WEBVTT 00:13.080 --> 00:14.981 IS NO JOKE. >> IT'S SCARY. 00:14.983 --> 00:26.092 IT'S LIKE WALKING A TIGHTROPE, AND THERE'S NO SAFETY NET. 00:26.094 --> 00:30.397 >> SCULPTING METAL FABRIC A >> THERE'S SO MUCH TO LOOK AT 00:30.399 --> 00:32.432 AND SO MANY WAYS TO EXPRESS AN IDEA. 00:32.434 --> 00:36.169 HOW CAN YOU DO IT WITH JUST ONE MEDIUM? 00:36.171 --> 00:39.039 >> A MURAL MARATHON. >> THEY CAME TO THE MARKETING 00:39.041 --> 00:42.909 DEPARTMENT HERE AT CIRCUS CIRCUS AND SAID, HEY, WHAT IF WE HAVE 00:42.911 --> 00:45.678 OUR GREAT MURALISTS COME DOWN HERE AND PAINT MURALS? 00:45.680 --> 00:48.848 >> AND THE INTRICATE ART OF BEADING. 00:48.850 --> 00:54.354 >> YOU COMBINE THE SIMPLE BEADS. YOU COMBINE WATER ELEMENT. 00:54.356 --> 01:00.560 AND THEY LOOK ALL, I WOULD SAY, REALLY NICE, GORGEOUS. 01:00.562 --> 01:05.465 >> IT'S ALL AHEAD ON THIS EDITION OF "ARTS." 01:05.467 --> 01:19.879 >> BUT FOR THREE LOCAL COMEDIANS, IT'S A JOB THEY LOVE, 01:19.881 --> 01:22.782 THE CHANCE TO CONNECT WITH THE AUDIENCE AND MAKE THEM LAUGH. 01:22.784 --> 01:26.286 WHAT DOES IT TAKE? HARD WORK, AND BELIEVE IT OR 01:26.288 --> 01:29.522 NOT, INTROSPECTION. OUR DONNA PARKER INTRODUCES US 01:29.524 --> 01:39.632 TO THREE COMICS COMMITTED TO THE ART OF COMEDY. 01:39.634 --> 01:43.570 >> COMEDIANS TELLING STORIES. IT'S PERFORMANCE ART, AND LIKE 01:43.572 --> 01:49.142 ANY OTHER ART FORM, REQUIRES DISCIPLINE OF CRAFT. 01:49.144 --> 01:54.247 >> IT'S ONLY AWESOME WHEN I THINK WE'RE GETTING REACTIONS 01:54.249 --> 02:00.019 RIGHT THEN AND THERE AS FAR AS LAUGHTER OR LIKE A GASP TYPE 02:00.021 --> 02:01.788 THING. IT'S UP TO THE COMIC TO KNOW 02:01.790 --> 02:05.391 WHAT HE'S GOING FOR. >> GEORGE, JOEY McCORMICK, AND 02:05.393 --> 02:09.496 RAUL SANCHEZ ARE WORKING COMEDIANS AND THE STARS OF 02:09.498 --> 02:11.164 ONSLAUGHT. >> I REACH FOR MY WALLET, AND 02:11.166 --> 02:16.669 THE GIRL GOES, NO, NO, NO, RAUL, DON'T DO THAT. 02:16.671 --> 02:22.275 WE'RE GOING TO SPLIT THE CHECK. AND THE LADY JUST KIND OF LOOKED 02:22.277 --> 02:29.182 AT ME LIKE OOH. >> DO THESE TALENTED COMEDIANS 02:29.184 --> 02:33.052 CONSIDER THEMSELVES ARTISTS? >> NO, NOT IN THE SAME WAY OF 02:33.054 --> 02:38.224 LIKE A PAINTER AND A SINGER. I THINK COMEDY HAS ITS OWN 02:38.226 --> 02:45.532 CATEGORY OF ART. I THINK IT'S -- IT CAN BE AN ART 02:45.534 --> 02:49.903 FORM, BUT ALSO YOU TALK ABOUT THE STUPIDEST THINGS SOMETIMES 02:49.905 --> 02:57.343 TO GET PEOPLE TO LAUGH. I'M VISIBLY UPSET ABOUT THIS. 02:57.345 --> 03:02.248 I TELL HIM I'M UPSET. AND SHE GOES, NO, WHAT'S WRONG. 03:02.250 --> 03:05.552 I ASKED YOU OUT ON A DATE AND TELL THIS LADY SPLIT THE CHECK, 03:05.554 --> 03:09.255 AND SHE GETS A PAINFUL LOOK ON HER FACE AND LIKE, OH, I KNOW 03:09.257 --> 03:16.529 YOU'RE BROKE. >> IT'S JUST FUN TO FORCE YOUR 03:16.531 --> 03:19.132 PERSPECTIVE ON PEOPLE, UNSUSPECTING PEOPLE. 