>> I WAS THINKING A LOT ABOUT JUST GROWING UP ON THE BORDER >> I WAS THINKING A LOT ABOUT JUST GROWING UP ON THE BORDER AND HAVING THIS JUST GROWING UP ON THE BORDER AND HAVING THIS DUAL PERSONALITY.
AND HAVING THIS DUAL PERSONALITY.
>> CHANGING HER COUNTRY EACH DAY DUAL PERSONALITY.
>> CHANGING HER COUNTRY EACH DAY IS DEFINITELY PART OF THE WORK.
>> CHANGING HER COUNTRY EACH DAY IS DEFINITELY PART OF THE WORK.
>> IT WAS THIS IDEA THEY HAD OF IS DEFINITELY PART OF THE WORK.
>> IT WAS THIS IDEA THEY HAD OF EAST AND WEST MEETING, OPENING >> IT WAS THIS IDEA THEY HAD OF EAST AND WEST MEETING, OPENING UP CROSS-CULTURAL REFERENCES, EAST AND WEST MEETING, OPENING UP CROSS-CULTURAL REFERENCES, HOW EVERYBODY GAINS WHEN WE'RE UP CROSS-CULTURAL REFERENCES, HOW EVERYBODY GAINS WHEN WE'RE OPEN TO THE OTHER.
HOW EVERYBODY GAINS WHEN WE'RE OPEN TO THE OTHER.
>> IT JUST CONNECTS US, AND IT OPEN TO THE OTHER.
>> IT JUST CONNECTS US, AND IT JUST BRINGS OUT OUR HUMANITY.
>> IT JUST CONNECTS US, AND IT JUST BRINGS OUT OUR HUMANITY.
>> MY WORK INTERSECTS OLD JUST BRINGS OUT OUR HUMANITY.
>> MY WORK INTERSECTS OLD TECHNOLOGY AND NEW TECHNOLOGIES.
>> MY WORK INTERSECTS OLD TECHNOLOGY AND NEW TECHNOLOGIES.
>> WHICH ALLOW HER TO MAKE TECHNOLOGY AND NEW TECHNOLOGIES.
>> WHICH ALLOW HER TO MAKE A KIND OF ART THE WORLD HAS >> WHICH ALLOW HER TO MAKE A KIND OF ART THE WORLD HAS NEVER SEEN.
A KIND OF ART THE WORLD HAS NEVER SEEN.
>> ♪ 'TIS A GIFT TO BE SIMPLE NEVER SEEN.
>> ♪ 'TIS A GIFT TO BE SIMPLE 'TIS A GIFT TO BE FREE >> ♪ 'TIS A GIFT TO BE SIMPLE 'TIS A GIFT TO BE FREE 'TIS A GIFT TO COME DOWN 'TIS A GIFT TO BE FREE 'TIS A GIFT TO COME DOWN WHERE YOU OUGHT TO BE 'TIS A GIFT TO COME DOWN WHERE YOU OUGHT TO BE AND WHEN YOU FIND YOURSELF WHERE YOU OUGHT TO BE AND WHEN YOU FIND YOURSELF IN THE PLACE JUST RIGHT AND WHEN YOU FIND YOURSELF IN THE PLACE JUST RIGHT 'TWILL BE IN THE VALLEY IN THE PLACE JUST RIGHT 'TWILL BE IN THE VALLEY OF LOVE AND DELIGHT ♪ 'TWILL BE IN THE VALLEY OF LOVE AND DELIGHT ♪ OF LOVE AND DELIGHT ♪ [MUSIC PLAYING] >> SO I DO SCULPTURES, FURNITURE, >> SO I DO SCULPTURES, FURNITURE, SITE-SPECIFIC INSTALLATIONS FURNITURE, SITE-SPECIFIC INSTALLATIONS FOR MUSEUMS, AND THEN, I PAY SITE-SPECIFIC INSTALLATIONS FOR MUSEUMS, AND THEN, I PAY MY BILLS BY MAKING JEWELRY FOR MUSEUMS, AND THEN, I PAY MY BILLS BY MAKING JEWELRY AND ACCESSORIES.
YEAH, JUST LOTS OF STUFF, LOTS AND LOTS OF STUFF.
IT ALL GROWS IN AND OUT OF PLAYING AROUND IN AND OUT OF PLAYING AROUND WITH DISCIPLINES AND MATERIALS, BUT--BUT NOT ABANDONING, I THINK WHERE I STARTED.
SO NOW WE'RE GETTING CLOSER AND SO NOW WE'RE GETTING CLOSER AND CLOSER AND CLOSER TO THE BORDER, AND THAT LITTLE, LIKE, HAZY HORIZON IS TIJUANA ALREADY.
YOU KNOW, MY PARENTS BOTH LIVE THERE.
MY SISTERS AND I ALL GREW UP IN TIJUANA.
IT'S--IT'S A SAFE PLACE FOR ME AND FOR MY FAMILY.
AND MY GRANDMOTHER HAD 9 KIDS.
SHE HAD 7 GIRLS AND 2 BOYS, AND MY DAD IS ONE OF THE 2 BOYS.
>> MY MOM, SHE WAS--SHE WAS A U.S. CITIZEN BORN, UH, IN AZUSA, CALIFORNIA.
>> ONE OF THE REASONS WHY WE'RE LIVING HERE IN MEXICO INSTEAD OF LIVING IN THE STATES, BECAUSE I DIDN'T WANTED MY KIDS TO BE UNATTACHED TO THEIR COUNTRY, SO THEY WILL--THEIR ROOTS WILL BE PULLING THEM AND FEELING SO THEY WILL--THEIR ROOTS WILL BE PULLING THEM AND FEELING THAT THEY'RE MEXICANS.
BE PULLING THEM AND FEELING THAT THEY'RE MEXICANS.
>> AS A KID IN TIJUANA, I GREW THAT THEY'RE MEXICANS.
>> AS A KID IN TIJUANA, I GREW UP IN A VERY, VERY TINY, TINY >> AS A KID IN TIJUANA, I GREW UP IN A VERY, VERY TINY, TINY HOUSE.
THE BLOCK THAT WE LIVED UP IN A VERY, VERY TINY, TINY HOUSE.
THE BLOCK THAT WE LIVED IN WAS NOT THE BEST BLOCK, HOUSE.
THE BLOCK THAT WE LIVED IN WAS NOT THE BEST BLOCK, AS FAR AS LOOKS GO, BUT IT WAS-- IN WAS NOT THE BEST BLOCK, AS FAR AS LOOKS GO, BUT IT WAS-- EVERYBODY KNEW EVERYBODY.
UM, AS FAR AS LOOKS GO, BUT IT WAS-- EVERYBODY KNEW EVERYBODY.
UM, I WAS ALWAYS A REALLY, REALLY EVERYBODY KNEW EVERYBODY.
UM, I WAS ALWAYS A REALLY, REALLY OUTGOING KID, SO IF A NEW PERSON I WAS ALWAYS A REALLY, REALLY OUTGOING KID, SO IF A NEW PERSON MOVED IN TO ONE OF THE HOUSES, OUTGOING KID, SO IF A NEW PERSON MOVED IN TO ONE OF THE HOUSES, I'D GO KNOCK ON THE DOOR AND MOVED IN TO ONE OF THE HOUSES, I'D GO KNOCK ON THE DOOR AND SAY, "DO YOU HAVE ANY CHILDREN, I'D GO KNOCK ON THE DOOR AND SAY, "DO YOU HAVE ANY CHILDREN, AND HOW MANY CHILDREN, AND WHAT SAY, "DO YOU HAVE ANY CHILDREN, AND HOW MANY CHILDREN, AND WHAT ARE THEIR AGES AND THEIR AND HOW MANY CHILDREN, AND WHAT ARE THEIR AGES AND THEIR GENDER?"
YOU KNOW, AND THEY ARE THEIR AGES AND THEIR GENDER?"
YOU KNOW, AND THEY WOULD TELL ME, "OH, THERE'S A GENDER?"
YOU KNOW, AND THEY WOULD TELL ME, "OH, THERE'S A THIS GIRL, THIS BOY, THIS GIRL," WOULD TELL ME, "OH, THERE'S A THIS GIRL, THIS BOY, THIS GIRL," AND I'D REQUEST THE ONE THAT WAS THIS GIRL, THIS BOY, THIS GIRL," AND I'D REQUEST THE ONE THAT WAS CLOSEST TO MY AGE AND WAS AND I'D REQUEST THE ONE THAT WAS CLOSEST TO MY AGE AND WAS A GIRL, AND I'D SAY, "WELL, IS CLOSEST TO MY AGE AND WAS A GIRL, AND I'D SAY, "WELL, IS THAT ONE AVAILABLE, AND CAN SHE A GIRL, AND I'D SAY, "WELL, IS THAT ONE AVAILABLE, AND CAN SHE COME AND PLAY?"
MY DAD AND I WOULD CROSS THE BORDER EVERY DAY, AND I WOULD MY DAD AND I WOULD CROSS THE BORDER EVERY DAY, AND I WOULD GET DROPPED OFF AT MY GRANDMA'S BORDER EVERY DAY, AND I WOULD GET DROPPED OFF AT MY GRANDMA'S HOUSE AND THEN GO TO SCHOOL GET DROPPED OFF AT MY GRANDMA'S HOUSE AND THEN GO TO SCHOOL CLOSE TO MY GRANDMA'S HOUSE.
HOUSE AND THEN GO TO SCHOOL CLOSE TO MY GRANDMA'S HOUSE.
AND IT WASN'T BECAUSE MY PARENTS CLOSE TO MY GRANDMA'S HOUSE.
AND IT WASN'T BECAUSE MY PARENTS WANTED ME TO GO TO SCHOOL IN THE AND IT WASN'T BECAUSE MY PARENTS WANTED ME TO GO TO SCHOOL IN THE U.S.
IT WAS BECAUSE THEY DIDN'T WANTED ME TO GO TO SCHOOL IN THE U.S.
IT WAS BECAUSE THEY DIDN'T HAVE A BABY SITTER, AND SO U.S.
IT WAS BECAUSE THEY DIDN'T HAVE A BABY SITTER, AND SO MY GRANDMOTHER LIVED ON THE U.S. HAVE A BABY SITTER, AND SO MY GRANDMOTHER LIVED ON THE U.S. SIDE, AND SO THEN, THEY JUST-- MY GRANDMOTHER LIVED ON THE U.S. SIDE, AND SO THEN, THEY JUST-- BY DEFAULT, I JUST ENDED UP SIDE, AND SO THEN, THEY JUST-- BY DEFAULT, I JUST ENDED UP BEING DROPPED OFF IN THE U.S. BY DEFAULT, I JUST ENDED UP BEING DROPPED OFF IN THE U.S.
IT WAS PRETTY TOUGH, THOUGH.
BEING DROPPED OFF IN THE U.S.
IT WAS PRETTY TOUGH, THOUGH.
IT WAS REALLY, REALLY TOUGH, IT WAS PRETTY TOUGH, THOUGH.
IT WAS REALLY, REALLY TOUGH, BECAUSE, WELL, WE'D HAVE TO IT WAS REALLY, REALLY TOUGH, BECAUSE, WELL, WE'D HAVE TO LEAVE THE HOUSE, LIKE, 3:30, BECAUSE, WELL, WE'D HAVE TO LEAVE THE HOUSE, LIKE, 3:30, 4:00 IN THE MORNING FOR US TO BE LEAVE THE HOUSE, LIKE, 3:30, 4:00 IN THE MORNING FOR US TO BE ABLE TO CROSS THE BORDER AND GET 4:00 IN THE MORNING FOR US TO BE ABLE TO CROSS THE BORDER AND GET TO THE U.S. SIDE IN TIME FOR ABLE TO CROSS THE BORDER AND GET TO THE U.S. SIDE IN TIME FOR MY DAD TO GO TO WORK.
SO I WOULD TO THE U.S. SIDE IN TIME FOR MY DAD TO GO TO WORK.
SO I WOULD GET DROPPED OFF AT MY GRANDMA'S MY DAD TO GO TO WORK.
SO I WOULD GET DROPPED OFF AT MY GRANDMA'S HOUSE SOMETIMES AROUND 5:30 GET DROPPED OFF AT MY GRANDMA'S HOUSE SOMETIMES AROUND 5:30 IN THE MORNING AND THEN JUST HOUSE SOMETIMES AROUND 5:30 IN THE MORNING AND THEN JUST WAIT FOR PEOPLE TO WAKE UP.
YEAH, AND A LOT OF THESE BLANKETS ARE THE TYPES YEAH, AND A LOT OF THESE BLANKETS ARE THE TYPES OF BLANKETS THAT ARE USED BLANKETS ARE THE TYPES OF BLANKETS THAT ARE USED IN THE WEAVINGS, THAT HAS ALL OF BLANKETS THAT ARE USED IN THE WEAVINGS, THAT HAS ALL THE CRAZY COLORS IN IT.
I DEFINITELY FEEL THE FREEDOM TO WORK WITH WHATEVER MATERIAL I DEFINITELY FEEL THE FREEDOM TO WORK WITH WHATEVER MATERIAL I WANT TO.
I GUESS IT'S A LITTLE TO WORK WITH WHATEVER MATERIAL I WANT TO.
I GUESS IT'S A LITTLE BIT LIKE IMPROVISING WITH I WANT TO.
I GUESS IT'S A LITTLE BIT LIKE IMPROVISING WITH THE MATERIAL AND JUST KIND OF BIT LIKE IMPROVISING WITH THE MATERIAL AND JUST KIND OF LETTING THE MATERIAL DICTATE THE MATERIAL AND JUST KIND OF LETTING THE MATERIAL DICTATE WHERE THE COMPOSITION IS GOING.
LETTING THE MATERIAL DICTATE WHERE THE COMPOSITION IS GOING.
SO IT'S A LITTLE BIT LIKE WHERE THE COMPOSITION IS GOING.
SO IT'S A LITTLE BIT LIKE PAINTING WITH MATERIAL.
MY EXPLORATION INTO COLOR AND TEXTURE COMES FROM THE MEXICAN MY EXPLORATION INTO COLOR AND TEXTURE COMES FROM THE MEXICAN SIDE OF ME, AND THE CLEANER TEXTURE COMES FROM THE MEXICAN SIDE OF ME, AND THE CLEANER LINES AND MORE MINIMAL AESTHETIC SIDE OF ME, AND THE CLEANER LINES AND MORE MINIMAL AESTHETIC COME FROM THE U.S. SIDE OF ME.
>> I'M JUST REALLY DRAWN TO THE SPIRIT OF HER WORK.
TANYA PUTS >> I'M JUST REALLY DRAWN TO THE SPIRIT OF HER WORK.
TANYA PUTS ALL OF HERSELF INTO THE LITTLEST SPIRIT OF HER WORK.
TANYA PUTS ALL OF HERSELF INTO THE LITTLEST DETAIL OF WHAT SHE DOES.
THE TEXTURE AND FEEL OF HER PIECES, TEXTURE AND FEEL OF HER PIECES, I THINK, COMPLETELY RELATES TO HER OWN SENSE OF SELF IN HER OWN ENVIRONMENT, AND HER PIECES HAVE THIS SURFACE TEXTURE THAT'S SORT OF REACHING OUT TO EVERYTHING AROUND IT.
EVERYWHERE YOU PLACE ONE OF HER PIECES, IT SUDDENLY FEELS AT HOME.
>> WITH TANYA, IT'S ABOUT THE >> WITH TANYA, IT'S ABOUT THE CONCEPT, AND IT'S ABOUT CREATING SOMETHING THAT SHE HASN'T DONE BEFORE, AND IT'S ABOUT THE PROCESS.
IT'S ALL ABOUT BEFORE, AND IT'S ABOUT THE PROCESS.
IT'S ALL ABOUT THE PROCESS THAT I RESPECT ABOUT THE PROCESS.
IT'S ALL ABOUT THE PROCESS THAT I RESPECT ABOUT THE ARTIST AND THAT I CANNOT, THE PROCESS THAT I RESPECT ABOUT THE ARTIST AND THAT I CANNOT, AS A--YOU KNOW, THE ARTIST AND THAT I CANNOT, AS A--YOU KNOW, I DON'T UNDERSTAND.
AS A--YOU KNOW, I DON'T UNDERSTAND.
>> WELL, I WAS AT THE RHODE I DON'T UNDERSTAND.
>> WELL, I WAS AT THE RHODE ISLAND SCHOOL OF DESIGN WORKING >> WELL, I WAS AT THE RHODE ISLAND SCHOOL OF DESIGN WORKING ON MY THESIS FOR GRAD SCHOOL.
ISLAND SCHOOL OF DESIGN WORKING ON MY THESIS FOR GRAD SCHOOL.
I WAS THINKING A LOT ABOUT JUST ON MY THESIS FOR GRAD SCHOOL.
I WAS THINKING A LOT ABOUT JUST GROWING UP ON THE BORDER AND I WAS THINKING A LOT ABOUT JUST GROWING UP ON THE BORDER AND HAVING THIS KIND OF DUAL GROWING UP ON THE BORDER AND HAVING THIS KIND OF DUAL PERSONALITY WHERE SOMETIMES I HAVING THIS KIND OF DUAL PERSONALITY WHERE SOMETIMES I WAS ONE THING ON ONE SIDE OF THE PERSONALITY WHERE SOMETIMES I WAS ONE THING ON ONE SIDE OF THE BORDER, AND THEN, ON THE OTHER WAS ONE THING ON ONE SIDE OF THE BORDER, AND THEN, ON THE OTHER SIDE, YOU KNOW, I'D HAVE TO BORDER, AND THEN, ON THE OTHER SIDE, YOU KNOW, I'D HAVE TO BECOME SOMETHING ELSE TO FIT IN, SIDE, YOU KNOW, I'D HAVE TO BECOME SOMETHING ELSE TO FIT IN, AND SO, I WAS THINKING OF A LOT BECOME SOMETHING ELSE TO FIT IN, AND SO, I WAS THINKING OF A LOT OF STUFF THAT HAD TO DO WITH AND SO, I WAS THINKING OF A LOT OF STUFF THAT HAD TO DO WITH DUALITIES.
BECAUSE I WAS OF STUFF THAT HAD TO DO WITH DUALITIES.
BECAUSE I WAS STUDYING HOW TO MAKE FURNITURE, DUALITIES.
