29,549 PRESERVE COMMUNITIES OR 199 00:07:29,549 --> 00:07:31,250 NEIGHBORHOODS THAT THEY DEEM, I 200 00:07:31,250 --> 00:07:35,655 GUESS, WORTH IT, IT SEEMS LIKE. 201 00:07:35,655 --> 00:07:37,190 SO THE COMMUNITIES THAT GET 202 00:07:37,190 --> 00:07:40,059 WASHED OUT WE'LL NEVER REMEMBER 203 00:07:40,059 --> 00:07:41,461 THEM BECAUSE THEY'RE COMPLETELY 204 00:07:41,461 --> 00:07:43,095 GONE. 205 00:07:43,095 --> 00:07:44,730 [ music ] 206 00:07:44,730 --> 00:07:46,365 [ music ] 207 00:07:46,365 --> 00:07:50,203 >> SO ROLLER SKATES IS A BIG 208 00:07:50,203 --> 00:07:52,839 PART OF MY PROCESS AND WHEN I'M 209 00:07:52,839 --> 00:07:56,075 STUCK OR CAN'T FIGURE OUT THINGS 210 00:07:56,075 --> 00:07:58,044 AND THE WORK AND IT'S THE 3D 211 00:07:58,044 --> 00:08:03,349 ELEMENTS AND HOW TO BUILD AND I 212 00:08:03,349 --> 00:08:04,917 HAVE TO FIGURE OUT HOW TO 213 00:08:04,917 --> 00:08:07,220 ENGINEER THEM SO THEY DO NOT 214 00:08:07,220 --> 00:08:08,221 FALL APART. 215 00:08:08,221 --> 00:08:10,289 A LOT OF THAT I DO ON MY SKATE. 216 00:08:10,289 --> 00:08:12,558 I HAVE A STROBE LIGHT, I CLOSE 217 00:08:12,558 --> 00:08:14,727 MY DRAPES AND I TURN THE MUSIC 218 00:08:14,727 --> 00:08:19,398 ON AS LOUD AS I CAN AND I TWIRL 219 00:08:19,398 --> 00:08:20,633 AROUND HERE. 220 00:08:20,633 --> 00:08:21,734 IT DOES HELP. 221 00:08:21,734 --> 00:08:24,604 IT TAKES ME OUT OF MY MIND IN 222 00:08:24,604 --> 00:08:26,973 REGARD TO MY CREATIVITY IN JUST 223 00:08:26,973 --> 00:08:28,307 A MOMENT LONG ENOUGH TO FIGURE 224 00:08:28,307 --> 00:08:36,249 OUT HOW THE PIECES FIT TOGETHER. 225 00:08:36,249 --> 00:08:38,217 >> TO SEE MORE OF HER CREATIONS, 226 00:08:38,217 --> 00:08:39,519 CHECK HER OUT ONLINE OR 227 00:08:39,519 --> 00:08:45,825 INSTAGRAM AT THE 100MARK STUDIO. 228 00:08:45,825 --> 00:08:47,593 BRYAN MOSS IS A CARTOONIST AND 229 00:08:47,593 --> 00:08:50,396 PAINTER INSPIRED BY AMINAH 230 00:08:50,396 --> 00:08:54,734 ROBINSON, HE DRAWS HIS 231 00:08:54,734 --> 00:08:56,836 MOTIVATIONS FROM MANY SOURCES. 232 00:08:56,836 --> 00:08:58,337 HE TALKED ABOUT HIS CREATIVE 233 00:08:58,337 --> 00:09:00,406 PROCESS AND MUCH MORE. 234 00:09:00,406 --> 00:09:01,407 [ music ] 235 00:09:01,407 --> 00:09:02,408 [ music ] 236 00:09:02,408 --> 00:09:05,945 >> HOW MANY DO YOU OWN? 237 00:09:05,945 --> 00:09:06,946 [ laughter ] 238 00:09:06,946 --> 00:09:12,018 >> LET'S PUT IT LIKE THIS, HOW 239 00:09:12,018 --> 00:09:15,621 MANY COMIC BOOKS DO I OWN? 240 00:09:15,621 --> 00:09:16,923 [ music ] 241 00:09:16,923 --> 00:09:18,257 [ MUSIC 242 00:09:18,257 --> 00:09:21,894 ]>> I OWN 20 BOOKSHELVES OF 243 00:09:21,894 --> 00:09:22,895 GRAPHIC NOVELS. 244 00:09:22,895 --> 00:09:23,896 [ music ] 245 00:09:23,896 --> 00:09:26,032 >> AND I'LL HAVE MY OWN LIBRARY 246 00:09:26,032 --> 00:09:28,034 ONE DAY. 247 00:09:28,034 --> 00:09:29,835 [ music ] 248 00:09:29,835 --> 00:09:31,571 [ music ] 249 00:09:31,571 --> 00:09:33,506 SO I WAS BORN IN 1981 ON THE 250 00:09:33,506 --> 00:09:35,775 SOUTH END OF COLUMBUS, BORN AND 251 00:09:35,775 --> 00:09:36,776 RAISED. 