BECAUSE I WAS STUDYING HOW TO MAKE FURNITURE, I STARTED THINKING ABOUT IF STUDYING HOW TO MAKE FURNITURE, I STARTED THINKING ABOUT IF THERE WAS A CHAIR THAT I COULD I STARTED THINKING ABOUT IF THERE WAS A CHAIR THAT I COULD WORK WITH AND TRANSFORM INTO THERE WAS A CHAIR THAT I COULD WORK WITH AND TRANSFORM INTO THE OPPOSITE OF WHAT IT WAS, WORK WITH AND TRANSFORM INTO THE OPPOSITE OF WHAT IT WAS, BUT STILL LETTING IT RETAIN MOST THE OPPOSITE OF WHAT IT WAS, BUT STILL LETTING IT RETAIN MOST OF ITS PERSONALITY.
AND, UM, BUT STILL LETTING IT RETAIN MOST OF ITS PERSONALITY.
AND, UM, SO THAT'S KIND OF HOW THE FELT OF ITS PERSONALITY.
AND, UM, SO THAT'S KIND OF HOW THE FELT CHAIR IDEA CAME OUT, WAS JUST SO THAT'S KIND OF HOW THE FELT CHAIR IDEA CAME OUT, WAS JUST TAKING SOMETHING THAT WAS SUPER CHAIR IDEA CAME OUT, WAS JUST TAKING SOMETHING THAT WAS SUPER COLD AND UNINVITING AND TAKING SOMETHING THAT WAS SUPER COLD AND UNINVITING AND TRANSFORMING IT INTO SOMETHING COLD AND UNINVITING AND TRANSFORMING IT INTO SOMETHING SOFT.
IT COMES AS RAW WOOL, TRANSFORMING IT INTO SOMETHING SOFT.
IT COMES AS RAW WOOL, AND THEN, THROUGH THE PROCESS OF SOFT.
IT COMES AS RAW WOOL, AND THEN, THROUGH THE PROCESS OF HAND RUBBING IT FOR 20 HOURS-- AND THEN, THROUGH THE PROCESS OF HAND RUBBING IT FOR 20 HOURS-- [LAUGHS] IT BECOMES FELT.
HAND RUBBING IT FOR 20 HOURS-- [LAUGHS] IT BECOMES FELT.
SO IT'S LIKE MAKING A GIGANTIC [LAUGHS] IT BECOMES FELT.
SO IT'S LIKE MAKING A GIGANTIC DREADLOCK, BUT JUST AROUND SO IT'S LIKE MAKING A GIGANTIC DREADLOCK, BUT JUST AROUND A CHAIR, WHICH IS WHAT KARLA'S CURRENTLY DOING.
CURRENTLY DOING.
>> IT'S HER WORK.
I RESPECT IT.
I WANT IT TO BE PERFECT, AS IF SHE WAS DOING IT.
TANYA HAS BEEN LIKE--YOU KNOW, SHE'S MY BEST FRIEND.
SHE'S MY MENTOR.
SHE'S MY BOSS.
SHE GOT ME INTRODUCED TO ART, BECAUSE WHEN I WAS A KID, SHE KIND OF NOTICED THAT I REALLY LIKED DRAWING, SO SHE WOULD BUY ME ART SUPPLIES AND TAKE ME TO, LIKE, ART CLASSES.
>> SHE ALWAYS TRIED TO PUSH US TO DO WHATEVER WE ENJOYED DOING, WHETHER IT WAS KARLA DRAWING OR EVEN WHEN I WAS REALLY INTO WRITING, SHE WOULD ALWAYS KIND OF MAKE US, YOU KNOW--PUSH US TO WRITING, SHE WOULD ALWAYS KIND OF MAKE US, YOU KNOW--PUSH US TO KEEP DOING THAT.
YEAH.
OF MAKE US, YOU KNOW--PUSH US TO KEEP DOING THAT.
YEAH.
SEE, THIS IS LIKE... KEEP DOING THAT.
YEAH.
SEE, THIS IS LIKE... >> HEH.
SEE, THIS IS LIKE... >> HEH.
>> SHOW ME YOUR TRICKS.
>> HEH.
>> SHOW ME YOUR TRICKS.
>> TANYA HAS BEEN FELTING FOR, >> SHOW ME YOUR TRICKS.
>> TANYA HAS BEEN FELTING FOR, LIKE--ABOUT, LIKE, 7 OR 8 YEARS >> TANYA HAS BEEN FELTING FOR, LIKE--ABOUT, LIKE, 7 OR 8 YEARS NOW, SO A LOT OF THE FELTING NOW LIKE--ABOUT, LIKE, 7 OR 8 YEARS NOW, SO A LOT OF THE FELTING NOW COMES TO ME BECAUSE SHE'S JUST, NOW, SO A LOT OF THE FELTING NOW COMES TO ME BECAUSE SHE'S JUST, LIKE, REALLY SICK OF IT.
AND IT COMES TO ME BECAUSE SHE'S JUST, LIKE, REALLY SICK OF IT.
AND IT USED TO BE, LIKE, THIS--THIS LIKE, REALLY SICK OF IT.
AND IT USED TO BE, LIKE, THIS--THIS PROCESS THAT WAS REALLY FRIENDLY USED TO BE, LIKE, THIS--THIS PROCESS THAT WAS REALLY FRIENDLY AND REALLY AMAZING, BUT THEN, IT PROCESS THAT WAS REALLY FRIENDLY AND REALLY AMAZING, BUT THEN, IT JUST TAKES SO LONG THAT YOU JUST AND REALLY AMAZING, BUT THEN, IT JUST TAKES SO LONG THAT YOU JUST KIND OF, LIKE, HATE IT AT SOME JUST TAKES SO LONG THAT YOU JUST KIND OF, LIKE, HATE IT AT SOME POINT.
'CAUSE IT'S LIKE, KIND OF, LIKE, HATE IT AT SOME POINT.
'CAUSE IT'S LIKE, "DOO, DOO, DOO," YOU KNOW?
POINT.
'CAUSE IT'S LIKE, "DOO, DOO, DOO," YOU KNOW?
>> GETTING INTO FELTING DIDN'T "DOO, DOO, DOO," YOU KNOW?
>> GETTING INTO FELTING DIDN'T HAVE TO DO WITH A LOVE OF FELT.
>> GETTING INTO FELTING DIDN'T HAVE TO DO WITH A LOVE OF FELT.
IT HAD TO DO WITH WANTING TO HAVE TO DO WITH A LOVE OF FELT.
IT HAD TO DO WITH WANTING TO LEARN A TECHNIQUE THAT I COULD IT HAD TO DO WITH WANTING TO LEARN A TECHNIQUE THAT I COULD TAKE TO SMALL PLACES THAT DIDN'T LEARN A TECHNIQUE THAT I COULD TAKE TO SMALL PLACES THAT DIDN'T HAVE ELECTRICITY, RUNNING WATER, TAKE TO SMALL PLACES THAT DIDN'T HAVE ELECTRICITY, RUNNING WATER, OR ANYTHING LIKE THAT, AND TEACH HAVE ELECTRICITY, RUNNING WATER, OR ANYTHING LIKE THAT, AND TEACH PEOPLE A SKILL THAT COULD HELP OR ANYTHING LIKE THAT, AND TEACH PEOPLE A SKILL THAT COULD HELP THEM EARN SOME INCOME.
PEOPLE A SKILL THAT COULD HELP THEM EARN SOME INCOME.
>> EARLY ON, WITH TANYA, SHE THEM EARN SOME INCOME.
>> EARLY ON, WITH TANYA, SHE FELT A RESPONSIBILITY TO SUPPORT >> EARLY ON, WITH TANYA, SHE FELT A RESPONSIBILITY TO SUPPORT WHERE SHE CAME FROM AND SUPPORT THE UNDERDOG.
THE UNDERDOG.
>> THIS IS THE COMMUNITY OF MACLOVIO ROJAS IN WHAT WAS THE OUTSKIRTS OF TIJUANA, BUT NOW SEEMS TO BE MORE AND THE OUTSKIRTS OF TIJUANA, BUT NOW SEEMS TO BE MORE AND MORE CONNECTED TO THE REST OF BUT NOW SEEMS TO BE MORE AND MORE CONNECTED TO THE REST OF TIJUANA.
I STARTED COMING HERE MORE CONNECTED TO THE REST OF TIJUANA.
I STARTED COMING HERE IN, I BELIEVE, 1997.
AND WHEN TIJUANA.
I STARTED COMING HERE IN, I BELIEVE, 1997.
AND WHEN I STARTED COMING HERE, IT WAS IN, I BELIEVE, 1997.
AND WHEN I STARTED COMING HERE, IT WAS WITH THE BORDER ART WORKSHOP.
I STARTED COMING HERE, IT WAS WITH THE BORDER ART WORKSHOP.
AND SO, THIS COMMUNITY IS WITH THE BORDER ART WORKSHOP.
AND SO, THIS COMMUNITY IS REALLY SPECIAL.
AND SO, THIS COMMUNITY IS REALLY SPECIAL.
GRACIAS.
REALLY SPECIAL.
GRACIAS.
THIS PLACE WAS SETTLED MAINLY GRACIAS.
THIS PLACE WAS SETTLED MAINLY BY WOMEN, AND WHEN I GOT HERE THIS PLACE WAS SETTLED MAINLY BY WOMEN, AND WHEN I GOT HERE IN '97, THERE WAS ALREADY OVER BY WOMEN, AND WHEN I GOT HERE IN '97, THERE WAS ALREADY OVER 8,000 FAMILIES.
THIS ENTIRE IN '97, THERE WAS ALREADY OVER 8,000 FAMILIES.
THIS ENTIRE PLACE IS SCRAPPED TOGETHER, AND 8,000 FAMILIES.
THIS ENTIRE PLACE IS SCRAPPED TOGETHER, AND SO, THE MOTTO HERE WAS POUND TO PLACE IS SCRAPPED TOGETHER, AND SO, THE MOTTO HERE WAS POUND TO FIT, PAINT TO MATCH, AND SO, IT SO, THE MOTTO HERE WAS POUND TO FIT, PAINT TO MATCH, AND SO, IT WAS JUST WHATEVER WE COULD GET FIT, PAINT TO MATCH, AND SO, IT WAS JUST WHATEVER WE COULD GET OUR HANDS ON, WE WOULD MAKE USE WAS JUST WHATEVER WE COULD GET OUR HANDS ON, WE WOULD MAKE USE OF.
WE HAD A LOT OF DIFFERENT OUR HANDS ON, WE WOULD MAKE USE OF.
WE HAD A LOT OF DIFFERENT PROJECTS GOING ON THROUGHOUT OF.
WE HAD A LOT OF DIFFERENT PROJECTS GOING ON THROUGHOUT THE COMMUNITY.
ONE OF 'EM WAS TO PROJECTS GOING ON THROUGHOUT THE COMMUNITY.
ONE OF 'EM WAS TO BUILD THIS COMMUNITY CENTER THAT THE COMMUNITY.
ONE OF 'EM WAS TO BUILD THIS COMMUNITY CENTER THAT WAS TO--TO STAND AS, BUILD THIS COMMUNITY CENTER THAT WAS TO--TO STAND AS, AS A BEACON, WAS TO--TO STAND AS, AS A BEACON, AS A SHIP OF KIND OF FREEDOM AND AS A BEACON, AS A SHIP OF KIND OF FREEDOM AND EDUCATION.
THE ART THAT WAS AS A SHIP OF KIND OF FREEDOM AND EDUCATION.
THE ART THAT WAS CREATED OUT OF THIS COMMUNITY EDUCATION.
THE ART THAT WAS CREATED OUT OF THIS COMMUNITY CENTER WAS A REALLY, REALLY CREATED OUT OF THIS COMMUNITY CENTER WAS A REALLY, REALLY IMPORTANT PART OF WHAT WAS CENTER WAS A REALLY, REALLY IMPORTANT PART OF WHAT WAS HAPPENING, BECAUSE IT WAS A WAY IMPORTANT PART OF WHAT WAS HAPPENING, BECAUSE IT WAS A WAY FOR THEM AND US TO HELP THEM HAPPENING, BECAUSE IT WAS A WAY FOR THEM AND US TO HELP THEM TELL THE STORY OF THIS FOR THEM AND US TO HELP THEM TELL THE STORY OF THIS COMMUNITY.
WHEN WE WOULD TALK TELL THE STORY OF THIS COMMUNITY.
WHEN WE WOULD TALK TO THE WOMEN ABOUT HOW IT WAS COMMUNITY.
WHEN WE WOULD TALK TO THE WOMEN ABOUT HOW IT WAS THAT THEY SETTLED THIS LAND, TO THE WOMEN ABOUT HOW IT WAS THAT THEY SETTLED THIS LAND, THEY WOULD TALK ABOUT THAT THEY THAT THEY SETTLED THIS LAND, THEY WOULD TALK ABOUT THAT THEY WOULD LAY DOWN, AND THEY WOULD THEY WOULD TALK ABOUT THAT THEY WOULD LAY DOWN, AND THEY WOULD COVER THEMSELVES, AND THEN, UM, WOULD LAY DOWN, AND THEY WOULD COVER THEMSELVES, AND THEN, UM, RATTLESNAKES WOULD GO IN-- COVER THEMSELVES, AND THEN, UM, RATTLESNAKES WOULD GO IN-- UNDERNEATH THE COVERS AND SLEEP RATTLESNAKES WOULD GO IN-- UNDERNEATH THE COVERS AND SLEEP WITH THEM AT NIGHT TO KEEP WARM.
UNDERNEATH THE COVERS AND SLEEP WITH THEM AT NIGHT TO KEEP WARM.
AND THEN, THE WOMEN WOULD WAKE WITH THEM AT NIGHT TO KEEP WARM.
AND THEN, THE WOMEN WOULD WAKE UP IN THE MORNING, CHOP OFF AND THEN, THE WOMEN WOULD WAKE UP IN THE MORNING, CHOP OFF THEIR HEADS, AND EAT THEM FOR UP IN THE MORNING, CHOP OFF THEIR HEADS, AND EAT THEM FOR BREAKFAST, AND SO IT WAS JUST THEIR HEADS, AND EAT THEM FOR BREAKFAST, AND SO IT WAS JUST ALWAYS A REALLY BEAUTIFUL WAY BREAKFAST, AND SO IT WAS JUST ALWAYS A REALLY BEAUTIFUL WAY FOR US TO THINK ABOUT HOW STRONG ALWAYS A REALLY BEAUTIFUL WAY FOR US TO THINK ABOUT HOW STRONG THE WOMEN OF THIS COMMUNITY FOR US TO THINK ABOUT HOW STRONG THE WOMEN OF THIS COMMUNITY WERE--ARE.
AND JUST HOW AMAZING, THE WOMEN OF THIS COMMUNITY WERE--ARE.
AND JUST HOW AMAZING, YOU KNOW, THE CIRCUMSTANCES WERE--ARE.
AND JUST HOW AMAZING, YOU KNOW, THE CIRCUMSTANCES IN WHICH THEY FOUNDED THIS-- YOU KNOW, THE CIRCUMSTANCES IN WHICH THEY FOUNDED THIS-- THIS AREA.
MY EXPERIENCE IN WHICH THEY FOUNDED THIS-- THIS AREA.
MY EXPERIENCE IN MACLOVIO ROJAS INSPIRED ME THIS AREA.
MY EXPERIENCE IN MACLOVIO ROJAS INSPIRED ME TO BECOME AN ARTIST.
IT ALSO JUST REALLY TAUGHT ME TO TRUST AND LOVE WORKING WITH IT ALSO JUST REALLY TAUGHT ME TO TRUST AND LOVE WORKING WITH OTHER PEOPLE.
TO TRUST AND LOVE WORKING WITH OTHER PEOPLE.
OK, SO THEN WE HAVE--THESE ARE OTHER PEOPLE.
OK, SO THEN WE HAVE--THESE ARE THE DOUBLES.
OK, SO THEN WE HAVE--THESE ARE THE DOUBLES.
>> OK. THOSE ARE SINGLES?
>> THE SINGLES.
AND THEN THERE'S >> THE SINGLES.
AND THEN THERE'S MEDIUMS THAT ARE INSIDE THERE AS WELL.
THEY'RE JUST, LIKE, KIND OF OFF-WHITE.
>> WE HAVE SUCH A--SPECIAL KIND OF OFF-WHITE.
>> WE HAVE SUCH A--SPECIAL SAMMY.
>> WE HAVE SUCH A--SPECIAL SAMMY.
>> HE'S SO CUTE.
SAMMY.
>> HE'S SO CUTE.
>> WE'RE LIKE, "SAMMY, COME SIT >> HE'S SO CUTE.
>> WE'RE LIKE, "SAMMY, COME SIT WITH US."
>> WE'RE LIKE, "SAMMY, COME SIT WITH US."
>> JEWELRY IS WHAT ALLOWS FOR WITH US."
>> JEWELRY IS WHAT ALLOWS FOR ALL THE OTHER THINGS TO HAPPEN, >> JEWELRY IS WHAT ALLOWS FOR ALL THE OTHER THINGS TO HAPPEN, BECAUSE THERE'S A LARGER MARKET, ALL THE OTHER THINGS TO HAPPEN, BECAUSE THERE'S A LARGER MARKET, AND ESPECIALLY WITH THE BECAUSE THERE'S A LARGER MARKET, AND ESPECIALLY WITH THE INTERNET.
PEOPLE FROM ALL OVER AND ESPECIALLY WITH THE INTERNET.
PEOPLE FROM ALL OVER THE WORLD CAN HAVE THESE INTERNET.
PEOPLE FROM ALL OVER THE WORLD CAN HAVE THESE PRODUCTS AVAILABLE, THE WORLD CAN HAVE THESE PRODUCTS AVAILABLE, SO A LOT OF THE TIME, PRODUCTS AVAILABLE, SO A LOT OF THE TIME, WE GET REALLY BIG ORDERS, AND SO A LOT OF THE TIME, WE GET REALLY BIG ORDERS, AND BECAUSE EVERYTHING IS MADE BY WE GET REALLY BIG ORDERS, AND BECAUSE EVERYTHING IS MADE BY HAND, WE CAN'T REALLY CATCH UP.
BECAUSE EVERYTHING IS MADE BY HAND, WE CAN'T REALLY CATCH UP.
>> LET'S MOVE THIS OVER CLOSER HAND, WE CAN'T REALLY CATCH UP.
>> LET'S MOVE THIS OVER CLOSER TO YOU.
>> LET'S MOVE THIS OVER CLOSER TO YOU.
>> WE DON'T OUTSOURCE ANYTHING, TO YOU.
>> WE DON'T OUTSOURCE ANYTHING, LIKE, SO THEY HAVE TO >> WE DON'T OUTSOURCE ANYTHING, LIKE, SO THEY HAVE TO UNDERSTAND THAT WE DO IT ALL LIKE, SO THEY HAVE TO UNDERSTAND THAT WE DO IT ALL BY HAND, SO YEP.
UNDERSTAND THAT WE DO IT ALL BY HAND, SO YEP.
>> THERE'S, UM--IF WE NEED BY HAND, SO YEP.
>> THERE'S, UM--IF WE NEED DOUBLES IN CHARTREUSE... >> THERE'S, UM--IF WE NEED DOUBLES IN CHARTREUSE... >> SHE'S A TEACHER AT OTIS DOUBLES IN CHARTREUSE... >> SHE'S A TEACHER AT OTIS COLLEGE OF ART AND DESIGN, SO AT THE END OF MY JUNIOR YEAR, SHE'S THE END OF MY JUNIOR YEAR, SHE'S LIKE, "OH, WOULD YOU LIKE TO BE ONE OF MY INTERNS?"
AND I WAS LIKE, "OK, SURE."
SO THAT'S WHERE IT STARTED.
>> RIGHT.
THAT'S THE OTHER ONE.
>> IT WAS KIND OF LIKE A LITTLE EXPERIMENT EACH CLASS WHERE SHE WOULD, LIKE, SHOW US A NEW THING.
SHE WOULD, LIKE, BRING HER BURNERS TO CLASS AND, LIKE, SHOW US HOW TO, LIKE, BOIL LEATHER AND WEAVE AND DYE THINGS.
[MUSIC PLAYING] >> WITH THIS EXHIBIT AND >> WITH THIS EXHIBIT AND THE TITLE OF IT, I WAS THINKING ABOUT LINES AND WHAT DO LINES MEAN.
YOU KNOW, ONE OF THE FIRST THINGS THAT I THOUGHT ABOUT WAS THE LINE IS THE BORDER, AND THE THINGS THAT I THOUGHT ABOUT WAS THE LINE IS THE BORDER, AND THE LINE IS ARTIFICIAL BOUNDARIES.
SO THE SPACE IS REALLY LAID OUT WITH ALL THESE ARTIFICIAL SO THE SPACE IS REALLY LAID OUT WITH ALL THESE ARTIFICIAL BOUNDARIES, BECAUSE IF YOU WITH ALL THESE ARTIFICIAL BOUNDARIES, BECAUSE IF YOU REALLY WANTED TO GET THROUGH IT, BOUNDARIES, BECAUSE IF YOU REALLY WANTED TO GET THROUGH IT, YOU KNOW, IT'S JUST STRING.
REALLY WANTED TO GET THROUGH IT, YOU KNOW, IT'S JUST STRING.
YOU COULD JUST, YOU KNOW, YOU KNOW, IT'S JUST STRING.
YOU COULD JUST, YOU KNOW, GO THROUGH STUFF.
BUT THEN ALSO YOU COULD JUST, YOU KNOW, GO THROUGH STUFF.
BUT THEN ALSO I WAS THINKING ABOUT HOW MY WORK GO THROUGH STUFF.
BUT THEN ALSO I WAS THINKING ABOUT HOW MY WORK CROSSES IN BETWEEN FUNCTIONAL I WAS THINKING ABOUT HOW MY WORK CROSSES IN BETWEEN FUNCTIONAL AND NONFUNCTIONAL, FINE ART AND CROSSES IN BETWEEN FUNCTIONAL AND NONFUNCTIONAL, FINE ART AND CRAFT, UM, TRADITIONAL AND AND NONFUNCTIONAL, FINE ART AND CRAFT, UM, TRADITIONAL AND MODERN.
IT JUST MAKES SENSE FOR CRAFT, UM, TRADITIONAL AND MODERN.
IT JUST MAKES SENSE FOR ME TO BE ABLE TO PLAY WITH MODERN.
IT JUST MAKES SENSE FOR ME TO BE ABLE TO PLAY WITH WHATEVER I WANT TO PLAY WITH AND ME TO BE ABLE TO PLAY WITH WHATEVER I WANT TO PLAY WITH AND NOT REALLY STAY WITHIN A CERTAIN WHATEVER I WANT TO PLAY WITH AND NOT REALLY STAY WITHIN A CERTAIN DEFINITION OF WHAT PEOPLE CALL NOT REALLY STAY WITHIN A CERTAIN DEFINITION OF WHAT PEOPLE CALL ME.
I THINK IT'S A VERY FRONTIER DEFINITION OF WHAT PEOPLE CALL ME.
I THINK IT'S A VERY FRONTIER SENSIBILITY ABOUT MAKING WORK ME.
I THINK IT'S A VERY FRONTIER SENSIBILITY ABOUT MAKING WORK AND ABOUT, YEAH, JUST HOW YOU'RE SENSIBILITY ABOUT MAKING WORK AND ABOUT, YEAH, JUST HOW YOU'RE DEFINED AS A PERSON.
>> HEH.
NO MATTER WHAT BERNARD >> HEH.
NO MATTER WHAT BERNARD DID, HE ALWAYS WORE A JACKET AND TIE, AND YOU SEE HIM HERE THROWING IN THE STUDIO WITH TIE, AND YOU SEE HIM HERE THROWING IN THE STUDIO WITH A WHITE SHIRT AND A TIE ON.
>> PEOPLE SOMETIMES ASK ME, "HOW DO YOU KNOW WHEN IT'S IN THE >> PEOPLE SOMETIMES ASK ME, "HOW DO YOU KNOW WHEN IT'S IN THE MIDDLE OF THE WHEEL?"
AND ONE'S DO YOU KNOW WHEN IT'S IN THE MIDDLE OF THE WHEEL?"
AND ONE'S ALMOST STUMPED TO ANSWER, MIDDLE OF THE WHEEL?"
AND ONE'S ALMOST STUMPED TO ANSWER, BECAUSE THE ANSWER LIES SO VERY ALMOST STUMPED TO ANSWER, BECAUSE THE ANSWER LIES SO VERY MUCH IN THE DOING.
AS SOON BECAUSE THE ANSWER LIES SO VERY MUCH IN THE DOING.
AS SOON AS IT'S STEADY AND UNMOVING-- MUCH IN THE DOING.
AS SOON AS IT'S STEADY AND UNMOVING-- SILENT, AS I CALLED IT-- AS IT'S STEADY AND UNMOVING-- SILENT, AS I CALLED IT-- IT'S OBVIOUSLY CENTERED.
>> "A POTTER'S BOOK" BY BERNARD LEACH, IT HAD JUST BEEN >> "A POTTER'S BOOK" BY BERNARD LEACH, IT HAD JUST BEEN PUBLISHED IN AMERICA.
AND SO, WE ALL TRIED TO GET A COPY OF THIS ALL TRIED TO GET A COPY OF THIS BOOK, AND WE READ IT, AND IT WAS LIKE, "BOY, THIS IS EXCITING."
>> "THE POTTER'S BOOK" WAS MY BIBLE, AND I FELL IN LOVE WITH THE POTS THAT LEACH MADE, HIS PHILOSOPHY.
>> IT WAS A BIG PART OF WHAT MADE BETTER STANDARDS IN AMERICAN POTTERY.
>> AND WE TRIED TO THROW A POT ON THE POTTER'S WHEEL.
>> AND WE TRIED TO THROW A POT ON THE POTTER'S WHEEL.
OF COURSE, WE MADE A MESS.
WE-- ON THE POTTER'S WHEEL.
OF COURSE, WE MADE A MESS.
WE-- WE HAD WASTED CLAY.
WE HAD CLAY OF COURSE, WE MADE A MESS.
WE-- WE HAD WASTED CLAY.
WE HAD CLAY ALL OVER THE PLACE, AND WE WE HAD WASTED CLAY.
WE HAD CLAY ALL OVER THE PLACE, AND WE ALMOST GOT THROWN OUT OF SCHOOL.
ALL OVER THE PLACE, AND WE ALMOST GOT THROWN OUT OF SCHOOL.
BUT, UH, IT DID GET US STARTED.
ONE DAY, MY FIRST WIFE ALEX AND I CONTACTED LEACH AND ASKED HIM ONE DAY, MY FIRST WIFE ALEX AND I CONTACTED LEACH AND ASKED HIM IF WE COULD COME AND TALK ABOUT I CONTACTED LEACH AND ASKED HIM IF WE COULD COME AND TALK ABOUT APPRENTICING WITH HIM.
WE WENT IF WE COULD COME AND TALK ABOUT APPRENTICING WITH HIM.
WE WENT TO ENGLAND AND SPENT 2 1/2 YEARS APPRENTICING WITH HIM.
WE WENT TO ENGLAND AND SPENT 2 1/2 YEARS THERE AT THE POTTERY.
>> THIS AMATEUR FILM ABOUT THE LEACH POTTERY WAS TAKEN IN 1952 >> THIS AMATEUR FILM ABOUT THE LEACH POTTERY WAS TAKEN IN 1952 BY MY TWO AMERICAN STUDENTS, LEACH POTTERY WAS TAKEN IN 1952 BY MY TWO AMERICAN STUDENTS, WARREN AND ALEX MACKENZIE.
BY MY TWO AMERICAN STUDENTS, WARREN AND ALEX MACKENZIE.
THE IDEA WAS TO MAKE A VISUAL WARREN AND ALEX MACKENZIE.
THE IDEA WAS TO MAKE A VISUAL RECORDING OF THE NORMAL SEQUENCE THE IDEA WAS TO MAKE A VISUAL RECORDING OF THE NORMAL SEQUENCE OF WORK AT OUR POTTERY AT RECORDING OF THE NORMAL SEQUENCE OF WORK AT OUR POTTERY AT ST. IVES FOR THE SAKE LARGELY OF OF WORK AT OUR POTTERY AT ST. IVES FOR THE SAKE LARGELY OF STUDENTS AND OTHER POTTERS WHO ST. IVES FOR THE SAKE LARGELY OF STUDENTS AND OTHER POTTERS WHO EITHER HAD NOT THE OPPORTUNITY STUDENTS AND OTHER POTTERS WHO EITHER HAD NOT THE OPPORTUNITY TO VISIT US OR WHO WANT TO SEE EITHER HAD NOT THE OPPORTUNITY TO VISIT US OR WHO WANT TO SEE HOW WE HAVE ATTEMPTED TO VISIT US OR WHO WANT TO SEE HOW WE HAVE ATTEMPTED TO ASSIMILATE ORIENTAL TRADITION HOW WE HAVE ATTEMPTED TO ASSIMILATE ORIENTAL TRADITION AND TECHNIQUE TO SUIT OUR TO ASSIMILATE ORIENTAL TRADITION AND TECHNIQUE TO SUIT OUR ENGLISH NEEDS.
AND TECHNIQUE TO SUIT OUR ENGLISH NEEDS.
>> WE WERE NOT MAKING OUR OWN ENGLISH NEEDS.
>> WE WERE NOT MAKING OUR OWN POTS.
WE WERE MAKING, UH, LEACH >> WE WERE NOT MAKING OUR OWN POTS.
WE WERE MAKING, UH, LEACH POTTERY POTS.
AND THOSE--WHAT WE POTS.
WE WERE MAKING, UH, LEACH POTTERY POTS.
AND THOSE--WHAT WE CALLED STANDARD WARE POTS WERE POTTERY POTS.
AND THOSE--WHAT WE CALLED STANDARD WARE POTS WERE ILLUSTRATED IN A CATALOGUE.
>> I BECAME AN APPRENTICE--THIS >> I BECAME AN APPRENTICE--THIS WAS 1968.
BERNARD LEACH WAS 82 AT THE TIME.
HE WORKED EVERY DAY IN THE STUDIO.
HE HAD A PRIVATE AT THE TIME.
HE WORKED EVERY DAY IN THE STUDIO.
HE HAD A PRIVATE SPACE UPSTAIRS, AND WE WERE TOLD IN THE STUDIO.
HE HAD A PRIVATE SPACE UPSTAIRS, AND WE WERE TOLD TO NOT DISTURB HIM.
IT WAS HIS SPACE UPSTAIRS, AND WE WERE TOLD TO NOT DISTURB HIM.
IT WAS HIS TIME TO WORK.
AND WE'D SEE HIM TO NOT DISTURB HIM.
IT WAS HIS TIME TO WORK.
AND WE'D SEE HIM AT TEATIME.
THEY STARTED ME OUT TIME TO WORK.
AND WE'D SEE HIM AT TEATIME.
THEY STARTED ME OUT ON A FAIRLY SIMPLE--WHAT I AT TEATIME.
THEY STARTED ME OUT ON A FAIRLY SIMPLE--WHAT I THOUGHT WAS A SIMPLE SHAPE, AND ON A FAIRLY SIMPLE--WHAT I THOUGHT WAS A SIMPLE SHAPE, AND IT WAS A HUMBLING EXPERIENCE.
THOUGHT WAS A SIMPLE SHAPE, AND IT WAS A HUMBLING EXPERIENCE.
I CUT MY TEETH ON THIS LIDDED IT WAS A HUMBLING EXPERIENCE.
I CUT MY TEETH ON THIS LIDDED SOUP BOWL.
I MADE THESE I CUT MY TEETH ON THIS LIDDED SOUP BOWL.
I MADE THESE FOR 2 MONTHS BEFORE THEY REACHED SOUP BOWL.
I MADE THESE FOR 2 MONTHS BEFORE THEY REACHED A CERTAIN STANDARD WHERE FOR 2 MONTHS BEFORE THEY REACHED A CERTAIN STANDARD WHERE THEY COULD BE SOLD.
>> WE WERE ON A 3-WEEK FIRING SCHEDULE, SO WE MADE POTS FOR >> WE WERE ON A 3-WEEK FIRING SCHEDULE, SO WE MADE POTS FOR 2 WEEKS.
THEN WE STOPPED AND HAD SCHEDULE, SO WE MADE POTS FOR 2 WEEKS.
THEN WE STOPPED AND HAD GLAZE CHORES AND FIRING DUTIES.
2 WEEKS.
THEN WE STOPPED AND HAD GLAZE CHORES AND FIRING DUTIES.
AND THEN WE STARTED ALL OVER GLAZE CHORES AND FIRING DUTIES.
AND THEN WE STARTED ALL OVER AGAIN.
LOVELY RHYTHM.
VERY AND THEN WE STARTED ALL OVER AGAIN.
LOVELY RHYTHM.
VERY SUPPORTIVE RHYTHM.
BUT WE ALSO AGAIN.
LOVELY RHYTHM.
VERY SUPPORTIVE RHYTHM.
BUT WE ALSO HAD THE FREEDOM TO STAY AFTER SUPPORTIVE RHYTHM.
BUT WE ALSO HAD THE FREEDOM TO STAY AFTER WORK AND TO GO UP ON WEEKENDS HAD THE FREEDOM TO STAY AFTER WORK AND TO GO UP ON WEEKENDS AND MAKE OUR OWN POTS, AND WORK AND TO GO UP ON WEEKENDS AND MAKE OUR OWN POTS, AND BERNARD WOULD CRITIQUE THEM.
AND MAKE OUR OWN POTS, AND BERNARD WOULD CRITIQUE THEM.
>> AND THE CUTTING OF THE FOOT BERNARD WOULD CRITIQUE THEM.
>> AND THE CUTTING OF THE FOOT IS SOMETHING THAT WE HAVE LEARNT >> AND THE CUTTING OF THE FOOT IS SOMETHING THAT WE HAVE LEARNT AND ARE STILL LEARNING FROM OUR IS SOMETHING THAT WE HAVE LEARNT AND ARE STILL LEARNING FROM OUR EASTERN MASTERS.
>> LEACH WAS IN JAPAN STUDYING.
>> LEACH WAS IN JAPAN STUDYING.
HE MET HAMADA.
THEY BECAME FRIENDS, AND THEY BECAME PART OF THIS MINGEI MOVEMENT TOGETHER.
"MINGEI" IS A MADE-UP WORD.
THIS MINGEI MOVEMENT TOGETHER.
"MINGEI" IS A MADE-UP WORD.
I THINK THEY SAID THAT, UH, THIS "MINGEI" IS A MADE-UP WORD.
I THINK THEY SAID THAT, UH, THIS GROUP MADE THE WORD UP.
IT HAS I THINK THEY SAID THAT, UH, THIS GROUP MADE THE WORD UP.
IT HAS TO DO WITH BEING PEOPLE'S ART, GROUP MADE THE WORD UP.
IT HAS TO DO WITH BEING PEOPLE'S ART, FOLK ART.
AND THEY HAD THIS TO DO WITH BEING PEOPLE'S ART, FOLK ART.
AND THEY HAD THIS ANONYMOUS QUALITY OF THE FACT FOLK ART.
AND THEY HAD THIS ANONYMOUS QUALITY OF THE FACT THAT THE POTTERS WERE SIMPLY ANONYMOUS QUALITY OF THE FACT THAT THE POTTERS WERE SIMPLY DOING A JOB.
THEY WERE DOING A THAT THE POTTERS WERE SIMPLY DOING A JOB.
THEY WERE DOING A JOB LIKE WE WOULD TALK ABOUT AN DOING A JOB.
THEY WERE DOING A JOB LIKE WE WOULD TALK ABOUT AN AUTO MECHANIC REPAIRING OUR CAR.
JOB LIKE WE WOULD TALK ABOUT AN AUTO MECHANIC REPAIRING OUR CAR.
HE DOESN'T DO IT WITH ANY GREAT AUTO MECHANIC REPAIRING OUR CAR.
HE DOESN'T DO IT WITH ANY GREAT PANACHE OR ANYTHING, BUT WE WANT HE DOESN'T DO IT WITH ANY GREAT PANACHE OR ANYTHING, BUT WE WANT IT TO BE RIGHT, YOU KNOW?
AND PANACHE OR ANYTHING, BUT WE WANT IT TO BE RIGHT, YOU KNOW?
AND THAT'S THE WAY THEY--THEY WANTED IT TO BE RIGHT, YOU KNOW?
AND THAT'S THE WAY THEY--THEY WANTED THEIR WORK TO BE.
IT JUST HAD THAT'S THE WAY THEY--THEY WANTED THEIR WORK TO BE.
IT JUST HAD TO BE RIGHT.
AND WHEN LEACH WAS INVITED TO RETURN TO ENGLAND AND START AND WHEN LEACH WAS INVITED TO RETURN TO ENGLAND AND START A POTTERY, HAMADA SAID, "I WILL TO RETURN TO ENGLAND AND START A POTTERY, HAMADA SAID, "I WILL GO WITH YOU," AND SO HE WENT A POTTERY, HAMADA SAID, "I WILL GO WITH YOU," AND SO HE WENT TO ENGLAND WITH LEACH, AND THEY GO WITH YOU," AND SO HE WENT TO ENGLAND WITH LEACH, AND THEY BUILT THE POTTERY TOGETHER.
TO ENGLAND WITH LEACH, AND THEY BUILT THE POTTERY TOGETHER.
THEY WENT OUT AND FOUND CLAYS BUILT THE POTTERY TOGETHER.