252 00:09:36,776 --> 00:09:38,711 NOW THAT I REFLECT BACK ON IT, I 253 00:09:38,711 --> 00:09:39,712 GREW UP REALLY POOR. 254 00:09:39,712 --> 00:09:41,380 WHEN YOU SAY IT IT SOUNDS PRETTY 255 00:09:41,380 --> 00:09:44,050 TRIGGERING AND I LEARNED A LOT 256 00:09:44,050 --> 00:09:46,519 AND THAT'S HOW I LEARNED HOW TO 257 00:09:46,519 --> 00:09:48,854 MAKE ART THROUGH A GRASSROOTS 258 00:09:48,854 --> 00:09:49,855 PROCESS. 259 00:09:49,855 --> 00:09:52,725 I SIGNED UP FOR ART AND THAT'S 260 00:09:52,725 --> 00:09:54,927 WHEN I DISCOVERED AND UNDERSTOOD 261 00:09:54,927 --> 00:09:56,362 THAT I WAS GOING TO BE AN 262 00:09:56,362 --> 00:09:57,363 ARTIST. 263 00:09:57,363 --> 00:09:58,397 AFTER THAT, IT WAS MORE JUST 264 00:09:58,397 --> 00:10:01,467 LIKE DRAWING, DRAWING SUBJECTS 265 00:10:01,467 --> 00:10:03,836 NONSTOP AND JUST OBSESSED WITH 266 00:10:03,836 --> 00:10:06,205 IT. 267 00:10:06,205 --> 00:10:08,674 >> SO WHEN I WAS 10 OR 11 THAT'S 268 00:10:08,674 --> 00:10:10,209 WHEN I DISCOVERED COMIC BOOKS 269 00:10:10,209 --> 00:10:12,912 AND THEN IT SHIFTED SO I WAS 270 00:10:12,912 --> 00:10:16,449 DRAWING COMICS. 271 00:10:16,449 --> 00:10:19,251 [ music ] 272 00:10:19,251 --> 00:10:22,054 [ music ] 273 00:10:22,054 --> 00:10:24,824 [ music ] 274 00:10:24,824 --> 00:10:25,958 >> THE CURRENT PROJECT I JUST 275 00:10:25,958 --> 00:10:26,959 FINISHED UP AND I'M STILL 276 00:10:26,959 --> 00:10:29,362 WORKING ON HERE AND THERE IS A 277 00:10:29,362 --> 00:10:32,465 COMIC BOOK CALLED "EIGHT FOOT 278 00:10:32,465 --> 00:10:33,699 PASS." 279 00:10:33,699 --> 00:10:35,935 THE TURNAROUND TIME FOR THE BOOK 280 00:10:35,935 --> 00:10:38,270 WAS SIX MONTHS AND THERE IS A 281 00:10:38,270 --> 00:10:40,272 TEAM OF US OF AROUND SIX TO 282 00:10:40,272 --> 00:10:42,041 EIGHT PEOPLE WORKING AROUND THE 283 00:10:42,041 --> 00:10:43,175 CLOCK ON THIS BOOK. 284 00:10:43,175 --> 00:10:45,411 I AM IN THE BEGINNING AND THE 285 00:10:45,411 --> 00:10:48,681 END OF IT WHICH MEANS WHAT GOES 286 00:10:48,681 --> 00:10:49,915 THROUGH AND WHAT DOESN'T. 287 00:10:49,915 --> 00:10:52,785 SO IT'S ALMOST LIKE A DIRECTOR. 288 00:10:52,785 --> 00:10:53,786 [ music ] 289 00:10:53,786 --> 00:10:54,787 [ music ] 290 00:10:54,787 --> 00:10:55,788 >> THE IDEA OF CONVERTING A 291 00:10:55,788 --> 00:10:59,291 SCRIPT INTO A COMIC BOOK IS 292 00:10:59,291 --> 00:11:00,926 ACTUALLY A VERY DIFFICULT 293 00:11:00,926 --> 00:11:01,927 PROCESS. 294 00:11:01,927 --> 00:11:04,597 YOU GO THROUGH THIS PROCESS 295 00:11:04,597 --> 00:11:05,965 CALLED THUMB NAILING WHICH IS 296 00:11:05,965 --> 00:11:08,334 WHERE YOU LITERALLY SKETCH OFF 297 00:11:08,334 --> 00:11:10,236 THE IDEA AND THEN AFTER THAT YOU 298 00:11:10,236 --> 00:11:13,139 GO INTO YOUR OFFICIAL PENCIL 299 00:11:13,139 --> 00:11:14,173 WHERE YOU'RE, LIKE, OKAY THIS 300 00:11:14,173 --> 00:11:16,175 WORKS AND NOW LET'S DO THE 301 00:11:16,175 --> 00:11:18,310 PANELLING AND LET'S DRAW IN IN 302 00:11:18,310 --> 00:11:21,347 PENCIL AND MAKE THAT WORK. 303 00:11:21,347 --> 00:11:22,581 [ music ] 304 00:11:22,581 --> 00:11:23,816 [ music ] 305 00:11:23,816 --> 00:11:25,484 >> AFTER THAT WE INK IT. 306 00:11:25,484 --> 00:11:28,054 >> THE INKING PART IS THE FUN 307 00:11:28,054 --> 00:11:30,489 AND THE JAZZ OF IT AND AFTER 308 00:11:30,489 --> 00:11:32,658 THAT WE SCAN IT IN AND DIGITALLY 309 00:11:32,658 --> 00:11:35,795 COLOR IT AND MAKE IT THIS 310 00:11:35,795 --> 00:11:39,198 HITCHCOCKIAN MASTERPIECE AND 311 00:11:39,198 --> 00:11:41,734 THEY'RE, LIKE, ALL RIGHT. 