THEY WENT OUT AND FOUND CLAYS THAT WOULD WORK.
THEY FOUND THEY WENT OUT AND FOUND CLAYS THAT WOULD WORK.
THEY FOUND A SUPPLY OF WOOD TO BURN IN THE THAT WOULD WORK.
THEY FOUND A SUPPLY OF WOOD TO BURN IN THE KILNS.
AND IN FACT, HAMADA LIVED A SUPPLY OF WOOD TO BURN IN THE KILNS.
AND IN FACT, HAMADA LIVED IN THE MAIN BUILDING OF THE KILNS.
AND IN FACT, HAMADA LIVED IN THE MAIN BUILDING OF THE POTTERY.
THAT WAS HIS BEDROOM, IN THE MAIN BUILDING OF THE POTTERY.
THAT WAS HIS BEDROOM, AND HE HAD A--A HANDMADE BED POTTERY.
THAT WAS HIS BEDROOM, AND HE HAD A--A HANDMADE BED THAT HE--HE MADE, THAT WAS STILL AND HE HAD A--A HANDMADE BED THAT HE--HE MADE, THAT WAS STILL THERE WHEN WE--WE WERE THERE.
THAT HE--HE MADE, THAT WAS STILL THERE WHEN WE--WE WERE THERE.
>> HAMADA LEACH MESHED THERE WHEN WE--WE WERE THERE.
>> HAMADA LEACH MESHED PERFECTLY, BECAUSE--OUT OF THIS IDEA THEY HAD OF EAST AND WEST IDEA THEY HAD OF EAST AND WEST MEETING AND COMING TO SOME NEW KIND OF, UH, SENSE OF WHAT THE HUMAN RACE COULD EVOLVE INTO, TO THOSE IDEAS OF OPENING UP HUMAN RACE COULD EVOLVE INTO, TO THOSE IDEAS OF OPENING UP CROSS-CULTURAL REFERENCES, UH, TO THOSE IDEAS OF OPENING UP CROSS-CULTURAL REFERENCES, UH, HOW EVERYBODY GAINS WHEN WE'RE CROSS-CULTURAL REFERENCES, UH, HOW EVERYBODY GAINS WHEN WE'RE OPEN TO THE OTHER.
HOW EVERYBODY GAINS WHEN WE'RE OPEN TO THE OTHER.
>> MM.
NOW, HOW--HOW DO I PUT OPEN TO THE OTHER.
>> MM.
NOW, HOW--HOW DO I PUT IT?
I THINK HAMADA WAS A MUCH >> MM.
NOW, HOW--HOW DO I PUT IT?
I THINK HAMADA WAS A MUCH BETTER POTTER THAN LEACH, BUT IT?
I THINK HAMADA WAS A MUCH BETTER POTTER THAN LEACH, BUT THE REASON FOR THAT IS LEACH WAS BETTER POTTER THAN LEACH, BUT THE REASON FOR THAT IS LEACH WAS A MUCH BETTER DRAFTSMAN THAN HE THE REASON FOR THAT IS LEACH WAS A MUCH BETTER DRAFTSMAN THAN HE WAS A POTTER.
BERNARD BROUGHT A MUCH BETTER DRAFTSMAN THAN HE WAS A POTTER.
BERNARD BROUGHT POTS TO LIFE IN HIS SKETCHES, WAS A POTTER.
BERNARD BROUGHT POTS TO LIFE IN HIS SKETCHES, AND THEN, WHEN HE MADE THE POT, POTS TO LIFE IN HIS SKETCHES, AND THEN, WHEN HE MADE THE POT, HE WAS SIMPLY COPYING THE AND THEN, WHEN HE MADE THE POT, HE WAS SIMPLY COPYING THE DRAWING, BUT DOING IT WITH CLAY.
HE WAS SIMPLY COPYING THE DRAWING, BUT DOING IT WITH CLAY.
HAMADA MADE HIS POTS DRAWING, BUT DOING IT WITH CLAY.
HAMADA MADE HIS POTS ON THE WHEEL, AND THAT'S WHERE HAMADA MADE HIS POTS ON THE WHEEL, AND THAT'S WHERE THEY WERE CREATED.
ON THE WHEEL, AND THAT'S WHERE THEY WERE CREATED.
>> SHOJI HAMADA THEY WERE CREATED.
>> SHOJI HAMADA WAS A GENIUS, YOU KNOW, >> SHOJI HAMADA WAS A GENIUS, YOU KNOW, SO IN SPITE OF MY CONTINUING WAS A GENIUS, YOU KNOW, SO IN SPITE OF MY CONTINUING TO WANT TO DEFINE THIS WHOLE SO IN SPITE OF MY CONTINUING TO WANT TO DEFINE THIS WHOLE THING AS CRAFT AS OPPOSED TO TO WANT TO DEFINE THIS WHOLE THING AS CRAFT AS OPPOSED TO ART, SOME PEOPLE SURPASS IT.
THE THING AS CRAFT AS OPPOSED TO ART, SOME PEOPLE SURPASS IT.
THE LUSCIOUSNESS, THE ROBUSTNESS, ART, SOME PEOPLE SURPASS IT.
THE LUSCIOUSNESS, THE ROBUSTNESS, THE--THE MATERIALS, EVERYTHING LUSCIOUSNESS, THE ROBUSTNESS, THE--THE MATERIALS, EVERYTHING ABOUT IT WAS JUST WONDERFUL, THE--THE MATERIALS, EVERYTHING ABOUT IT WAS JUST WONDERFUL, SO SUMPTUOUS AND WONDERFUL.
CERTAINLY PART OF--OF, UH, ASIAN POTTERY IS THAT WONDERFUL CERTAINLY PART OF--OF, UH, ASIAN POTTERY IS THAT WONDERFUL BUSINESS OF CAPITALIZING ON ASIAN POTTERY IS THAT WONDERFUL BUSINESS OF CAPITALIZING ON THE ACCIDENTAL, THE FORTUITOUS BUSINESS OF CAPITALIZING ON THE ACCIDENTAL, THE FORTUITOUS ACCIDENT.
I THINK IT'S THE ACCIDENTAL, THE FORTUITOUS ACCIDENT.
I THINK IT'S CHARACTERISTIC THAT ALL ACCIDENT.
I THINK IT'S CHARACTERISTIC THAT ALL LEACH-TRAINED POTTERS AND ALL CHARACTERISTIC THAT ALL LEACH-TRAINED POTTERS AND ALL THEIR OFFSPRING WANT TO EXPLORE.
LEACH-TRAINED POTTERS AND ALL THEIR OFFSPRING WANT TO EXPLORE.
THE WHOLE POINT IS KIND OF THEIR OFFSPRING WANT TO EXPLORE.
THE WHOLE POINT IS KIND OF SETTING UP A SITUATION WHERE THE THE WHOLE POINT IS KIND OF SETTING UP A SITUATION WHERE THE FORTUITOUS ACCIDENT CAN HAPPEN SETTING UP A SITUATION WHERE THE FORTUITOUS ACCIDENT CAN HAPPEN AND LEARNING HOW TO COAX IT INTO FORTUITOUS ACCIDENT CAN HAPPEN AND LEARNING HOW TO COAX IT INTO BEING ON A MORE AND MORE AND LEARNING HOW TO COAX IT INTO BEING ON A MORE AND MORE FREQUENT BASIS.
>> LEACH WAS GOING TO GO BACK TO JAPAN WITH HAMADA, BUT THEY >> LEACH WAS GOING TO GO BACK TO JAPAN WITH HAMADA, BUT THEY DECIDED INSTEAD OF RETURNING VIA TO JAPAN WITH HAMADA, BUT THEY DECIDED INSTEAD OF RETURNING VIA THE MEDITERRANEAN AND THE SUEZ DECIDED INSTEAD OF RETURNING VIA THE MEDITERRANEAN AND THE SUEZ CANAL AND SO ON PAST INDIA TO THE MEDITERRANEAN AND THE SUEZ CANAL AND SO ON PAST INDIA TO JAPAN, THEY WOULD CONTINUE WEST CANAL AND SO ON PAST INDIA TO JAPAN, THEY WOULD CONTINUE WEST AND CROSS THE ATLANTIC, CROSS JAPAN, THEY WOULD CONTINUE WEST AND CROSS THE ATLANTIC, CROSS AMERICA, AND THEN GO TO JAPAN AND CROSS THE ATLANTIC, CROSS AMERICA, AND THEN GO TO JAPAN FROM CALIFORNIA.
MY WIFE SAID AMERICA, AND THEN GO TO JAPAN FROM CALIFORNIA.
MY WIFE SAID TO THEM, "WELL, LOOK, IF YOU FROM CALIFORNIA.
MY WIFE SAID TO THEM, "WELL, LOOK, IF YOU PEOPLE ARE GOING TO GO CROSSING TO THEM, "WELL, LOOK, IF YOU PEOPLE ARE GOING TO GO CROSSING AMERICA, WOULD YOU BE WILLING TO PEOPLE ARE GOING TO GO CROSSING AMERICA, WOULD YOU BE WILLING TO DO SOME WORKSHOPS IN AMERICA?"
AMERICA, WOULD YOU BE WILLING TO DO SOME WORKSHOPS IN AMERICA?"
HAMADA THOUGHT FOR A WHILE, DO SOME WORKSHOPS IN AMERICA?"
HAMADA THOUGHT FOR A WHILE, AND HE SAID, "IF YOU'LL ARRANGE HAMADA THOUGHT FOR A WHILE, AND HE SAID, "IF YOU'LL ARRANGE THEM, WE WILL DO THEM."
AND HE SAID, "IF YOU'LL ARRANGE THEM, WE WILL DO THEM."
>> THEY SWEPT THROUGH THE UNITED THEM, WE WILL DO THEM."
>> THEY SWEPT THROUGH THE UNITED STATES AT A TIME WHEN PEOPLE >> THEY SWEPT THROUGH THE UNITED STATES AT A TIME WHEN PEOPLE WERE HUNGRY FOR WHAT THEY HAD STATES AT A TIME WHEN PEOPLE WERE HUNGRY FOR WHAT THEY HAD TO OFFER.
WERE HUNGRY FOR WHAT THEY HAD TO OFFER.
>> UP UNTIL THAT TIME, TO OFFER.
>> UP UNTIL THAT TIME, THE FUNCTIONAL POTS WERE NOT >> UP UNTIL THAT TIME, THE FUNCTIONAL POTS WERE NOT RECOGNIZED AS AN ART FORM.
THE FUNCTIONAL POTS WERE NOT RECOGNIZED AS AN ART FORM.
HAMADA AND LEACH DID BRING WITH RECOGNIZED AS AN ART FORM.
HAMADA AND LEACH DID BRING WITH THEM THE POTTERY AESTHETIC, HAMADA AND LEACH DID BRING WITH THEM THE POTTERY AESTHETIC, BUT ALSO A PHILOSOPHY OF HOW YOU THEM THE POTTERY AESTHETIC, BUT ALSO A PHILOSOPHY OF HOW YOU LIVED YOUR LIFE, AND WITH THAT, BUT ALSO A PHILOSOPHY OF HOW YOU LIVED YOUR LIFE, AND WITH THAT, THEN, A GROUP OF US FROM THE SIXTIES MOVED OUT INTO THE SIXTIES MOVED OUT INTO THE COUNTRY I REMEMBER COMING BACK FROM ENGLAND, AND NOT HAVING A ROLE I REMEMBER COMING BACK FROM ENGLAND, AND NOT HAVING A ROLE MODEL HOW TO RUN A POTTERY, I ENGLAND, AND NOT HAVING A ROLE MODEL HOW TO RUN A POTTERY, I MODELED AFTER THE LEACH POTTERY.
MODEL HOW TO RUN A POTTERY, I MODELED AFTER THE LEACH POTTERY.
I TRIED TO DO STANDARD WARE AND MODELED AFTER THE LEACH POTTERY.
I TRIED TO DO STANDARD WARE AND THEN INDIVIDUAL POTS, AND THE I TRIED TO DO STANDARD WARE AND THEN INDIVIDUAL POTS, AND THE STANDARD WARE JUST FAILED.
NO-- THEN INDIVIDUAL POTS, AND THE STANDARD WARE JUST FAILED.
NO-- THE SHOPS WOULDN'T BUY THEM.
STANDARD WARE JUST FAILED.
NO-- THE SHOPS WOULDN'T BUY THEM.
ONE SHOP BOUGHT--BOUGHT SOME THE SHOPS WOULDN'T BUY THEM.
ONE SHOP BOUGHT--BOUGHT SOME STANDARD WARE.
THEY NEVER SENT ONE SHOP BOUGHT--BOUGHT SOME STANDARD WARE.
THEY NEVER SENT A CHECK.
SO IT JUST FLOPPED.
STANDARD WARE.
THEY NEVER SENT A CHECK.
SO IT JUST FLOPPED.
THAT WAS TO BE A BLESSING A CHECK.
SO IT JUST FLOPPED.
THAT WAS TO BE A BLESSING IN DISGUISE, BECAUSE IT BROUGHT THAT WAS TO BE A BLESSING IN DISGUISE, BECAUSE IT BROUGHT ME TO--TO MAKING THE POTS THAT IN DISGUISE, BECAUSE IT BROUGHT ME TO--TO MAKING THE POTS THAT I REALLY WANTED TO MAKE ME TO--TO MAKING THE POTS THAT I REALLY WANTED TO MAKE IN MY HEART.
>> THE ALTERED FORM IS, TO ME, HOW HAMADA LEACH MIGHT HAVE >> THE ALTERED FORM IS, TO ME, HOW HAMADA LEACH MIGHT HAVE DIVERGED IN AMERICA AWAY FROM HOW HAMADA LEACH MIGHT HAVE DIVERGED IN AMERICA AWAY FROM THE WAY IT TOOK FORM IN ENGLAND.
DIVERGED IN AMERICA AWAY FROM THE WAY IT TOOK FORM IN ENGLAND.
AND I WOULD SAY IN AMERICA, THE WAY IT TOOK FORM IN ENGLAND.
AND I WOULD SAY IN AMERICA, STARTING IN THE 70s, UH, POTTERS AND I WOULD SAY IN AMERICA, STARTING IN THE 70s, UH, POTTERS STARTED LOOKING AT THE FORM AS STARTING IN THE 70s, UH, POTTERS STARTED LOOKING AT THE FORM AS IT IS ON THE WHEEL AND ALTERING STARTED LOOKING AT THE FORM AS IT IS ON THE WHEEL AND ALTERING IT BOTH ON THE WHEEL AND OFF IT IS ON THE WHEEL AND ALTERING IT BOTH ON THE WHEEL AND OFF THE WHEEL INTO A NEW FORM.
IT BOTH ON THE WHEEL AND OFF THE WHEEL INTO A NEW FORM.
STRICTLY AMERICAN.
I DON'T THINK THE WHEEL INTO A NEW FORM.
STRICTLY AMERICAN.
I DON'T THINK IT'S EVER HIT AMONGST STRICTLY AMERICAN.
I DON'T THINK IT'S EVER HIT AMONGST THE POTTERS OF BRITAIN AT ALL, IT'S EVER HIT AMONGST THE POTTERS OF BRITAIN AT ALL, THE WAY IT IS A COMMON THING THE POTTERS OF BRITAIN AT ALL, THE WAY IT IS A COMMON THING IN AMERICA.
>> I GREW IN LOVE WITH ALTERING ABOUT 25 YEARS AGO, WHEN I WENT >> I GREW IN LOVE WITH ALTERING ABOUT 25 YEARS AGO, WHEN I WENT FROM GAS FIRING TO WOOD FIRING.
ABOUT 25 YEARS AGO, WHEN I WENT FROM GAS FIRING TO WOOD FIRING.
AND I REALIZED AFTER ALL FROM GAS FIRING TO WOOD FIRING.
AND I REALIZED AFTER ALL THE LABOR OF CUTTING THE WOOD, AND I REALIZED AFTER ALL THE LABOR OF CUTTING THE WOOD, OF CLEANING THE SHELVES UP, OF THE LABOR OF CUTTING THE WOOD, OF CLEANING THE SHELVES UP, OF WADDING, STACKING, AND THEN THE OF CLEANING THE SHELVES UP, OF WADDING, STACKING, AND THEN THE BRUTALITY OF FIRING FOR HOURS WADDING, STACKING, AND THEN THE BRUTALITY OF FIRING FOR HOURS AND HOURS AND HOURS, THAT I BRUTALITY OF FIRING FOR HOURS AND HOURS AND HOURS, THAT I WANTED TO INVEST MORE TIME AND HOURS AND HOURS, THAT I WANTED TO INVEST MORE TIME IN EACH PIECE.
AND I DEVELOPED WANTED TO INVEST MORE TIME IN EACH PIECE.
AND I DEVELOPED ALTERING TECHNIQUES.
IN EACH PIECE.
AND I DEVELOPED ALTERING TECHNIQUES.
IT'S NOT ABOUT PRODUCTION POTS.
ALTERING TECHNIQUES.
IT'S NOT ABOUT PRODUCTION POTS.
I'VE BEEN THERE, DONE THAT.
IT'S IT'S NOT ABOUT PRODUCTION POTS.
I'VE BEEN THERE, DONE THAT.
IT'S ABOUT EACH POT BEING DIFFERENT, I'VE BEEN THERE, DONE THAT.
IT'S ABOUT EACH POT BEING DIFFERENT, BUT COUSINS.
BY THE END OF THE ABOUT EACH POT BEING DIFFERENT, BUT COUSINS.
BY THE END OF THE DAY, I'M WIPED OUT BECAUSE OF BUT COUSINS.
BY THE END OF THE DAY, I'M WIPED OUT BECAUSE OF ALL THE THINKING I'M DOING AND DAY, I'M WIPED OUT BECAUSE OF ALL THE THINKING I'M DOING AND WHAT GOES INTO THE PIECE.
I WANT ALL THE THINKING I'M DOING AND WHAT GOES INTO THE PIECE.
I WANT EACH ONE TO BE UNIQUE.
WHEN I WAS TEACHING A SUMMER CLASS AT ALFRED IN 1985, AND I WHEN I WAS TEACHING A SUMMER CLASS AT ALFRED IN 1985, AND I CHALLENGED THE STUDENTS TO COME CLASS AT ALFRED IN 1985, AND I CHALLENGED THE STUDENTS TO COME UP WITH A NEW SPOUT IDEA, CHALLENGED THE STUDENTS TO COME UP WITH A NEW SPOUT IDEA, AND I ALSO TOOK THE ASSIGNMENT.
I THOUGHT OF THE PUMP IN MY GRANDFATHER'S CABIN IN RURAL I THOUGHT OF THE PUMP IN MY GRANDFATHER'S CABIN IN RURAL MINNESOTA.