312 00:11:41,734 --> 00:11:46,138 WE BUILD IT WHILE WE FLY. 313 00:11:46,138 --> 00:11:47,606 SO ANOTHER PROJECT THAT I WORKED 314 00:11:47,606 --> 00:11:49,742 ON THAT WAS SUPER AWESOME, SUPER 315 00:11:49,742 --> 00:11:50,743 EPIC. 316 00:11:50,743 --> 00:11:51,744 A DREAM COME TRUE. 317 00:11:51,744 --> 00:11:52,878 WHITE CASTLE AND COCA-COLA 318 00:11:52,878 --> 00:11:56,248 CALLED ME AND ASKED WOULD YOU DO 319 00:11:56,248 --> 00:11:57,983 THE ART FOR OUR 100th 320 00:11:57,983 --> 00:11:58,984 ANNIVERSARY? 321 00:11:58,984 --> 00:11:59,985 WOULD YOU BE INTERESTED IN 322 00:11:59,985 --> 00:12:01,554 DESIGNING A CUP? 323 00:12:01,554 --> 00:12:04,990 I WAS, LIKE, YEAH. 324 00:12:04,990 --> 00:12:07,560 WE SHOULD DO, LIKE, THREE CUPS 325 00:12:07,560 --> 00:12:10,463 LIKE A COLLECTOR THING. 326 00:12:10,463 --> 00:12:12,531 [ music ] 327 00:12:12,531 --> 00:12:14,633 [ music ] 328 00:12:14,633 --> 00:12:16,302 >> NOW I DON'T KNOW ABOUT YOU 329 00:12:16,302 --> 00:12:18,070 GUYS, BUT I ALWAYS WANTED TO 330 00:12:18,070 --> 00:12:19,772 DESIGN SOMETHING LIKE THIS AND 331 00:12:19,772 --> 00:12:20,806 EVEN FROM WHEN I WAS A KID 332 00:12:20,806 --> 00:12:22,575 BECAUSE WHAT I HAVE A LOT OF 333 00:12:22,575 --> 00:12:25,277 PASSION ABOUT IS ACTUALLY, LIKE, 334 00:12:25,277 --> 00:12:28,414 MAKING PRODUCTS COOL, AND SO WE 335 00:12:28,414 --> 00:12:30,249 DEVELOPED A NARRATIVE FROM THE 336 00:12:30,249 --> 00:12:33,219 BEGINNING AND THE ORIGINAL BILLY 337 00:12:33,219 --> 00:12:35,888 INGRAM, THE FOUNDER, THAT SHOWS 338 00:12:35,888 --> 00:12:36,889 THE DINER WITH THE FIRST 339 00:12:36,889 --> 00:12:39,325 LOCATION AND WHAT THE FIRST GIFT 340 00:12:39,325 --> 00:12:41,260 CARD LOOKED LIKE. 341 00:12:41,260 --> 00:12:42,828 THIS IS MY NARRATIVE OF MY STORY 342 00:12:42,828 --> 00:12:44,497 TELLING THAT I CAME UP WITH AND 343 00:12:44,497 --> 00:12:47,500 OBVIOUSLY ME THERE AT THE END AS 344 00:12:47,500 --> 00:12:49,668 ANY GREAT RENAISSANCE PAINTER 345 00:12:49,668 --> 00:12:50,836 WOULD DO WHICH IS INCLUDE 346 00:12:50,836 --> 00:12:54,140 THEMSELVES INTO THE MASTERPIECE. 347 00:12:54,140 --> 00:12:56,442 SO, YEAH. 348 00:12:56,442 --> 00:12:58,677 SO IF YOU GET A CHANCE LOOK FOR 349 00:12:58,677 --> 00:13:05,151 THIS CUP ONLINE, YOU KNOW? 350 00:13:05,151 --> 00:13:07,186 [ music ] 351 00:13:07,186 --> 00:13:09,188 [ music ] 352 00:13:09,188 --> 00:13:10,723 >> FOR ME LIFTING UP OTHER 353 00:13:10,723 --> 00:13:12,391 PEOPLE WITHIN THE COMMUNITY 354 00:13:12,391 --> 00:13:14,093 THROUGH MY WORK, I WOULD SAY 355 00:13:14,093 --> 00:13:15,494 IT'S A ARE VERY CRITICAL PART OF 356 00:13:15,494 --> 00:13:18,264 WHAT I DO. 357 00:13:18,264 --> 00:13:19,265 [ music ] 358 00:13:19,265 --> 00:13:20,266 [ music ] 359 00:13:20,266 --> 00:13:21,300 >> THE MURAL I RECENTLY 360 00:13:21,300 --> 00:13:24,203 COMPLETED WAS ONE AND ONLY HANIV 361 00:13:24,203 --> 00:13:29,775 AND IT IS ON MILLER AND MAIN. 362 00:13:29,775 --> 00:13:31,076 [ music ] 363 00:13:31,076 --> 00:13:32,378 [ music ] 364 00:13:32,378 --> 00:13:33,379 >> HANIF IS A WRITER. 365 00:13:33,379 --> 00:13:34,680 HE'S A FAMOUS WRITER. 366 00:13:34,680 --> 00:13:39,752 THERE IS AN AGE DIFFERENCE AND 367 00:13:39,752 --> 00:13:41,520 THERE IS AN INDIRECT 368 00:13:41,520 --> 00:13:43,088 RELATIONSHIP THAT WE'VE ALWAYS 369 00:13:43,088 --> 00:13:44,390 HAD. 370 00:13:44,390 --> 00:13:45,658 [ music ] 371 00:13:45,658 --> 00:13:48,794 >> WITH HANIF, THE COOL THING 372 00:13:48,794 --> 00:13:52,298 ABOUT IT IS THAT HE STAYED IN 373 00:13:52,298 --> 00:13:54,333 COLUMBUS. 374 00:13:54,333 --> 00:13:56,302 THAT WAS MY PERSONAL GOAL, TOO. 375 00:13:56,302 --> 00:13:59,405 I CAN MOVE, BUT I CHOOSE NOT TO 376 00:13:59,405 --> 00:14:01,207 BECAUSE OF THE IDEA OF BUILDING 377 00:14:01,207 --> 00:14:04,710 UP COLUMBUS. 378 00:14:04,710 --> 00:14:06,045 WE ENDED UP CALLING IT THE 379 00:14:06,045 --> 00:14:07,413 PEOPLE'S MURAL BECAUSE OF HOW 380 00:14:07,413 --> 00:14:09,782 THE COMMUNITY GOT BEHIND IT. 381 00:14:09,782 --> 00:14:10,916 THE PROCESS FOR THE PEOPLE'S 382 00:14:10,916 --> 00:14:13,752 MURAL WAS TO SHOW HANIF AS A 383 00:14:13,752 --> 00:14:15,054 MOSAIC. 384 00:14:15,054 --> 00:14:21,927 THERE'S A WAY OF SETTING EYES ON 385 00:14:21,927 --> 00:14:23,162 THE PEOPLE WHO HOLD YOU UP 386 00:14:23,162 --> 00:14:26,932 INSTEAD OF PEOPLE IMAGINING 387 00:14:26,932 --> 00:14:27,933 THEM. 388 00:14:27,933 --> 00:14:30,769 THE IDEA OF THIS IS WHERE THE 389 00:14:30,769 --> 00:14:32,504 CHARACTERS IN THE BACKGROUND AND 390 00:14:32,504 --> 00:14:34,673 THESE ARE PEOPLE THAT ARE IN THE 391 00:14:34,673 --> 00:14:35,841 COMMUNITY, TOO. 392 00:14:35,841 --> 00:14:37,376 I PUT THEM ALL IN BLACK AND 393 00:14:37,376 --> 00:14:39,044 WHITE AND I PUT HANIF IN COLOR 394 00:14:39,044 --> 00:14:41,146 BECAUSE I REALIZE AS ARTISTS 395 00:14:41,146 --> 00:14:43,415 WE'RE ISOLATED. 396 00:14:43,415 --> 00:14:44,416 IN A SENSE WE THINK WE'RE 397 00:14:44,416 --> 00:14:46,752 ISOLATED AND IT'S ACTUALLY NOT 398 00:14:46,752 --> 00:14:47,786 THE CASE. 399 00:14:47,786 --> 00:14:50,322 WE ACTUALLY HAVE PEOPLE WHO 400 00:14:50,322 --> 00:14:52,358 SUPPORT US AND THAT CARE. 401 00:14:52,358 --> 00:14:53,525 SO JUST GOING THROUGH THAT 402 00:14:53,525 --> 00:14:55,461 PROCESS YOU GET KIND OF LOST AND 403 00:14:55,461 --> 00:14:57,096 IT'S PRETTY EXHAUSTING. 404 00:14:57,096 --> 00:14:59,765 SO IT HAS A LOT OF PERSONAL 405 00:14:59,765 --> 00:15:06,605 MEANING WHEN I DESIGN THIS. 406 00:15:06,605 --> 00:15:09,141 SO IN THE SUMMER OF 2020 I MOVED 407 00:15:09,141 --> 00:15:11,210 INTO AMINAH ROBINSON'S HOME 408 00:15:11,210 --> 00:15:14,780 THROUGH THE MUSEUM OF ART. 409 00:15:14,780 --> 00:15:16,615 [ music ] 410 00:15:16,615 --> 00:15:18,484 [ music ] 411 00:15:18,484 --> 00:15:20,419 >> NOW WHAT I SERVED AS WAS THE 412 00:15:20,419 --> 00:15:22,187 MANAGER, BUT THERE'S KIND OF A 413 00:15:22,187 --> 00:15:24,189 DUALITY TO IT WHICH MEANS THAT 414 00:15:24,189 --> 00:15:25,925 AMINAH ROBINSON WAS MY MENTOR. 