AS A KID, I LOVED GRANDFATHER'S CABIN IN RURAL MINNESOTA.
AS A KID, I LOVED TO PUMP WATER FROM THAT.
IT WAS MINNESOTA.
AS A KID, I LOVED TO PUMP WATER FROM THAT.
IT WAS MAGIC.
TO PUMP WATER FROM THAT.
IT WAS MAGIC.
SO I TOOK THAT EXACT SAME MAGIC.
SO I TOOK THAT EXACT SAME SHAPE, I PUT IT ON A PITCHER.
SO I TOOK THAT EXACT SAME SHAPE, I PUT IT ON A PITCHER.
IT DID NOT POUR.
THEN WHAT CAN SHAPE, I PUT IT ON A PITCHER.
IT DID NOT POUR.
THEN WHAT CAN I DO?
SO I HAD TO MODIFY IT AND IT DID NOT POUR.
THEN WHAT CAN I DO?
SO I HAD TO MODIFY IT AND MODIFY IT AND COME UP WITH I DO?
SO I HAD TO MODIFY IT AND MODIFY IT AND COME UP WITH A SPOUT THAT WOULD POUR.
AGAIN, MODIFY IT AND COME UP WITH A SPOUT THAT WOULD POUR.
AGAIN, FUNCTION WAS--WAS IMPORTANT.
A SPOUT THAT WOULD POUR.
AGAIN, FUNCTION WAS--WAS IMPORTANT.
AND IT EVOLVED INTO ONE FUNCTION WAS--WAS IMPORTANT.
AND IT EVOLVED INTO ONE OF MY SIGNATURE PIECES, AND IT EVOLVED INTO ONE OF MY SIGNATURE PIECES, THE BEAKED PITCHER.
>> THE POTS I MAKE TODAY WOULD >> THE POTS I MAKE TODAY WOULD NEVER HAVE BEEN ACCEPTED BY THE LEACH POTTERY IN 1952, BECAUSE THEY--THEY WOULDN'T COME UP LEACH POTTERY IN 1952, BECAUSE THEY--THEY WOULDN'T COME UP TO THEIR STANDARD.
BUT FOR ME, THEY--THEY WOULDN'T COME UP TO THEIR STANDARD.
BUT FOR ME, THEY'RE THE POTS I HAVE TO MAKE.
A POTTER HAS AN ATTITUDE ABOUT THE WAY HE OR SHE APPROACHES A POTTER HAS AN ATTITUDE ABOUT THE WAY HE OR SHE APPROACHES CLAY, AND IT INEVITABLY THE WAY HE OR SHE APPROACHES CLAY, AND IT INEVITABLY COMES OUT.
WHEN--WHEN WE CAME HOME FROM THE LEACH POTTERY, WHEN--WHEN WE CAME HOME FROM THE LEACH POTTERY, HAVING SPENT TWO YEARS, THE LEACH POTTERY, HAVING SPENT TWO YEARS, TWO AND 1/2 YEARS MAKING SOMEONE HAVING SPENT TWO YEARS, TWO AND 1/2 YEARS MAKING SOMEONE ELSE'S POTS WITHOUT A DESIRE FOR TWO AND 1/2 YEARS MAKING SOMEONE ELSE'S POTS WITHOUT A DESIRE FOR EXPRESSION IN THEM, YOU KNOW, ELSE'S POTS WITHOUT A DESIRE FOR EXPRESSION IN THEM, YOU KNOW, UH, IT TOOK US ABOUT 3 YEARS EXPRESSION IN THEM, YOU KNOW, UH, IT TOOK US ABOUT 3 YEARS TO GET OVER THAT, UH, QUALITY UH, IT TOOK US ABOUT 3 YEARS TO GET OVER THAT, UH, QUALITY IN OUR WORK.
>> SINCE I WAS AT ST. IVES, MY THROWING TECHNIQUE HASN'T >> SINCE I WAS AT ST. IVES, MY THROWING TECHNIQUE HASN'T CHANGED.
ADDING THE DECORATION MY THROWING TECHNIQUE HASN'T CHANGED.
ADDING THE DECORATION IN IT IS SOMETHING NEW TO ME.
CHANGED.
ADDING THE DECORATION IN IT IS SOMETHING NEW TO ME.
THE SGRAFFITO WORK THAT I'M IN IT IS SOMETHING NEW TO ME.
THE SGRAFFITO WORK THAT I'M DOING IS COMPLETELY NEW TO ME, THE SGRAFFITO WORK THAT I'M DOING IS COMPLETELY NEW TO ME, AND I DON'T KNOW THAT I HAVE DOING IS COMPLETELY NEW TO ME, AND I DON'T KNOW THAT I HAVE TECHNIQUE.
I JUST--I DO IT AND I DON'T KNOW THAT I HAVE TECHNIQUE.
I JUST--I DO IT AS WELL AS I CAN.
WHAT I HOPE I'M DOING--AND CAN'T ALWAYS ACHIEVE IT--IS PLAYING.
WHAT I HOPE I'M DOING--AND CAN'T ALWAYS ACHIEVE IT--IS PLAYING.
I'M OUT TO AMUSE MYSELF AND ALWAYS ACHIEVE IT--IS PLAYING.
I'M OUT TO AMUSE MYSELF AND AMUSE OTHERS WITHOUT IT GOING I'M OUT TO AMUSE MYSELF AND AMUSE OTHERS WITHOUT IT GOING CUTE.
IT MAY GO CUTE FROM TIME AMUSE OTHERS WITHOUT IT GOING CUTE.
IT MAY GO CUTE FROM TIME TO TIME, BUT I WANT TO EVOKE CUTE.
IT MAY GO CUTE FROM TIME TO TIME, BUT I WANT TO EVOKE NOT A DATED CUTENESS.
[LAUGHS] TO TIME, BUT I WANT TO EVOKE NOT A DATED CUTENESS.
[LAUGHS] BUT CUTENESS OF YORE, IF YOU NOT A DATED CUTENESS.
[LAUGHS] BUT CUTENESS OF YORE, IF YOU WOULD HAVE IT.
BUT CUTENESS OF YORE, IF YOU WOULD HAVE IT.
THEN THE FACE THING JUST WOULD HAVE IT.
THEN THE FACE THING JUST EXPLODED AND HAS JUST-- THEN THE FACE THING JUST EXPLODED AND HAS JUST-- IT'S BEEN THROUGH MILLIONS EXPLODED AND HAS JUST-- IT'S BEEN THROUGH MILLIONS OF RAMIFICATIONS FOR ME.
YOU'VE ALWAYS GOT THAT TWO EYES, NOSE, MOUTH PATTERN, AND IT JUST YOU'VE ALWAYS GOT THAT TWO EYES, NOSE, MOUTH PATTERN, AND IT JUST DIVIDES UP SPACE IN AN ENDLESS NOSE, MOUTH PATTERN, AND IT JUST DIVIDES UP SPACE IN AN ENDLESS VARIETY OF WAYS, AND THEN YOU DIVIDES UP SPACE IN AN ENDLESS VARIETY OF WAYS, AND THEN YOU GET THE EXTRA BONUS OF ANY HUMAN VARIETY OF WAYS, AND THEN YOU GET THE EXTRA BONUS OF ANY HUMAN FACE BEING EXPRESSIVE.
GET THE EXTRA BONUS OF ANY HUMAN FACE BEING EXPRESSIVE.
BUT IT'S--IT'S NOT ART WITH FACE BEING EXPRESSIVE.
BUT IT'S--IT'S NOT ART WITH A CAPITAL "A."
IT'S DECORATION BUT IT'S--IT'S NOT ART WITH A CAPITAL "A."
IT'S DECORATION ON TOP OF UTILITARIAN POTS, A CAPITAL "A."
IT'S DECORATION ON TOP OF UTILITARIAN POTS, AND I'VE ALWAYS BEEN MOST ON TOP OF UTILITARIAN POTS, AND I'VE ALWAYS BEEN MOST COMFORTABLE IN THAT ARENA.
>> SHE HAS THIS STRONG COMMITMENT TO HER LOCAL >> SHE HAS THIS STRONG COMMITMENT TO HER LOCAL CLIENTELE.
ONE TIME, CLARY COMMITMENT TO HER LOCAL CLIENTELE.
ONE TIME, CLARY CALLED ME UP AND SAID, "GAIL, CLIENTELE.
ONE TIME, CLARY CALLED ME UP AND SAID, "GAIL, PLEASE DON'T SEND COLLECTORS CALLED ME UP AND SAID, "GAIL, PLEASE DON'T SEND COLLECTORS TO MY STUDIO OR MY SHOWROOM."
PLEASE DON'T SEND COLLECTORS TO MY STUDIO OR MY SHOWROOM."
[LAUGHS] TO MY STUDIO OR MY SHOWROOM."
[LAUGHS] >> THAT'S CLARY, THE STRONG [LAUGHS] >> THAT'S CLARY, THE STRONG PRINCIPLES OF THE LEACH >> THAT'S CLARY, THE STRONG PRINCIPLES OF THE LEACH PRINCIPLES, OF THE POTS BEING PRINCIPLES OF THE LEACH PRINCIPLES, OF THE POTS BEING FOR LOCAL CONSUMPTION AND PRINCIPLES, OF THE POTS BEING FOR LOCAL CONSUMPTION AND THE POTS BE VERY REASONABLY FOR LOCAL CONSUMPTION AND THE POTS BE VERY REASONABLY PRICED AND AFFORDABLE TO ALL, THE POTS BE VERY REASONABLY PRICED AND AFFORDABLE TO ALL, AND SHE HAS STUCK WITH THOSE PRICED AND AFFORDABLE TO ALL, AND SHE HAS STUCK WITH THOSE PRINCIPLES FOR DECADES.
AND SHE HAS STUCK WITH THOSE PRINCIPLES FOR DECADES.
>> I WOULD IMAGINE THAT IN PRINCIPLES FOR DECADES.
>> I WOULD IMAGINE THAT IN TALKING WITH THOSE OF US WHO ARE >> I WOULD IMAGINE THAT IN TALKING WITH THOSE OF US WHO ARE LEACH-TRAINED POTTERS, YOU'VE TALKING WITH THOSE OF US WHO ARE LEACH-TRAINED POTTERS, YOU'VE BEEN HEARING A--QUITE A BIT LEACH-TRAINED POTTERS, YOU'VE BEEN HEARING A--QUITE A BIT ABOUT THE PAST, AND I ALMOST BEEN HEARING A--QUITE A BIT ABOUT THE PAST, AND I ALMOST WISH WE COULD ABOLISH THAT WORD, ABOUT THE PAST, AND I ALMOST WISH WE COULD ABOLISH THAT WORD, BECAUSE I THINK WHAT WE'RE ABOUT WISH WE COULD ABOLISH THAT WORD, BECAUSE I THINK WHAT WE'RE ABOUT IS THE CONTINUUM.
>> OH, GOOD.
IT'S GONNA BE LARGE ENOUGH, DON'T YOU THINK?
>> MM-HMM.
>> MM-HMM.
>> WHAT WE'LL DO IS--RIGHT.
SET IT ON THERE.
WHEN I THINK OF--OF THE JOY IN MY LIFE AS A POTTER, IT'S NOT WHEN I THINK OF--OF THE JOY IN MY LIFE AS A POTTER, IT'S NOT THE AWARDS, THE ACCOLADES.
IN MY LIFE AS A POTTER, IT'S NOT THE AWARDS, THE ACCOLADES.
IT'S TEACHING CHARLIE.
THE AWARDS, THE ACCOLADES.
IT'S TEACHING CHARLIE.
IT'S THE PASSING IT ON.
IT'S TEACHING CHARLIE.
IT'S THE PASSING IT ON.
LET'S TRY ONE MORE TIME.
IT'S THE PASSING IT ON.
LET'S TRY ONE MORE TIME.
PERFECT.
LET'S TRY ONE MORE TIME.
PERFECT.
>> FIRST LEARNED ABOUT WARREN PERFECT.
>> FIRST LEARNED ABOUT WARREN WHEN I WAS AN UNDERGRAD AT BEMIDJI STATE, AND, UM, WE HAD BEMIDJI STATE, AND, UM, WE HAD WARREN'S POTS IN OUR COLLECTION THERE, AND LEARNING ABOUT WARREN AND--AND THE LEACH TRADITION WAS PART OF OUR--OUR CURRICULUM.
AND--AND THE LEACH TRADITION WAS PART OF OUR--OUR CURRICULUM.
A LOT OF THE LINES AND STUFF PART OF OUR--OUR CURRICULUM.
A LOT OF THE LINES AND STUFF COME FROM A LOT OF THE WORK-- A LOT OF THE LINES AND STUFF COME FROM A LOT OF THE WORK-- YOUR JARS THAT YOU... COME FROM A LOT OF THE WORK-- YOUR JARS THAT YOU...
HE'S HAD THESE STUDENTS THAT YOUR JARS THAT YOU...
HE'S HAD THESE STUDENTS THAT HAVE GONE ON TO BECOME POTTERS HE'S HAD THESE STUDENTS THAT HAVE GONE ON TO BECOME POTTERS AND TEACHERS, AND THEN THEY HAVE HAVE GONE ON TO BECOME POTTERS AND TEACHERS, AND THEN THEY HAVE HAD STUDENTS.
WARREN LAID DOWN AND TEACHERS, AND THEN THEY HAVE HAD STUDENTS.
WARREN LAID DOWN SUCH A--A ROCK-SOLID FOUNDATION HAD STUDENTS.
WARREN LAID DOWN SUCH A--A ROCK-SOLID FOUNDATION AND BUILT A--A CULTURE AROUND SUCH A--A ROCK-SOLID FOUNDATION AND BUILT A--A CULTURE AROUND THE FUNCTIONAL POT.
AND BUILT A--A CULTURE AROUND THE FUNCTIONAL POT.
>> YEAH, THERE--THERE'S THE FUNCTIONAL POT.
>> YEAH, THERE--THERE'S SOMETHING THAT AFFECTS YOU.
YOU >> YEAH, THERE--THERE'S SOMETHING THAT AFFECTS YOU.
YOU KNOW, THEY'RE PART OF YOUR LIFE SOMETHING THAT AFFECTS YOU.
YOU KNOW, THEY'RE PART OF YOUR LIFE IF YOU LET THEM B-BE.
>> IN JUST THESE TROUBLED TIMES NOW, THAT THESE >> IN JUST THESE TROUBLED TIMES NOW, THAT THESE CRAFTS AND WHAT WE LIVE WITH ARE TROUBLED TIMES NOW, THAT THESE CRAFTS AND WHAT WE LIVE WITH ARE EVEN MORE IMPORTANT TO US.
CRAFTS AND WHAT WE LIVE WITH ARE EVEN MORE IMPORTANT TO US.
IT JUST CONNECTS US, AND IT JUST EVEN MORE IMPORTANT TO US.
IT JUST CONNECTS US, AND IT JUST BRINGS OUT OUR HUMANITY.
>> ...AND THE DIRECTION IN WHICH BOTH AS CRAFTSMEN AND ORDINARY >> ...AND THE DIRECTION IN WHICH BOTH AS CRAFTSMEN AND ORDINARY MEMBERS OF COMMUNITY WE ARE BOTH AS CRAFTSMEN AND ORDINARY MEMBERS OF COMMUNITY WE ARE ATTEMPTING TO FIND A WAY MEMBERS OF COMMUNITY WE ARE ATTEMPTING TO FIND A WAY IN WHICH THE FUNCTION OF ART CAN ATTEMPTING TO FIND A WAY IN WHICH THE FUNCTION OF ART CAN FIND ITS MODERN EXPRESSION IN WHICH THE FUNCTION OF ART CAN FIND ITS MODERN EXPRESSION IN CLOSER CONTACT WITH LIFE.
[MUSIC PLAYING] >> WE ARE VERY VISUALLY ORIENTED IN OUR CULTURE.
WE'RE NOT >> WE ARE VERY VISUALLY ORIENTED IN OUR CULTURE.
WE'RE NOT ORIENTED TOWARD THE OTHER SENSES IN OUR CULTURE.
WE'RE NOT ORIENTED TOWARD THE OTHER SENSES AS STRONGLY, AND I THINK THAT ORIENTED TOWARD THE OTHER SENSES AS STRONGLY, AND I THINK THAT THE WHOLE TACTILE, PHYSICAL RESPONSE IS AS IMPORTANT, RESPONSE IS AS IMPORTANT, I THINK, AS THE VISUAL.
I'VE COME TO IT THROUGH WEAVING.
THE REASON THAT I CHOSE WEAVING IS THAT I FELT THERE WAS A HUGE THE REASON THAT I CHOSE WEAVING IS THAT I FELT THERE WAS A HUGE AREA OF UNEXPLORED TERRITORY IS THAT I FELT THERE WAS A HUGE AREA OF UNEXPLORED TERRITORY THAT HADN'T BEEN EXPLORED AREA OF UNEXPLORED TERRITORY THAT HADN'T BEEN EXPLORED IN TERMS OF CONTEMPORARY ART.
>> LIA COOK'S WORK IS IMPORTANT, >> LIA COOK'S WORK IS IMPORTANT, BECAUSE SHE'S BEEN MAKING WORK SINCE THE 1970s AND REALLY KNOWN AS A PIONEER IN THE MODERN FIBER ARTS MOVEMENT.
>> MY BACKGROUND, IT GOES FROM BEING AN--WANTING TO BE >> MY BACKGROUND, IT GOES FROM BEING AN--WANTING TO BE AN ACTRESS TO POLITICAL SCIENCE, BEING AN--WANTING TO BE AN ACTRESS TO POLITICAL SCIENCE, BUT I ALWAYS TOOK ART.
I ALWAYS AN ACTRESS TO POLITICAL SCIENCE, BUT I ALWAYS TOOK ART.
I ALWAYS DID DRAWING AND PAINTING AND BUT I ALWAYS TOOK ART.
I ALWAYS DID DRAWING AND PAINTING AND ALMOST EVERY OTHER ART FORM DID DRAWING AND PAINTING AND ALMOST EVERY OTHER ART FORM OTHER THAN TEXTILES.
I THINK I ALMOST EVERY OTHER ART FORM OTHER THAN TEXTILES.
I THINK I WAS, LIKE, 26 WHEN I LEARNED TO OTHER THAN TEXTILES.
I THINK I WAS, LIKE, 26 WHEN I LEARNED TO WEAVE.
SPENT A YEAR IN SWEDEN, WAS, LIKE, 26 WHEN I LEARNED TO WEAVE.
SPENT A YEAR IN SWEDEN, AND MY PURPOSE THERE WAS TO WEAVE.