415 00:15:25,925 --> 00:15:28,093 I MEANT AMINAH ROBINSON IN THE 416 00:15:28,093 --> 00:15:31,497 COLUMBUS MUSEUM OF ART IN MAY 417 00:15:31,497 --> 00:15:32,498 2001. 418 00:15:32,498 --> 00:15:35,200 SO IT HAD A HIGHER PURPOSE FOR 419 00:15:35,200 --> 00:15:36,235 ME. 420 00:15:36,235 --> 00:15:37,703 IT'S A CURATED MUSEUM SPACE. 421 00:15:37,703 --> 00:15:40,072 SO YOU'RE ESSENTIALLY INSIDE 422 00:15:40,072 --> 00:15:41,540 AMINAH ROBINSON. 423 00:15:41,540 --> 00:15:43,409 THE SPIRIT IS DEFINITELY THERE, 424 00:15:43,409 --> 00:15:44,944 THE ENERGY IS THERE. 425 00:15:44,944 --> 00:15:47,012 IT WAS PROBABLY THE LEAST ART 426 00:15:47,012 --> 00:15:49,615 PRODUCTIVE I WAS, BUT THE MOST 427 00:15:49,615 --> 00:15:51,617 HEALING PROCESS I'VE HAD. 428 00:15:51,617 --> 00:15:53,485 I WAS ABLE TO SLOW DOWN AND, 429 00:15:53,485 --> 00:15:56,555 LIKE, ACTUALLY, LIKE, RELAX, YOU 430 00:15:56,555 --> 00:15:57,556 KNOW? 431 00:15:57,556 --> 00:15:59,325 BECAUSE OF THE RESIDENCY AND NOT 432 00:15:59,325 --> 00:16:01,327 HAVING TO WORRY ABOUT THE 433 00:16:01,327 --> 00:16:03,495 FINANCES AND STUFF LIKE THAT. 434 00:16:03,495 --> 00:16:04,897 IT'S THE ONLY SPACE WHERE I CAN 435 00:16:04,897 --> 00:16:06,131 REALLY, LIKE, FLY. 436 00:16:06,131 --> 00:16:08,901 WHERE I CAN, JUST, LIKE, DO 437 00:16:08,901 --> 00:16:10,002 WHATEVER I WANTED. 438 00:16:10,002 --> 00:16:16,241 IT WAS A HEALING SPACE, I WOULD 439 00:16:16,241 --> 00:16:17,843 SAY. 440 00:16:17,843 --> 00:16:19,445 [ music ] 441 00:16:19,445 --> 00:16:21,046 [ music ] 442 00:16:21,046 --> 00:16:22,081 >> THE ONE THING AMINAH SAID TO 443 00:16:22,081 --> 00:16:24,083 ME THAT STILL RESONATES WITH ME 444 00:16:24,083 --> 00:16:25,718 TODAY IS KEEP DRAWING. 445 00:16:25,718 --> 00:16:27,519 DON'T STOP DRAWING AND AT THE 446 00:16:27,519 --> 00:16:29,321 TIME I'M, LIKE, DON'T TELL ME 447 00:16:29,321 --> 00:16:30,322 THAT. 448 00:16:30,322 --> 00:16:31,323 I DRAW ALL OF THE TIME. 449 00:16:31,323 --> 00:16:32,324 THAT'S ABSURD. 450 00:16:32,324 --> 00:16:33,759 I WILL NEVER STOP DRAWING AND 451 00:16:33,759 --> 00:16:36,462 THEN WHAT HAPPENS IS THAT LIFE 452 00:16:36,462 --> 00:16:38,464 HAPPENS. 453 00:16:38,464 --> 00:16:40,466 [ laughter ] 454 00:16:40,466 --> 00:16:42,368 >> LIFE OCCURS AND AS YOU GET 455 00:16:42,368 --> 00:16:45,270 OLDER AND DRAWING BECOMES HARDER 456 00:16:45,270 --> 00:16:47,806 SO THAT MESSAGE, JUST, LIKE, 457 00:16:47,806 --> 00:16:50,342 KEEP DRAWING HAS MORE IMPORTANCE 458 00:16:50,342 --> 00:16:53,612 TO ME NOW THAN WHEN SHE TOLD ME 459 00:16:53,612 --> 00:16:55,981 THAT WHEN I WAS 22 YEARS OLD, 460 00:16:55,981 --> 00:16:57,082 YOU KNOW? 461 00:16:57,082 --> 00:16:59,051 IT'S LIKE A MASTER TEACHER, 462 00:16:59,051 --> 00:17:00,085 RIGHT? 463 00:17:00,085 --> 00:17:01,120 [ laughter ] 464 00:17:01,120 --> 00:17:06,325 SO, YES, IT'S PRETTY COOL. 465 00:17:06,325 --> 00:17:07,359 [ music ] 466 00:17:07,359 --> 00:17:08,394 [ music ] 467 00:17:08,394 --> 00:17:09,428 [ music ] 468 00:17:09,428 --> 00:17:10,462 [ music ] 469 00:17:10,462 --> 00:17:11,764 >>> TO SEE MORE OF HIS WORK FIND 470 00:17:11,764 --> 00:17:13,332 HIM ON INSTAGRAM AT STRANGE 471 00:17:13,332 --> 00:17:15,300 THINGS MOSS. 472 00:17:15,300 --> 00:17:16,702 [ music ] 473 00:17:16,702 --> 00:17:18,103 [ music ] 474 00:17:18,103 --> 00:17:19,505 >> THE CREATIONS OF WOODWORKER 475 00:17:19,505 --> 00:17:21,774 GREG VIGIL HAS BEEN DESCRIBED AS 476 00:17:21,774 --> 00:17:24,109 ANTHROPOLOGY MEETS ART. 477 00:17:24,109 --> 00:17:25,344 HE WORKS WITH MOSTLY FOUND 478 00:17:25,344 --> 00:17:27,012 OBJECTS AND SPENDS COUNTLESS 479 00:17:27,012 --> 00:17:28,414 HOURS OF MAKING THEM INTO WORKS 480 00:17:28,414 --> 00:17:29,415 OF ART. 481 00:17:29,415 --> 00:17:30,983 LET'S TAKE A LOOK AT HIS ONE OF 482 00:17:30,983 --> 00:17:34,953 A KIND CREATIONS. 483 00:17:34,953 --> 00:17:36,221 >> I LIKE WORKING WITH WOOD 484 00:17:36,221 --> 00:17:38,724 BECAUSE I LIKE TO RECYCLE THE 485 00:17:38,724 --> 00:17:40,259 WOOD THAT IS AROUND THE VALLEY 486 00:17:40,259 --> 00:17:41,260 HERE. 487 00:17:41,260 --> 00:17:42,995 WHETHER IT'S ABSTRACT OR REALISM 488 00:17:42,995 --> 00:17:45,464 ART. 489 00:17:45,464 --> 00:17:47,332 I LOOK AT MY PAST EXPERIENCE IN 490 00:17:47,332 --> 00:17:49,802 ANTHROPOLOGY AND THE CULTURE OF 491 00:17:49,802 --> 00:17:52,938 MAN, WHETHER IT BE CULTURE OR 492 00:17:52,938 --> 00:17:55,007 PHYSICAL ANTHROPOLOGY AND THEN I 493 00:17:55,007 --> 00:17:56,608 TRY TO INCORPORATE THAT INTO THE 494 00:17:56,608 --> 00:17:59,211 WOOD WHETHER IT BE NATIVE 495 00:17:59,211 --> 00:18:03,248 AMERICAN IMAGES OR IMAGES THAT 496 00:18:03,248 --> 00:18:06,051 PROJECT CERTAIN LIFESTYLES OF 497 00:18:06,051 --> 00:18:07,052 MAN. 498 00:18:07,052 --> 00:18:08,654 THAT'S WHAT I CREATE MY WORK ON. 499 00:18:08,654 --> 00:18:10,956 I STUDY THE WOOD AND WILL CREATE 500 00:18:10,956 --> 00:18:14,059 A SCULPTURE THAT WILL ENHANCE 501 00:18:14,059 --> 00:18:16,795 AND CREATE MY PIECES. 502 00:18:16,795 --> 00:18:19,098 I LOVE IT. 503 00:18:19,098 --> 00:18:20,599 A LOT OF TIMES WHEN I DO START 504 00:18:20,599 --> 00:18:22,668 WITH A PIECE OF WOOD SUCH AS A 505 00:18:22,668 --> 00:18:26,271 BLOCK, A LOG OR ASH OR WHATEVER 506 00:18:26,271 --> 00:18:28,273 THE TYPE OF WOOD IT MAY BE, AND 507 00:18:28,273 --> 00:18:30,542 I START TO WORK THE WOOD INTO 508 00:18:30,542 --> 00:18:33,011 THE SCULPTURE AND THEN I FIGURE 509 00:18:33,011 --> 00:18:35,147 OUT LATER ON THERE IS AN 510 00:18:35,147 --> 00:18:36,882 IMPERFECTION IN THE WOOD WHETHER 511 00:18:36,882 --> 00:18:38,717 IT BE A KNOT OR A SPLIT IN THE 512 00:18:38,717 --> 00:18:40,119 MIDDLE OF THE WOOD. 513 00:18:40,119 --> 00:18:42,121 I JUST MAKE THAT PART OF THE 514 00:18:42,121 --> 00:18:44,389 SCULPTURE AND WORK WITH IT. 515 00:18:44,389 --> 00:18:45,991 SOMETIMES IMPERFECTIONS IN A 516 00:18:45,991 --> 00:18:47,826 PIECE OF WOODEN HANSES MY 517 00:18:47,826 --> 00:18:49,895 SCULPTURE. 