SPENT A YEAR IN SWEDEN, AND MY PURPOSE THERE WAS TO LEARN TO WEAVE.
I WENT TO A VERY AND MY PURPOSE THERE WAS TO LEARN TO WEAVE.
I WENT TO A VERY TRADITIONAL HAND-WEAVING SCHOOL, LEARN TO WEAVE.
I WENT TO A VERY TRADITIONAL HAND-WEAVING SCHOOL, AND IT WAS GREAT.
UH, I WANTED TRADITIONAL HAND-WEAVING SCHOOL, AND IT WAS GREAT.
UH, I WANTED TO WORK 8 HOURS A DAY, AND I AND IT WAS GREAT.
UH, I WANTED TO WORK 8 HOURS A DAY, AND I LEARNED ALL KINDS OF COMPLEX, TO WORK 8 HOURS A DAY, AND I LEARNED ALL KINDS OF COMPLEX, INTERESTING THINGS ABOUT WEAVING LEARNED ALL KINDS OF COMPLEX, INTERESTING THINGS ABOUT WEAVING THAT I NEVER WOULD HAVE GOTTEN INTERESTING THINGS ABOUT WEAVING THAT I NEVER WOULD HAVE GOTTEN FROM, UH, THE SAN FRANCISCO BAY THAT I NEVER WOULD HAVE GOTTEN FROM, UH, THE SAN FRANCISCO BAY AREA AT THE TIME.
I SHOWED MY WORK REALLY FIRST INTERNATIONALLY IN THE BIENNALE.
I SHOWED MY WORK REALLY FIRST INTERNATIONALLY IN THE BIENNALE.
THAT BIENNALE THAT OCCURRED IN INTERNATIONALLY IN THE BIENNALE.
THAT BIENNALE THAT OCCURRED IN LAUSANNE, SWITZERLAND, WAS VERY THAT BIENNALE THAT OCCURRED IN LAUSANNE, SWITZERLAND, WAS VERY UNIQUE IN THAT YOU HAD MAJOR LAUSANNE, SWITZERLAND, WAS VERY UNIQUE IN THAT YOU HAD MAJOR PEOPLE IN THE FIELD EXHIBITING UNIQUE IN THAT YOU HAD MAJOR PEOPLE IN THE FIELD EXHIBITING ALONGSIDE SOMEBODY WHO'D NEVER PEOPLE IN THE FIELD EXHIBITING ALONGSIDE SOMEBODY WHO'D NEVER EXHIBITED BEFORE, BECAUSE IT-- ALONGSIDE SOMEBODY WHO'D NEVER EXHIBITED BEFORE, BECAUSE IT-- YOU COULD APPLY.
YOU COULD EXHIBITED BEFORE, BECAUSE IT-- YOU COULD APPLY.
YOU COULD PROPOSE SOMETHING.
YOU COULD APPLY.
YOU COULD PROPOSE SOMETHING.
THAT'S ESSENTIALLY WHAT I DID, PROPOSE SOMETHING.
THAT'S ESSENTIALLY WHAT I DID, AND THEN, WHEN IT WAS ACCEPTED, THAT'S ESSENTIALLY WHAT I DID, AND THEN, WHEN IT WAS ACCEPTED, I DID IT, AND IT WAS A LARGE AND THEN, WHEN IT WAS ACCEPTED, I DID IT, AND IT WAS A LARGE INTERESTING WORK THAT GOT A LOT I DID IT, AND IT WAS A LARGE INTERESTING WORK THAT GOT A LOT OF ATTENTION.
I THINK MY WORK HAS CHANGED A LOT OVER TIME, ALTHOUGH I THINK I THINK MY WORK HAS CHANGED A LOT OVER TIME, ALTHOUGH I THINK I SEE THE THREADS THAT GO LOT OVER TIME, ALTHOUGH I THINK I SEE THE THREADS THAT GO THROUGH IT.
I'M ALWAYS EXPLORING I SEE THE THREADS THAT GO THROUGH IT.
I'M ALWAYS EXPLORING NEW IDEAS, EXPERIMENTING FOR THROUGH IT.
I'M ALWAYS EXPLORING NEW IDEAS, EXPERIMENTING FOR WHAT THE NEXT STEP MIGHT BE.
>> WHAT IS PARTICULARLY >> WHAT IS PARTICULARLY INTERESTING ABOUT COOK'S WORK IS THAT EARLY ON IN HER CAREER, SHE WENT TO THE HISTORY OF ART AND TO THE HISTORY OF PAINTING IN PARTICULAR, AND SHE MAGNIFIED DETAILS THAT YOU WOULD FIND IN PAINTED REPRODUCTIONS OF CLOTH, SO THE FOLDS, THE LACES, THE DRAPING.
>> I WANTED TO FOREGROUND TEXTILES, MAKE IT THE SUBJECT MATTER.
>> MAGNIFYING THOSE DETAILS WAS QUITE BRILLIANT, BECAUSE PAINTED CLOTH, UH, CANNOT REPRESENT ITSELF THE WAY THE PAINTED CLOTH, UH, CANNOT REPRESENT ITSELF THE WAY THE WOVEN CLOTH CAN, BECAUSE YOU'RE REPRESENT ITSELF THE WAY THE WOVEN CLOTH CAN, BECAUSE YOU'RE USING A ONE-TO-ONE MEDIUM WOVEN CLOTH CAN, BECAUSE YOU'RE USING A ONE-TO-ONE MEDIUM OF CLOTH TO REPRESENT CLOTH.
LIA COOK REPRESENTS A PREVIOUS GENERATION THAT FOUND SKILL TO LIA COOK REPRESENTS A PREVIOUS GENERATION THAT FOUND SKILL TO BE INCREDIBLY EXCITING, AND SHE GENERATION THAT FOUND SKILL TO BE INCREDIBLY EXCITING, AND SHE HAS CONTINUED TO ACQUIRE SKILL, BE INCREDIBLY EXCITING, AND SHE HAS CONTINUED TO ACQUIRE SKILL, AND HER NEW SKILL SET IS HAS CONTINUED TO ACQUIRE SKILL, AND HER NEW SKILL SET IS NEW TECHNOLOGIES.
AND HER NEW SKILL SET IS NEW TECHNOLOGIES.
>> ALL RIGHT.
OK. NEW TECHNOLOGIES.
>> ALL RIGHT.
OK. YOU KNOW, I HAVE TO HAVE SOME >> ALL RIGHT.
OK. YOU KNOW, I HAVE TO HAVE SOME TECHNICAL EXPERIMENTATION YOU KNOW, I HAVE TO HAVE SOME TECHNICAL EXPERIMENTATION AS WELL AS, YOU KNOW, DEVELOPING TECHNICAL EXPERIMENTATION AS WELL AS, YOU KNOW, DEVELOPING A LARGER CONTEXT FOR MY IDEAS.
AS WELL AS, YOU KNOW, DEVELOPING A LARGER CONTEXT FOR MY IDEAS.
ONCE I BRING IT INTO THIS A LARGER CONTEXT FOR MY IDEAS.
ONCE I BRING IT INTO THIS PROGRAM, I HAVE TO ASSIGN WEAVES ONCE I BRING IT INTO THIS PROGRAM, I HAVE TO ASSIGN WEAVES TO EACH COLOR, AND I HAVE A FILE PROGRAM, I HAVE TO ASSIGN WEAVES TO EACH COLOR, AND I HAVE A FILE OF WEAVES, AND THIS IS WHAT IT TO EACH COLOR, AND I HAVE A FILE OF WEAVES, AND THIS IS WHAT IT LOOKS LIKE.
SO ALL WEAVING IS OF WEAVES, AND THIS IS WHAT IT LOOKS LIKE.
SO ALL WEAVING IS BINARY.
IT'S JUST THE THREAD IS LOOKS LIKE.
SO ALL WEAVING IS BINARY.
IT'S JUST THE THREAD IS EITHER UP OR DOWN.
BLACK MEANS BINARY.
IT'S JUST THE THREAD IS EITHER UP OR DOWN.
BLACK MEANS UP, WHITE MEANS DOWN, SO--BUT EITHER UP OR DOWN.
BLACK MEANS UP, WHITE MEANS DOWN, SO--BUT THESE ARE THE WEAVES THAT I WANT UP, WHITE MEANS DOWN, SO--BUT THESE ARE THE WEAVES THAT I WANT TO PUT INTO THE IMAGE.
WHEN I THESE ARE THE WEAVES THAT I WANT TO PUT INTO THE IMAGE.
WHEN I ASSIGN EACH OF THEM TO A COLOR TO PUT INTO THE IMAGE.
WHEN I ASSIGN EACH OF THEM TO A COLOR AND PUT THEM IN, YOU BEGIN ASSIGN EACH OF THEM TO A COLOR AND PUT THEM IN, YOU BEGIN TO SEE HOW IT'S GOING TO WEAVE.
AND PUT THEM IN, YOU BEGIN TO SEE HOW IT'S GOING TO WEAVE.
SO AFTER I FINISH WITH THAT TO SEE HOW IT'S GOING TO WEAVE.
SO AFTER I FINISH WITH THAT COMPUTER, I BRING IT OVER HERE SO AFTER I FINISH WITH THAT COMPUTER, I BRING IT OVER HERE TO THE COMPUTER AND THE PROGRAM COMPUTER, I BRING IT OVER HERE TO THE COMPUTER AND THE PROGRAM THAT RUNS THE LOOM, AND FROM TO THE COMPUTER AND THE PROGRAM THAT RUNS THE LOOM, AND FROM THIS POINT, I JUST, UM, START.
THAT RUNS THE LOOM, AND FROM THIS POINT, I JUST, UM, START.
RIGHT NOW, I'M IN THE MIDDLE THIS POINT, I JUST, UM, START.
RIGHT NOW, I'M IN THE MIDDLE OF WEAVING, SO I'M ON--I'M GONNA RIGHT NOW, I'M IN THE MIDDLE OF WEAVING, SO I'M ON--I'M GONNA START ON THREAD 773, SO-- OF WEAVING, SO I'M ON--I'M GONNA START ON THREAD 773, SO-- AND THERE'S 2,859 WEFT THREADS START ON THREAD 773, SO-- AND THERE'S 2,859 WEFT THREADS IN HERE, AND WEFT THREADS ARE AND THERE'S 2,859 WEFT THREADS IN HERE, AND WEFT THREADS ARE THE THREADS THAT GO HORIZONTAL.
THIS LOOM IS A LOOM IN WHICH EACH THREAD IS OPERATED THIS LOOM IS A LOOM IN WHICH EACH THREAD IS OPERATED SEPARATELY, SO THERE ARE 2,640 EACH THREAD IS OPERATED SEPARATELY, SO THERE ARE 2,640 OF THESE MICRO AIR CYLINDERS, SEPARATELY, SO THERE ARE 2,640 OF THESE MICRO AIR CYLINDERS, SO EVERY THREAD CAN BE OPERATED OF THESE MICRO AIR CYLINDERS, SO EVERY THREAD CAN BE OPERATED SEPARATELY, AND THAT'S WHY YOU SO EVERY THREAD CAN BE OPERATED SEPARATELY, AND THAT'S WHY YOU CAN CREATE A FULL IMAGE OF ANY SEPARATELY, AND THAT'S WHY YOU CAN CREATE A FULL IMAGE OF ANY KIND OF STRUCTURE YOU WANT.
TOOK QUITE A WHILE BEFORE THAT COMPUTER HAND LOOM TOOK QUITE A WHILE BEFORE THAT COMPUTER HAND LOOM ACTUALLY DEVELOPED.
COMPUTER HAND LOOM ACTUALLY DEVELOPED.
I THINK INDUSTRY, POWER LOOMS ACTUALLY DEVELOPED.
I THINK INDUSTRY, POWER LOOMS WERE PROBABLY DEVELOPED EARLIER, I THINK INDUSTRY, POWER LOOMS WERE PROBABLY DEVELOPED EARLIER, BUT THE--THE LOOM THAT ACTUALLY WERE PROBABLY DEVELOPED EARLIER, BUT THE--THE LOOM THAT ACTUALLY WAS A HAND LOOM, THAT I COULD BUT THE--THE LOOM THAT ACTUALLY WAS A HAND LOOM, THAT I COULD USE FOR MY WORK CAME MUCH LATER.
WAS A HAND LOOM, THAT I COULD USE FOR MY WORK CAME MUCH LATER.
IT'S NOT AUTOMATIC.
YOU HAVE TO USE FOR MY WORK CAME MUCH LATER.
IT'S NOT AUTOMATIC.
YOU HAVE TO MAKE DECISIONS AS YOU GO OR PUT IT'S NOT AUTOMATIC.
YOU HAVE TO MAKE DECISIONS AS YOU GO OR PUT IN A SYSTEM OF COLOR AS YOU GO.
MAKE DECISIONS AS YOU GO OR PUT IN A SYSTEM OF COLOR AS YOU GO.
OK, SO THIS ONE GOES HERE.
BY CHANGING THE WAY I WEAVE IT, THE TRANSLATION, I ACTUALLY BY CHANGING THE WAY I WEAVE IT, THE TRANSLATION, I ACTUALLY CHANGE THE EMOTIONAL EXPRESSION THE TRANSLATION, I ACTUALLY CHANGE THE EMOTIONAL EXPRESSION OF WHAT I'M WEAVING, THE FACE.
CHANGE THE EMOTIONAL EXPRESSION OF WHAT I'M WEAVING, THE FACE.
OVER HERE, WE HAVE GOOD EXAMPLES OF WHAT I'M WEAVING, THE FACE.
OVER HERE, WE HAVE GOOD EXAMPLES OF THAT.
THESE ARE WOVEN VERY, OVER HERE, WE HAVE GOOD EXAMPLES OF THAT.
THESE ARE WOVEN VERY, VERY DIFFERENTLY, THIS ONE OF THAT.
THESE ARE WOVEN VERY, VERY DIFFERENTLY, THIS ONE TO THIS ONE TO THIS ONE.
TOTALLY VERY DIFFERENTLY, THIS ONE TO THIS ONE TO THIS ONE.
TOTALLY DIFFERENT WEAVE STRUCTURES, TO THIS ONE TO THIS ONE.
TOTALLY DIFFERENT WEAVE STRUCTURES, AND THEY'RE THE SAME IMAGE, DIFFERENT WEAVE STRUCTURES, AND THEY'RE THE SAME IMAGE, BUT THEY HAVE A DIFFERENT FEEL AND THEY'RE THE SAME IMAGE, BUT THEY HAVE A DIFFERENT FEEL ABOUT THEM.
BUT THEY HAVE A DIFFERENT FEEL ABOUT THEM.
WELL, I THINK MY WORK INTERSECTS ABOUT THEM.
WELL, I THINK MY WORK INTERSECTS WITH PHOTOGRAPHY.
MY MOTHER WAS WELL, I THINK MY WORK INTERSECTS WITH PHOTOGRAPHY.
MY MOTHER WAS A PRETTY GOOD PHOTOGRAPHER, SO I WITH PHOTOGRAPHY.
MY MOTHER WAS A PRETTY GOOD PHOTOGRAPHER, SO I DO HAVE THIS HUGE COLLECTION A PRETTY GOOD PHOTOGRAPHER, SO I DO HAVE THIS HUGE COLLECTION OF FAMILY PHOTOGRAPHS.
LIKE, DO HAVE THIS HUGE COLLECTION OF FAMILY PHOTOGRAPHS.
LIKE, I'VE TRIED TO GO OUT AND USE OF FAMILY PHOTOGRAPHS.
LIKE, I'VE TRIED TO GO OUT AND USE OTHER ANONYMOUS PHOTOGRAPHS, AND I'VE TRIED TO GO OUT AND USE OTHER ANONYMOUS PHOTOGRAPHS, AND SOMEHOW IT DOESN'T HAVE THE SAME OTHER ANONYMOUS PHOTOGRAPHS, AND SOMEHOW IT DOESN'T HAVE THE SAME FEELING FOR ME.
IT'S NOT SOMEHOW IT DOESN'T HAVE THE SAME FEELING FOR ME.
IT'S NOT IMPORTANT PEOPLE KNOW THAT FEELING FOR ME.
IT'S NOT IMPORTANT PEOPLE KNOW THAT THEY'RE MY FAMILY PHOTOGRAPHS.
IMPORTANT PEOPLE KNOW THAT THEY'RE MY FAMILY PHOTOGRAPHS.
IT'S JUST IMPORTANT TO ME, THEY'RE MY FAMILY PHOTOGRAPHS.
IT'S JUST IMPORTANT TO ME, BECAUSE I--I LIKE, UM, EXPLORING IT'S JUST IMPORTANT TO ME, BECAUSE I--I LIKE, UM, EXPLORING IT.
I'M LOOKING AT THESE PHOTOS BECAUSE I--I LIKE, UM, EXPLORING IT.
I'M LOOKING AT THESE PHOTOS IN DETAIL.
I'M LOOKING AT IT.
I'M LOOKING AT THESE PHOTOS IN DETAIL.
I'M LOOKING AT EXPRESSIONS AND THINKING ABOUT IN DETAIL.
I'M LOOKING AT EXPRESSIONS AND THINKING ABOUT THE DIFFERENT PERSONALITIES AND EXPRESSIONS AND THINKING ABOUT THE DIFFERENT PERSONALITIES AND HOW WE CONNECTED.
I DO FEEL IT THE DIFFERENT PERSONALITIES AND HOW WE CONNECTED.
I DO FEEL IT IMPACTS THE WORK, BUT I'M NOT HOW WE CONNECTED.
I DO FEEL IT IMPACTS THE WORK, BUT I'M NOT TRYING TO TELL A STORY TO IMPACTS THE WORK, BUT I'M NOT TRYING TO TELL A STORY TO SOMEBODY ABOUT THEM.
WHEN PEOPLE TRYING TO TELL A STORY TO SOMEBODY ABOUT THEM.
WHEN PEOPLE LOOK AT THE WORK, THEY MAKE SOMEBODY ABOUT THEM.
WHEN PEOPLE LOOK AT THE WORK, THEY MAKE A CONNECTION WITH IT.
IT BRINGS LOOK AT THE WORK, THEY MAKE A CONNECTION WITH IT.
IT BRINGS UP ALL KINDS OF STORIES AND A CONNECTION WITH IT.
IT BRINGS UP ALL KINDS OF STORIES AND HISTORIES THAT THE PERSON UP ALL KINDS OF STORIES AND HISTORIES THAT THE PERSON EXPERIENCING THE WORK HAS.
>> I WAS REALLY EXCITED TO INSTALL HER EXHIBITION IN THE >> I WAS REALLY EXCITED TO INSTALL HER EXHIBITION IN THE LARGE GALLERY SPACE.
GIVING THE TO INSTALL HER EXHIBITION IN THE LARGE GALLERY SPACE.
GIVING THE PIECES ROOM TO BREATHE WAS LARGE GALLERY SPACE.
GIVING THE PIECES ROOM TO BREATHE WAS INCREDIBLY IMPORTANT.
YOU WOULD PIECES ROOM TO BREATHE WAS INCREDIBLY IMPORTANT.
YOU WOULD THINK OF HOW YOU WOULD INSTALL INCREDIBLY IMPORTANT.
YOU WOULD THINK OF HOW YOU WOULD INSTALL MARK ROTHKO'S PAINTINGS.
IT THINK OF HOW YOU WOULD INSTALL MARK ROTHKO'S PAINTINGS.
IT WOULD BE MUCH IN THE SAME WAY, MARK ROTHKO'S PAINTINGS.
IT WOULD BE MUCH IN THE SAME WAY, SO I WANTED TO GIVE THEM THEIR WOULD BE MUCH IN THE SAME WAY, SO I WANTED TO GIVE THEM THEIR SPACE FOR CONTEMPLATION.
SO I WANTED TO GIVE THEM THEIR SPACE FOR CONTEMPLATION.
>> I THINK IT'S REALLY KIND OF SPACE FOR CONTEMPLATION.
>> I THINK IT'S REALLY KIND OF A--A GOOD-- >> I THINK IT'S REALLY KIND OF A--A GOOD-- >> IT DRAWS YOU IN.
A--A GOOD-- >> IT DRAWS YOU IN.
>> YEAH.
AND ALSO THE WAY YOU >> IT DRAWS YOU IN.
>> YEAH.
AND ALSO THE WAY YOU HUNG THE OTHER ONES.
>> YEAH.
AND ALSO THE WAY YOU HUNG THE OTHER ONES.
>> YEAH.
I WANTED THEM TO SORT HUNG THE OTHER ONES.
>> YEAH.
I WANTED THEM TO SORT OF BE LOOKING AT EACH OTHER.
>> YEAH.
I WANTED THEM TO SORT OF BE LOOKING AT EACH OTHER.
>> RIGHT.
OF BE LOOKING AT EACH OTHER.
>> RIGHT.
I'M INTERESTED IN THIS CONTINUAL >> RIGHT.
I'M INTERESTED IN THIS CONTINUAL MOTION IN RELATIONSHIP I'M INTERESTED IN THIS CONTINUAL MOTION IN RELATIONSHIP TO THE WORK AND HOW IT CHANGES MOTION IN RELATIONSHIP TO THE WORK AND HOW IT CHANGES AS YOU MOVE AROUND.
IT'S NOT TO THE WORK AND HOW IT CHANGES AS YOU MOVE AROUND.
IT'S NOT A STATIC EXPERIENCE WITH IT.
AS YOU MOVE AROUND.
IT'S NOT A STATIC EXPERIENCE WITH IT.
IT'S EXPERIENCE IN MOTION.
>> THE VIEWERS HAVE REACTED TO THE WEAVINGS REALLY POSITIVELY.
>> THE VIEWERS HAVE REACTED TO THE WEAVINGS REALLY POSITIVELY.
I THINK THERE'S A CERTAIN AMOUNT THE WEAVINGS REALLY POSITIVELY.
I THINK THERE'S A CERTAIN AMOUNT OF AWE WHEN THEY COME INTO THE I THINK THERE'S A CERTAIN AMOUNT OF AWE WHEN THEY COME INTO THE SPACE, UM, AND THE REALIZATION OF AWE WHEN THEY COME INTO THE SPACE, UM, AND THE REALIZATION THAT WHAT THEY'RE LOOKING AT IS SPACE, UM, AND THE REALIZATION THAT WHAT THEY'RE LOOKING AT IS A TEXTILE VERSUS A PHOTOGRAPH THAT WHAT THEY'RE LOOKING AT IS A TEXTILE VERSUS A PHOTOGRAPH IS A GREAT AHA MOMENT A TEXTILE VERSUS A PHOTOGRAPH IS A GREAT AHA MOMENT FOR VISITORS.
IS A GREAT AHA MOMENT FOR VISITORS.
>> WHAT THE WEAVING DOES TO FOR VISITORS.
>> WHAT THE WEAVING DOES TO PHOTOGRAPHY OR THE PHOTO IS IT >> WHAT THE WEAVING DOES TO PHOTOGRAPHY OR THE PHOTO IS IT ADDS THIS TACTILE DIMENSION THAT PHOTOGRAPHY OR THE PHOTO IS IT ADDS THIS TACTILE DIMENSION THAT YOU MAYBE DON'T HAVE WITH SORT ADDS THIS TACTILE DIMENSION THAT YOU MAYBE DON'T HAVE WITH SORT OF A FLAT PRINT.
FOR ONE THING, YOU MAYBE DON'T HAVE WITH SORT OF A FLAT PRINT.
FOR ONE THING, I HAVE ALWAYS BEEN INTERESTED OF A FLAT PRINT.
FOR ONE THING, I HAVE ALWAYS BEEN INTERESTED IN THE BRAIN AND HOW--SO IT'S I HAVE ALWAYS BEEN INTERESTED IN THE BRAIN AND HOW--SO IT'S AN INTEREST--I GUESS AN INTEREST IN THE BRAIN AND HOW--SO IT'S AN INTEREST--I GUESS AN INTEREST IN WHAT YOU WOULD CALL AN INTEREST--I GUESS AN INTEREST IN WHAT YOU WOULD CALL NEUROAESTHETICS, UH, HOW THE IN WHAT YOU WOULD CALL NEUROAESTHETICS, UH, HOW THE BRAIN WORKS, I GUESS.
AND I HAD NEUROAESTHETICS, UH, HOW THE BRAIN WORKS, I GUESS.
AND I HAD THIS IDEA ABOUT MY WORK FOR--FOR BRAIN WORKS, I GUESS.
AND I HAD THIS IDEA ABOUT MY WORK FOR--FOR A WHILE ABOUT THIS EMOTIONALITY THIS IDEA ABOUT MY WORK FOR--FOR A WHILE ABOUT THIS EMOTIONALITY OF THE--OF THE TACTILE QUALITY A WHILE ABOUT THIS EMOTIONALITY OF THE--OF THE TACTILE QUALITY AND HOW THAT, YOU KNOW, RELATES OF THE--OF THE TACTILE QUALITY AND HOW THAT, YOU KNOW, RELATES TO OUR EMOTIONAL EXPERIENCE.
AND AND HOW THAT, YOU KNOW, RELATES TO OUR EMOTIONAL EXPERIENCE.
AND THEN AS IT GOES TO THE BRAIN, TO OUR EMOTIONAL EXPERIENCE.
AND THEN AS IT GOES TO THE BRAIN, WELL, WHAT IS THE RELATIONSHIP THEN AS IT GOES TO THE BRAIN, WELL, WHAT IS THE RELATIONSHIP TO WHAT'S GOING ON IN THE BRAIN?
WELL, WHAT IS THE RELATIONSHIP TO WHAT'S GOING ON IN THE BRAIN?
AND I'M VERY INTERESTED IN THE TO WHAT'S GOING ON IN THE BRAIN?
AND I'M VERY INTERESTED IN THE TOUCH PART OF THE BRAIN, TOO, AND I'M VERY INTERESTED IN THE TOUCH PART OF THE BRAIN, TOO, SO WHEN PEOPLE ARE RESPONDING TOUCH PART OF THE BRAIN, TOO, SO WHEN PEOPLE ARE RESPONDING TO MY WORK, ARE THEY SOMEHOW SO WHEN PEOPLE ARE RESPONDING TO MY WORK, ARE THEY SOMEHOW CONNECTING INTO THIS--OUR SENSE TO MY WORK, ARE THEY SOMEHOW CONNECTING INTO THIS--OUR SENSE OF TOUCH AND OUR MEMORIES CONNECTING INTO THIS--OUR SENSE OF TOUCH AND OUR MEMORIES OF TOUCH?
OF TOUCH AND OUR MEMORIES OF TOUCH?
SO I WENT TO SEARCH FOR SOMEBODY OF TOUCH?
SO I WENT TO SEARCH FOR SOMEBODY THAT COULD DO IT WITH ME.
SO I WENT TO SEARCH FOR SOMEBODY THAT COULD DO IT WITH ME.
SO BASICALLY I FOUND GREG SIEGLE THAT COULD DO IT WITH ME.
SO BASICALLY I FOUND GREG SIEGLE IN MY SEARCH.
>> I RUN A DEPRESSION LAB, >> I RUN A DEPRESSION LAB, AND WE'RE MOSTLY FOCUSED ON UNDERSTANDING WHO GETS BETTER FROM DEPRESSION, HOW TO TREAT PEOPLE BETTER, AND BRAIN FROM DEPRESSION, HOW TO TREAT PEOPLE BETTER, AND BRAIN MECHANISMS OF RECOVERY.
UM, ONCE PEOPLE BETTER, AND BRAIN MECHANISMS OF RECOVERY.
UM, ONCE A YEAR, WE SHUT THE LAB DOWN AND MECHANISMS OF RECOVERY.
UM, ONCE A YEAR, WE SHUT THE LAB DOWN AND INVITE AN ARTIST TO THE LAB A YEAR, WE SHUT THE LAB DOWN AND INVITE AN ARTIST TO THE LAB FOR 4 DAYS, AND THE ARTIST GETS INVITE AN ARTIST TO THE LAB FOR 4 DAYS, AND THE ARTIST GETS TO USE ALL OF THE TOOLS FOR 4 DAYS, AND THE ARTIST GETS TO USE ALL OF THE TOOLS OF NEUROSCIENCE TO ANSWER SOME TO USE ALL OF THE TOOLS OF NEUROSCIENCE TO ANSWER SOME QUESTIONS ABOUT ART.
OF NEUROSCIENCE TO ANSWER SOME QUESTIONS ABOUT ART.
>> GOOD?
QUESTIONS ABOUT ART.
>> GOOD?
>> YEP.
>> GOOD?
>> YEP.
>> OH.
ALL RIGHT.
>> YEP.
>> OH.
ALL RIGHT.
>> AND REMEMBER--OK, LOOK, LOOK, >> OH.
ALL RIGHT.
>> AND REMEMBER--OK, LOOK, LOOK, LOOK, LOOK.
>> AND REMEMBER--OK, LOOK, LOOK, LOOK, LOOK.
>> OH.
LOOK, LOOK.
>> OH.
>> SEE?
WE'RE ALREADY >> OH.
>> SEE?
WE'RE ALREADY JUST ABOUT IN.
>> SEE?
WE'RE ALREADY JUST ABOUT IN.
>> OH, GREAT.
JUST ABOUT IN.
>> OH, GREAT.
>> THE ARTIST IN RESIDENCE >> OH, GREAT.
>> THE ARTIST IN RESIDENCE PROGRAM IS DONE FOR A FEW >> THE ARTIST IN RESIDENCE PROGRAM IS DONE FOR A FEW REASONS.
THE BIG ONE FOR US IS PROGRAM IS DONE FOR A FEW REASONS.
THE BIG ONE FOR US IS THAT WE STUDY EMOTIONAL REASONS.
THE BIG ONE FOR US IS THAT WE STUDY EMOTIONAL DISORDERS, WE STUDY EMOTION.
THAT WE STUDY EMOTIONAL DISORDERS, WE STUDY EMOTION.
AND YET AS PSYCHOLOGISTS AND DISORDERS, WE STUDY EMOTION.
AND YET AS PSYCHOLOGISTS AND PSYCHIATRISTS, WE'RE GIVEN VERY AND YET AS PSYCHOLOGISTS AND PSYCHIATRISTS, WE'RE GIVEN VERY LITTLE TRAINING IN HOW TO PSYCHIATRISTS, WE'RE GIVEN VERY LITTLE TRAINING IN HOW TO GENERATE EMOTION.
ARTISTS HAVE LITTLE TRAINING IN HOW TO GENERATE EMOTION.
ARTISTS HAVE THAT TRAINING, SO WE BRING THEM GENERATE EMOTION.
ARTISTS HAVE THAT TRAINING, SO WE BRING THEM IN, AND THEY TEACH US ABOUT WHAT THAT TRAINING, SO WE BRING THEM IN, AND THEY TEACH US ABOUT WHAT IT MEANS TO CREATE SOMETHING IN, AND THEY TEACH US ABOUT WHAT IT MEANS TO CREATE SOMETHING THAT GENERATES EMOTION.
WHAT WE IT MEANS TO CREATE SOMETHING THAT GENERATES EMOTION.
WHAT WE GIVE BACK IS WE HELP ARTISTS TO THAT GENERATES EMOTION.
WHAT WE GIVE BACK IS WE HELP ARTISTS TO UNDERSTAND SOMETHING ABOUT THEIR GIVE BACK IS WE HELP ARTISTS TO UNDERSTAND SOMETHING ABOUT THEIR OWN CREATION PROCESS OR HOW UNDERSTAND SOMETHING ABOUT THEIR OWN CREATION PROCESS OR HOW PEOPLE PERCEIVE THEIR ART.
OWN CREATION PROCESS OR HOW PEOPLE PERCEIVE THEIR ART.
SO, LIA, CHECK THIS OUT.
THIS IS PEOPLE PERCEIVE THEIR ART.
SO, LIA, CHECK THIS OUT.
THIS IS DYNAMIC INDICATION OF YOUR BRAIN SO, LIA, CHECK THIS OUT.
THIS IS DYNAMIC INDICATION OF YOUR BRAIN ACTIVITY RIGHT THERE.
DYNAMIC INDICATION OF YOUR BRAIN ACTIVITY RIGHT THERE.
>> YEAH.
ACTIVITY RIGHT THERE.
>> YEAH.
>> SO YOU WANNA SEE YOUR ALPHA?
>> YEAH.
>> SO YOU WANNA SEE YOUR ALPHA?
SO, UM, IF YOU WERE TO, SAY, >> SO YOU WANNA SEE YOUR ALPHA?
SO, UM, IF YOU WERE TO, SAY, CLOSE YOUR EYES FOR A SECOND, SO, UM, IF YOU WERE TO, SAY, CLOSE YOUR EYES FOR A SECOND, I CAN SEE IT HAPPEN.
CLOSE YOUR EYES FOR A SECOND, I CAN SEE IT HAPPEN.
>> THERE.
I JUST DID.
I CAN SEE IT HAPPEN.
>> THERE.
I JUST DID.
>> YEAH.
AND, SEE?
IT GOT RED.
>> THERE.
I JUST DID.
>> YEAH.
AND, SEE?
IT GOT RED.
>> YEAH.
>> YEAH.
AND, SEE?
IT GOT RED.
>> YEAH.
>> AND NOW IT'S COME BACK.
>> YEAH.
>> AND NOW IT'S COME BACK.
>> JUST FROM CLOSING MY EYES.
>> AND NOW IT'S COME BACK.
>> JUST FROM CLOSING MY EYES.
>> YEAH, CLOSING YOUR EYES >> JUST FROM CLOSING MY EYES.
>> YEAH, CLOSING YOUR EYES CREATES A LOT OF ALPHA.
>> YEAH, CLOSING YOUR EYES CREATES A LOT OF ALPHA.
>> OK. JUST GO TO SLEEP.
OK.
CREATES A LOT OF ALPHA.
>> OK. JUST GO TO SLEEP.
OK. ALL RIGHT.
>> OK. JUST GO TO SLEEP.
OK. ALL RIGHT.
>> ALL RIGHT.
ALL RIGHT.
>> ALL RIGHT.
>> SO SHALL WE WEAVE?
>> ALL RIGHT.
>> SO SHALL WE WEAVE?
>> WHY DON'T WE WEAVE?
>> SO SHALL WE WEAVE?
>> WHY DON'T WE WEAVE?
>> ALL RIGHT.
>> BEATING.
NOW YOU'RE THROWING A SHUTTLE.
>> BEATING.
NOW YOU'RE THROWING A SHUTTLE.
GOOD.
NOW YOU'RE THROWING A SHUTTLE.
GOOD.
>> BEATING DOWN.
GOOD.
>> BEATING DOWN.
>> BEATING.
>> BEATING DOWN.
>> BEATING.
TODAY IT WAS VERY EXCITING.
>> BEATING.
TODAY IT WAS VERY EXCITING.
WE WERE ACTUALLY ABLE TO OBSERVE TODAY IT WAS VERY EXCITING.
WE WERE ACTUALLY ABLE TO OBSERVE WHAT WAS GOING ON FOR LIA COOK WE WERE ACTUALLY ABLE TO OBSERVE WHAT WAS GOING ON FOR LIA COOK IN HER BRAIN AS SHE WAS WEAVING.
WHAT WAS GOING ON FOR LIA COOK IN HER BRAIN AS SHE WAS WEAVING.
TECHNOLOGY THAT HAS ALLOWED US IN HER BRAIN AS SHE WAS WEAVING.
TECHNOLOGY THAT HAS ALLOWED US TO DO THAT IS A NEW GENERATION TECHNOLOGY THAT HAS ALLOWED US TO DO THAT IS A NEW GENERATION OF MACHINES THAT MEASURE TO DO THAT IS A NEW GENERATION OF MACHINES THAT MEASURE BRAIN WAVES.
THESE ARE OF MACHINES THAT MEASURE BRAIN WAVES.
THESE ARE ELECTROENCEPHALOGRAPHY OR EEG BRAIN WAVES.
THESE ARE ELECTROENCEPHALOGRAPHY OR EEG RIGS, AND IT SOLVES A LOT ELECTROENCEPHALOGRAPHY OR EEG RIGS, AND IT SOLVES A LOT OF THE PROBLEMS THAT WOULD HAVE RIGS, AND IT SOLVES A LOT OF THE PROBLEMS THAT WOULD HAVE PREVENTED US FROM MEASURING OF THE PROBLEMS THAT WOULD HAVE PREVENTED US FROM MEASURING PEOPLE AS THEY DO CRAFT PREVENTED US FROM MEASURING PEOPLE AS THEY DO CRAFT IN THE PAST.
PEOPLE AS THEY DO CRAFT IN THE PAST.
BEATING.
IN THE PAST.
BEATING.
>> MM-HMM.
UHP.
BEATING.
>> MM-HMM.
UHP.
MADE A MISTAKE.
OK. >> MM-HMM.
UHP.
MADE A MISTAKE.
OK. >> OK. MADE A MISTAKE.
OK. >> OK. >> SO NOW YOU CAN... >> OK. >> SO NOW YOU CAN... >> CORRECT THE MISTAKE.
>> SO NOW YOU CAN... >> CORRECT THE MISTAKE.
KEEP GOING.
KEEP GOING.