518 00:18:49,895 --> 00:18:51,730 I DON'T USE ANY LIQUID STAINS 519 00:18:51,730 --> 00:18:52,965 AND I LIKE TO USE THE MORE 520 00:18:52,965 --> 00:18:54,967 NATURAL STAINS AND I LIKE THE 521 00:18:54,967 --> 00:18:56,969 MORE NATURAL FINISH TO ENHANCE 522 00:18:56,969 --> 00:18:58,570 THE WOOD GRAIN AND ALSO THE 523 00:18:58,570 --> 00:19:00,105 WOOD. 524 00:19:00,105 --> 00:19:01,974 WHEN I DO FINISH THE WOOD AS FAR 525 00:19:01,974 --> 00:19:03,976 AS WAXED IN IT, AND IT'S ALL 526 00:19:03,976 --> 00:19:06,478 WAXED AND HAND POLISHED. 527 00:19:06,478 --> 00:19:08,881 I'VE ALWAYS BEEN INTERESTED IN 528 00:19:08,881 --> 00:19:11,083 THE ARTS, BUT LATER ON I 529 00:19:11,083 --> 00:19:12,718 DEVELOPED THAT INTEREST INTO 530 00:19:12,718 --> 00:19:14,686 MORE OF THE MUSEUM FIELD, AND 531 00:19:14,686 --> 00:19:16,989 NOW THAT I'M RETIRED I CAN GO 532 00:19:16,989 --> 00:19:18,824 BACK INTO THE ART FIELD AND 533 00:19:18,824 --> 00:19:20,359 SHARE IT WITH MY FELLOW ARTISTS 534 00:19:20,359 --> 00:19:24,062 AND WITH THE COMMUNITY IN THE 535 00:19:24,062 --> 00:19:25,430 VALLEY. 536 00:19:25,430 --> 00:19:27,699 >> SAM AND STEWART ARE IN THE 537 00:19:27,699 --> 00:19:31,637 GROUP SWEET TEETH, ONE IS A 538 00:19:31,637 --> 00:19:33,372 CELLIST AND THE OTHER ROCKS OUT 539 00:19:33,372 --> 00:19:34,373 ON A GUITAR. 540 00:19:34,373 --> 00:19:35,374 BROAD & HIGH PRESENTS RECORDING, 541 00:19:35,374 --> 00:19:36,375 WE QUICKLY DISCOVERED HOW THE 542 00:19:36,375 --> 00:19:37,376 OFF-KILTER PAIRING FINDS 543 00:19:37,376 --> 00:19:38,343 BALANCE. 544 00:19:38,343 --> 00:19:39,344 [ music ] 545 00:19:39,344 --> 00:19:40,345 [ music ] 546 00:19:40,345 --> 00:19:41,346 IT'S SO COOL 547 00:19:41,346 --> 00:19:42,347 I CAN'T EVEN PICTURE IT 548 00:19:42,347 --> 00:19:43,348 BETTER 549 00:19:43,348 --> 00:19:44,349 BROKE THE RULES 550 00:19:44,349 --> 00:19:45,350 IT'S SO FINE 551 00:19:45,350 --> 00:19:46,351 SO EVERYONE KNOWS 552 00:19:46,351 --> 00:19:47,352 IT'S MY TIME, MY REFLECTION 553 00:19:47,352 --> 00:19:48,353 GETS TO BE SHOWN 554 00:19:48,353 --> 00:19:49,354 [ music ] 555 00:19:49,354 --> 00:19:50,355 [ music ] 556 00:19:50,355 --> 00:19:51,356 I DON'T KNOW WHAT I WAS 557 00:19:51,356 --> 00:19:52,357 THINKING WHEN WE WENT BACK TO 558 00:19:52,357 --> 00:19:53,358 THE FUTURE 559 00:19:53,358 --> 00:19:54,359 [ music ] [ music ] 560 00:19:54,359 --> 00:19:55,360 IS IT TRUE THAT ONCE YOU GO 561 00:19:55,360 --> 00:19:56,828 THERE'S NO COMING BACK " 562 00:19:56,828 --> 00:19:59,665 FROM THE SCHOOL IT WILL MACH 563 00:19:59,665 --> 00:20:02,801 YOU WRECK M 564 00:20:02,801 --> 00:20:16,114 [ music ] YOU KNOW THAT IT IS EASIER TO 565 00:20:16,114 --> 00:20:17,115 STAY 566 00:20:17,115 --> 00:20:20,652 THEY TRY TO SATISFY, AND BUILD 567 00:20:20,652 --> 00:20:24,756 A SHELTER AT HOME 568 00:20:24,756 --> 00:20:30,462 I DON'T KNOW WHAT I WAS 569 00:20:30,462 --> 00:20:34,833 THINKING WHEN WE WENT BACK TO 570 00:20:34,833 --> 00:20:38,203 THE OCEAN 571 00:20:38,203 --> 00:20:41,573 YEAH 572 00:20:41,573 --> 00:20:48,313 [ music ] [ music ] 573 00:20:48,313 --> 00:20:57,856 EVERY TIME I GO 574 00:20:57,856 --> 00:21:03,895 I'VE GOT A FEELING 575 00:21:03,895 --> 00:21:05,464 ESCAPING FROM MY BODY AND 576 00:21:05,464 --> 00:21:06,465 THINKING OF JOY 577 00:21:06,465 --> 00:21:10,269 I KNOW MYSELF 578 00:21:10,269 --> 00:21:12,304 [ music ] 579 00:21:12,304 --> 00:21:14,373 [ music ] 580 00:21:14,373 --> 00:21:16,475 [ music ] 581 00:21:16,475 --> 00:21:18,510 [ music ] 582 00:21:18,510 --> 00:21:20,579 [ music ] 583 00:21:20,579 --> 00:21:22,648 [ music ] 584 00:21:22,648 --> 00:21:24,716 [ music ] 585 00:21:24,716 --> 00:21:26,785 [ music ] 586 00:21:26,785 --> 00:21:28,854 [ music ] 587 00:21:28,854 --> 00:21:30,922 [ music ] 588 00:21:30,922 --> 00:21:43,335 I DON'T KNOW WHAT I WAS 589 00:21:43,335 --> 00:22:08,160 THINKING WHEN WE WENT BACK TO 590 00:22:08,160 --> 00:22:20,105 THE OCEAN 591 00:22:20,105 --> 00:22:32,084 [ music ] 592 00:22:32,084 --> 00:22:44,062 YEAH 593 00:22:44,062 --> 00:23:43,855 BUT I GUESS WE'LL FIGURE IT 594 00:23:43,855 --> 00:23:45,624 OUT 595 00:23:45,624 --> 00:23:47,392 [ music ] 596 00:23:47,392 --> 00:23:49,127 [ music ] 597 00:23:49,127 --> 00:23:50,896 [ music ] 598 00:23:50,896 --> 00:23:52,664 [ music ] 599 00:23:52,664 --> 00:23:57,335 >> TO LEARN MORE FROM THESE TWO, 600 00:23:57,335 --> 00:23:58,570 FIND THEM ON FACEBOOK AT SWEET 601 00:23:58,570 --> 00:24:00,672 TEETH COLUMBUS OR ON INSTAGRAM 602 00:24:00,672 --> 00:24:04,376 ON SWEETTEETHBAND. 603 00:24:04,376 --> 00:24:06,845 WELL, THAT'S OUR SHOW. 604 00:24:06,845 --> 00:24:08,213 REMEMBER, YOU CAN FIND ALL OF 605 00:24:08,213 --> 00:24:11,016 OUR STORIES ONLINE AT WOSU.ORG 606 00:24:11,016 --> 00:24:12,284 AS WELL AS ON OUR YOUTUBE 607 00:24:12,284 --> 00:24:13,285 CHANNEL. 608 00:24:13,285 --> 00:24:15,120 FOR ALL OF US HERE AT WOSU, I'M 609 00:24:15,120 --> 00:24:16,121 KATE QUICKEL. 610 00:24:16,121 --> 00:24:29,134 THANKS FOR WATCHING. 611 00:24:29,134 --> 00:24:35,674 [ music ] 612 00:24:35,674 --> 00:24:42,214 [ music ] 613 00:24:42,214 --> 00:24:48,720 [ music ] 614 00:24:48,720 --> 00:24:55,260 [ music ] 615 00:24:55,260 --> 00:25:01,766 [ music ] 616 00:25:01,766 --> 00:25:08,306 [ music ] 617 00:25:08,306 --> 00:25:14,846 [ music ] 618 00:25:14,846 --> 00:25:21,386 [ music ] 619 00:25:21,386 --> 00:25:27,893 [ music ] 620 00:25:27,893 --> 00:25:34,432 [ music ] 621 00:25:34,432 --> 00:25:40,939 [ music ] 622 00:25:40,939 --> 00:25:47,479 [ music ] 623 00:25:47,479 --> 00:25:54,019 [ music ] 624 00:25:54,019 --> 00:26:00,525 [ music ] 625 00:26:00,525 --> 00:26:07,065 [ music ] 626 00:26:07,065 --> 00:26:13,605 [ music ] 627 00:26:13,605 --> 00:26:20,111 [ music ] 628 00:26:20,111 --> 00:26:26,651 [ music ] 629 00:26:26,651 --> 00:26:33,158 [ music ] 630 00:26:33,158 --> 00:26:34,593 >>> PRODUCTION OF "BROAD & HIGH" 631 00:26:34,593 --> 00:26:35,894 IS BROUGHT TO YOU BY THE GREATER 632 00:26:35,894 --> 00:26:38,964 COLUMBUS ART COUNCIL, SUPPORTING 633 00:26:38,964 --> 00:26:40,265 CULTURE AND CONNECTING 634 00:26:40,265 --> 00:26:42,300 COMMUNITY, ARTISTS, EVENTS AND 635 00:26:42,300 --> 00:26:44,135 CLASSES AT COLUMBUS MAKES 636 00:26:44,135 --> 00:26:49,240 ART.COM.