>> CORRECT THE MISTAKE.
KEEP GOING.
KEEP GOING.
>> NO, NO.
I CAN'T KEEP GOING.
KEEP GOING.
KEEP GOING.
>> NO, NO.
I CAN'T KEEP GOING.
I HAVE TO STOP.
>> NO, NO.
I CAN'T KEEP GOING.
I HAVE TO STOP.
>> I MEAN CORRECT THE MISTAKE.
I HAVE TO STOP.
>> I MEAN CORRECT THE MISTAKE.
>> CORRECT MISTAKE, YES.
UH, >> I MEAN CORRECT THE MISTAKE.
>> CORRECT MISTAKE, YES.
UH, LET'S MAKE SURE I HAVE >> CORRECT MISTAKE, YES.
UH, LET'S MAKE SURE I HAVE THE RIGHT--WAIT A MINUTE.
I HAVE LET'S MAKE SURE I HAVE THE RIGHT--WAIT A MINUTE.
I HAVE TO CHECK AGAIN.
THE RIGHT--WAIT A MINUTE.
I HAVE TO CHECK AGAIN.
>> CHECKING CORRECT.
TO CHECK AGAIN.
>> CHECKING CORRECT.
SHE GOT FRUSTRATED, AND A LOT >> CHECKING CORRECT.
SHE GOT FRUSTRATED, AND A LOT OF THE FRONT PART OF HER BRAIN SHE GOT FRUSTRATED, AND A LOT OF THE FRONT PART OF HER BRAIN SEEMED TO SHUT DOWN, AND THIS IS OF THE FRONT PART OF HER BRAIN SEEMED TO SHUT DOWN, AND THIS IS WHAT HAPPENS IN PEOPLE WHEN THEY SEEMED TO SHUT DOWN, AND THIS IS WHAT HAPPENS IN PEOPLE WHEN THEY GET CLINICALLY DEPRESSED.
THEY WHAT HAPPENS IN PEOPLE WHEN THEY GET CLINICALLY DEPRESSED.
THEY SIT TONICALLY WITH THAT FRONT GET CLINICALLY DEPRESSED.
THEY SIT TONICALLY WITH THAT FRONT PART OF THEIR BRAIN SHUT DOWN.
SIT TONICALLY WITH THAT FRONT PART OF THEIR BRAIN SHUT DOWN.
AND THEN LIA GOT PAST IT... PART OF THEIR BRAIN SHUT DOWN.
AND THEN LIA GOT PAST IT... >> ALL RIGHT.
AND THEN LIA GOT PAST IT... >> ALL RIGHT.
>> AND SHE WAS BACK TO WEAVING.
>> ALL RIGHT.
>> AND SHE WAS BACK TO WEAVING.
SO PERHAPS IF WE FIND THIS >> AND SHE WAS BACK TO WEAVING.
SO PERHAPS IF WE FIND THIS IN A NUMBER OF ARTISTS, WE CAN SO PERHAPS IF WE FIND THIS IN A NUMBER OF ARTISTS, WE CAN START TO GENERALIZE ABOUT HOW IN A NUMBER OF ARTISTS, WE CAN START TO GENERALIZE ABOUT HOW ART THERAPY MIGHT ACTUALLY BE START TO GENERALIZE ABOUT HOW ART THERAPY MIGHT ACTUALLY BE HELPING PEOPLE.
>> WE SET UP THIS EXPERIMENT IN WHICH WE TRY TO READ THE BLOOD FLOW OF THE BRAIN WHILE PEOPLE FLOW OF THE BRAIN WHILE PEOPLE WALK AROUND THE MUSEUM AND EXPERIENCE DIFFERENT EMOTION LOOKING AT LIA COOK'S, UH, ART.
...FOR ME.
I WILL SECURE IT WITH A... ...FOR ME.
I WILL SECURE IT WITH A... WE TRY TO, YOU KNOW, CATCH THOSE WITH A... WE TRY TO, YOU KNOW, CATCH THOSE VARIATIONS WITH THE OPTICAL WE TRY TO, YOU KNOW, CATCH THOSE VARIATIONS WITH THE OPTICAL DEVICE THAT WE HAVE RIGHT HERE.
VARIATIONS WITH THE OPTICAL DEVICE THAT WE HAVE RIGHT HERE.
THE FACT THAT THEY'RE HAND-WOVEN DEVICE THAT WE HAVE RIGHT HERE.
THE FACT THAT THEY'RE HAND-WOVEN RATHER THAN MACHINE-MADE-WOVENS THE FACT THAT THEY'RE HAND-WOVEN RATHER THAN MACHINE-MADE-WOVENS CREATES A VERY INTERESTING RATHER THAN MACHINE-MADE-WOVENS CREATES A VERY INTERESTING CHALLENGE, BECAUSE A PERSON CREATES A VERY INTERESTING CHALLENGE, BECAUSE A PERSON WOULD BE ATTRACTED BY THE, UM, CHALLENGE, BECAUSE A PERSON WOULD BE ATTRACTED BY THE, UM, INSTINCT OF TOUCHING TO SEE HOW WOULD BE ATTRACTED BY THE, UM, INSTINCT OF TOUCHING TO SEE HOW IT WAS CREATED, AND THAT IS INSTINCT OF TOUCHING TO SEE HOW IT WAS CREATED, AND THAT IS GONNA PROBABLY CAUSE A VERY IT WAS CREATED, AND THAT IS GONNA PROBABLY CAUSE A VERY STRONG BRAIN RESPONSE DUE GONNA PROBABLY CAUSE A VERY STRONG BRAIN RESPONSE DUE TO THE FACT THAT THE PERSON IS STRONG BRAIN RESPONSE DUE TO THE FACT THAT THE PERSON IS NATURALLY CRAVING FOR TOUCHING TO THE FACT THAT THE PERSON IS NATURALLY CRAVING FOR TOUCHING THE ART, BUT THEY CANNOT DO IT.
NATURALLY CRAVING FOR TOUCHING THE ART, BUT THEY CANNOT DO IT.
>> OK, HERE.
THIS IS PICTURES THE ART, BUT THEY CANNOT DO IT.
>> OK, HERE.
THIS IS PICTURES OF MY BRAIN.
THESE SHOW THE >> OK, HERE.
THIS IS PICTURES OF MY BRAIN.
THESE SHOW THE CROSS-SECTIONS.
SO YOU CAN SEE OF MY BRAIN.
THESE SHOW THE CROSS-SECTIONS.
SO YOU CAN SEE WHERE THESE FIBERS CONNECT CROSS-SECTIONS.
SO YOU CAN SEE WHERE THESE FIBERS CONNECT IN THE BRAIN.
IT'S A WHOLE WHERE THESE FIBERS CONNECT IN THE BRAIN.
IT'S A WHOLE TECHNOLOGY THAT WAS BEING USED IN THE BRAIN.
IT'S A WHOLE TECHNOLOGY THAT WAS BEING USED FOR OTHER PURPOSES, FOR TECHNOLOGY THAT WAS BEING USED FOR OTHER PURPOSES, FOR SURGEONS.
THEY WERE LOOKING AT, FOR OTHER PURPOSES, FOR SURGEONS.
THEY WERE LOOKING AT, YOU KNOW, FIBERS IN THE BRAIN SURGEONS.
THEY WERE LOOKING AT, YOU KNOW, FIBERS IN THE BRAIN AND WHAT YOU WOULDN'T WANT YOU KNOW, FIBERS IN THE BRAIN AND WHAT YOU WOULDN'T WANT TO CUT WHILE YOU WERE DOING AND WHAT YOU WOULDN'T WANT TO CUT WHILE YOU WERE DOING SURGERY.
TO CUT WHILE YOU WERE DOING SURGERY.
WHEN I FIRST SAW EXAMPLES FROM SURGERY.
WHEN I FIRST SAW EXAMPLES FROM THIS PROGRAM, I WAS JUST BLOWN WHEN I FIRST SAW EXAMPLES FROM THIS PROGRAM, I WAS JUST BLOWN AWAY BY THE WAY IT LOOKED LIKE THIS PROGRAM, I WAS JUST BLOWN AWAY BY THE WAY IT LOOKED LIKE A WEAVING.
AWAY BY THE WAY IT LOOKED LIKE A WEAVING.
AND THAT JUST TOOK ME SOME A WEAVING.
AND THAT JUST TOOK ME SOME TOTALLY OTHER PLACE.
I JUST AND THAT JUST TOOK ME SOME TOTALLY OTHER PLACE.
I JUST THOUGHT, YOU KNOW, THIS IS VERY TOTALLY OTHER PLACE.
I JUST THOUGHT, YOU KNOW, THIS IS VERY INTERESTING IN TERMS OF ART AND THOUGHT, YOU KNOW, THIS IS VERY INTERESTING IN TERMS OF ART AND WHAT I COULD DO WITH THAT.
INTERESTING IN TERMS OF ART AND WHAT I COULD DO WITH THAT.
>> I THINK IT'S PARTICULARLY WHAT I COULD DO WITH THAT.
>> I THINK IT'S PARTICULARLY INTERESTING THAT SHE'S GONE TO >> I THINK IT'S PARTICULARLY INTERESTING THAT SHE'S GONE TO THE HARD SCIENCES, A PLACE WHERE INTERESTING THAT SHE'S GONE TO THE HARD SCIENCES, A PLACE WHERE THE HUMANITIES DOESN'T STRAY THE HARD SCIENCES, A PLACE WHERE THE HUMANITIES DOESN'T STRAY INTO VERY OFTEN, AND TRYING TO-- THE HUMANITIES DOESN'T STRAY INTO VERY OFTEN, AND TRYING TO-- NOT THINK LIKE A SCIENTIST, BUT INTO VERY OFTEN, AND TRYING TO-- NOT THINK LIKE A SCIENTIST, BUT RATHER GET SCIENTISTS TO THINK NOT THINK LIKE A SCIENTIST, BUT RATHER GET SCIENTISTS TO THINK LIKE ARTISTS.
RATHER GET SCIENTISTS TO THINK LIKE ARTISTS.
>> WHAT I'VE BEEN IMPRESSED WITH LIKE ARTISTS.
>> WHAT I'VE BEEN IMPRESSED WITH IS THE SIMILARITIES BETWEEN ART >> WHAT I'VE BEEN IMPRESSED WITH IS THE SIMILARITIES BETWEEN ART AND SCIENCE.
BOTH ARE CREATIVE IS THE SIMILARITIES BETWEEN ART AND SCIENCE.
BOTH ARE CREATIVE EFFORTS WHERE THE ARTIST GOES IN AND SCIENCE.
BOTH ARE CREATIVE EFFORTS WHERE THE ARTIST GOES IN TO ANSWER A QUESTION USING ONE EFFORTS WHERE THE ARTIST GOES IN TO ANSWER A QUESTION USING ONE MEDIUM.
THE SCIENTIST GOES IN TO ANSWER A QUESTION USING ONE MEDIUM.
THE SCIENTIST GOES IN TO ANSWER A QUESTION USING A MEDIUM.
THE SCIENTIST GOES IN TO ANSWER A QUESTION USING A DIFFERENT TOOLBOX.
THE PROCESSES TO ANSWER A QUESTION USING A DIFFERENT TOOLBOX.
THE PROCESSES UNFOLD SIMILARLY.
YOU PLAN.
DIFFERENT TOOLBOX.
THE PROCESSES UNFOLD SIMILARLY.
YOU PLAN.
YOU ANALYZE OR, IN THIS CASE, UNFOLD SIMILARLY.
YOU PLAN.
YOU ANALYZE OR, IN THIS CASE, CREATE.
YOU STEP BACK, LOOK AT YOU ANALYZE OR, IN THIS CASE, CREATE.
YOU STEP BACK, LOOK AT WHAT YOU'VE DONE, MODIFY, AND GO CREATE.
YOU STEP BACK, LOOK AT WHAT YOU'VE DONE, MODIFY, AND GO DO IT AGAIN UNTIL YOU'RE HAPPY WHAT YOU'VE DONE, MODIFY, AND GO DO IT AGAIN UNTIL YOU'RE HAPPY THAT WHAT YOU'VE UNCOVERED IS DO IT AGAIN UNTIL YOU'RE HAPPY THAT WHAT YOU'VE UNCOVERED IS SOME ESSENCE OF TRUTH.
THAT WHAT YOU'VE UNCOVERED IS SOME ESSENCE OF TRUTH.
>> I'M ALMOST AS INTERESTED SOME ESSENCE OF TRUTH.
>> I'M ALMOST AS INTERESTED IN HOW THE SCIENTIST RESPONDS >> I'M ALMOST AS INTERESTED IN HOW THE SCIENTIST RESPONDS TO MY WORK AS I AM ABOUT HOW THE IN HOW THE SCIENTIST RESPONDS TO MY WORK AS I AM ABOUT HOW THE ARTIST OR THE ART CRITIC DOES.
TO MY WORK AS I AM ABOUT HOW THE ARTIST OR THE ART CRITIC DOES.
>> WHEN WE MEASURED SOMEONE ARTIST OR THE ART CRITIC DOES.
>> WHEN WE MEASURED SOMEONE IN THE BRAIN SCANNER PERCEIVING >> WHEN WE MEASURED SOMEONE IN THE BRAIN SCANNER PERCEIVING WEAVINGS, WE GOT A LOT IN THE BRAIN SCANNER PERCEIVING WEAVINGS, WE GOT A LOT OF ACTIVITY IN BRAIN AREAS THAT WEAVINGS, WE GOT A LOT OF ACTIVITY IN BRAIN AREAS THAT ARE ASSOCIATED WITH, UM, OF ACTIVITY IN BRAIN AREAS THAT ARE ASSOCIATED WITH, UM, TOUCH AND FEELING.
ARE ASSOCIATED WITH, UM, TOUCH AND FEELING.
AND WHAT WE SAW WAS MORE TOUCH AND FEELING.
AND WHAT WE SAW WAS MORE ACTIVITY FOR THE WEAVING IN AND WHAT WE SAW WAS MORE ACTIVITY FOR THE WEAVING IN AN AREA OF THE BRAIN CALLED THE ACTIVITY FOR THE WEAVING IN AN AREA OF THE BRAIN CALLED THE AMYGDALA.
IT'S A DEEP, BURIED AN AREA OF THE BRAIN CALLED THE AMYGDALA.
IT'S A DEEP, BURIED BRAIN STRUCTURE THAT PROCESSES AMYGDALA.
IT'S A DEEP, BURIED BRAIN STRUCTURE THAT PROCESSES EMOTION AT A LOW LEVEL.
SO THE BRAIN STRUCTURE THAT PROCESSES EMOTION AT A LOW LEVEL.
SO THE THING WHERE YOU SEE A SNAKE AND EMOTION AT A LOW LEVEL.
SO THE THING WHERE YOU SEE A SNAKE AND YOU JUMP BACK 'CAUSE YOU'RE THING WHERE YOU SEE A SNAKE AND YOU JUMP BACK 'CAUSE YOU'RE SCARED, THAT'S THE AMYGDALA YOU JUMP BACK 'CAUSE YOU'RE SCARED, THAT'S THE AMYGDALA NETWORK.
LOW-LEVEL EMOTIONS AND SCARED, THAT'S THE AMYGDALA NETWORK.
LOW-LEVEL EMOTIONS AND THE SORT OF INTROCEPTION, BODY NETWORK.
LOW-LEVEL EMOTIONS AND THE SORT OF INTROCEPTION, BODY AWARENESS FEELING WERE BOTH MORE THE SORT OF INTROCEPTION, BODY AWARENESS FEELING WERE BOTH MORE ACTIVE FOR THE WEAVING THAN AWARENESS FEELING WERE BOTH MORE ACTIVE FOR THE WEAVING THAN THE PICTURE.
ACTIVE FOR THE WEAVING THAN THE PICTURE.
>> YEAH.
SO THAT WAS WHAT I WAS THE PICTURE.
>> YEAH.
SO THAT WAS WHAT I WAS LOOKING FOR.
>> YEAH.
SO THAT WAS WHAT I WAS LOOKING FOR.
>> SO THAT'S PRETTY MUCH WHAT LOOKING FOR.
>> SO THAT'S PRETTY MUCH WHAT YOU WERE LOOKING FOR AND WHAT >> SO THAT'S PRETTY MUCH WHAT YOU WERE LOOKING FOR AND WHAT YOU EXPECTED.
YOU WERE LOOKING FOR AND WHAT YOU EXPECTED.
>> SO NOW I WANT TO DO YOU EXPECTED.
>> SO NOW I WANT TO DO A REAL STUDY.
>> SO NOW I WANT TO DO A REAL STUDY.
>> NO, THERE WAS-- A REAL STUDY.
>> NO, THERE WAS-- >> WELL-- >> NO, THERE WAS-- >> WELL-- >> RIGHT.
SO THIS WAS ONE >> WELL-- >> RIGHT.
SO THIS WAS ONE PERSON.
WE GOTTA DO MORE.
>> RIGHT.
SO THIS WAS ONE PERSON.
WE GOTTA DO MORE.
>> THE SCIENCE PART OF IT, PERSON.
WE GOTTA DO MORE.
>> THE SCIENCE PART OF IT, I THINK I WAS, >> THE SCIENCE PART OF IT, I THINK I WAS, UH, OF THE IDEA THAT IT I THINK I WAS, UH, OF THE IDEA THAT IT WASN'T SOMETHING THAT I WAS UH, OF THE IDEA THAT IT WASN'T SOMETHING THAT I WAS INTERESTED IN.
I DIDN'T SEE IT WASN'T SOMETHING THAT I WAS INTERESTED IN.
I DIDN'T SEE IT AS A CREATIVE THING, BUT THAT'S INTERESTED IN.
I DIDN'T SEE IT AS A CREATIVE THING, BUT THAT'S WHAT'S FASCINATING AT THIS POINT AS A CREATIVE THING, BUT THAT'S WHAT'S FASCINATING AT THIS POINT IN MY LIFE, TO HAVE THIS WHOLE WHAT'S FASCINATING AT THIS POINT IN MY LIFE, TO HAVE THIS WHOLE NEW AVENUE OPEN UP, AND THAT WAS IN MY LIFE, TO HAVE THIS WHOLE NEW AVENUE OPEN UP, AND THAT WAS VERY EXCITING FOR ME.
NEW AVENUE OPEN UP, AND THAT WAS VERY EXCITING FOR ME.
>> AND WE'LL JUST PUT THIS ONE VERY EXCITING FOR ME.
>> AND WE'LL JUST PUT THIS ONE IN, AND THEN WE'LL BE READY >> AND WE'LL JUST PUT THIS ONE IN, AND THEN WE'LL BE READY FOR YOU.
>> [WOMEN VOCALIZING]