03:19.134 --> 03:23.069 I'M VERY PASSIONATE ABOUT IT. I LIKE THE PROCESS. 03:23.071 --> 03:28.608 I LIKE THE REACTIONS. I LIKE EVERYTHING ABOUT IT. 03:28.610 --> 03:32.912 >> LIKE EVERY GREAT ARTIST, THEY FOLLOW A DISCIPLINED PATH AND 03:32.914 --> 03:36.115 SCRIPT AND DELIVERY OF MATERIAL. >> I HAVE TO SIT DOWN WITH A 03:36.117 --> 03:40.186 NOTE PAD AND WRITE IDEAS, CERTAIN PHRASES THAT I THINK ARE 03:40.188 --> 03:42.889 FUNNY ON THE IDEA, AND THEN I HAVE TO STAND UP AND WORK THEM 03:42.891 --> 03:54.100 THROUGH IN MY HEAD. >> I KNOW YOU'RE BROKE. 03:54.102 --> 03:58.037 AND THE ELDERLY COUPLE IS LOOKING AT ME. 03:58.039 --> 04:02.041 FIRST OF ALL, IT'S MAKING ME FEEL GOOD BECAUSE I'M 04:02.043 --> 04:03.876 DECONSTRUCTING SOMETHING THAT'S BOTHERING ME. 04:03.878 --> 04:10.516 SO THIS THING RIGHT HERE MAKES ME MAD, LIKE I TAKE IT IN FRONT 04:10.518 --> 04:14.387 OF THE AUDIENCE, AND I TURN IT ON ITS HEAD AND GO, THIS IS 04:14.389 --> 04:16.856 STUPID. THIS IS WHY. 04:16.858 --> 04:19.993 >> THE MORE HONESTY YOU HAVE IN SOMETHING, THE MORE PEOPLE ARE 04:19.995 --> 04:24.063 GOING TO BE ABLE TO RELATE TO IT AND EVEN RESPECT IT AND SEE YOUR 04:24.065 --> 04:27.700 POINT OF VIEW ON IT. >> AND WHEN THE PERFORMANCE DOES 04:27.702 --> 04:35.041 RESONATE WITH THE CROWD. >> OH, MAN, I THINK IT'S YOUR 04:35.043 --> 04:37.610 DRUG, AND IT'S THE CURE. YOU HAVE THESE EXPECTATIONS FOR 04:37.612 --> 04:38.945 YOURSELF. YOU HAVE EXPECTATIONS FOR A 04:38.947 --> 04:40.480 SHOW. AND ALL OF THOSE EXPECTATIONS 04:40.482 --> 04:44.484 ARE MET AND ALL THE STARS ALIGN. YES, WE DID GOOD COMEDY TONIGHT, 04:44.486 --> 04:45.385 GUYS. GOOD COMEDY. 04:45.387 --> 04:58.464 AND IF NOT, ALL RIGHT. >> IF YOU UNDERSTAND, AT LEAST 04:58.466 --> 05:00.033 50% BOMBS. >> IT'S SCARY. 05:00.035 --> 05:03.469 IT'S LIKE WALKING A TIGHTROPE. IT'S LIKE EVERY CUSTOMER SERVICE 05:03.471 --> 05:06.272 JOB I'VE HAD. IT'S PATHETIC IN A LOT OF WAYS. 05:06.274 --> 05:08.875 YEAH, THAT'S WHY I FEEL COMFORTABLE WITH MAKING PEOPLE 05:08.877 --> 05:10.810 LAUGH. ARE YOU GUYS HAPPY SO I CAN BE 05:10.812 --> 05:13.513 HAPPY? IT'S JUST PEOPLE PLEASING THAT I 05:13.515 --> 05:15.882 DO, AND I AM. I'M HAPPY WHEN PEOPLE ARE HAPPY 05:15.884 --> 05:25.425 AND LAUGHING. COMEDY MAKES SENSE TO ME. 05:25.427 --> 05:28.461 >> THANKS, DONNA. YOU CAN ENJOY LIVE COMEDY AT THE 05:28.463 --> 05:32.932 BLIND TIGER OR SEVERAL OTHER COMEDY CLUBS AROUND TOWN. 05:32.934 --> 05:36.636 >> OVER IN CENTRAL FLORIDA, WE MEET AN ARTIST WHO BREAKS THE 05:36.638 --> 05:39.272 RULES. HE EXPRESSES HIS CREATIVITY 05:39.274 --> 05:42.675 THROUGH MANY DIFFERENT ART FORMS, FROM STONE SCULPTURES TO 05:42.677 --> 05:48.314 UNDERWATER ART. HAVE A LOOK. 05:48.316 --> 05:51.718 >> I STARTED OUT WORKING VERY YOUNG IN LEATHER AND ALWAYS 05:51.720 --> 05:56.789 LOVED THE MAKING OF THINGS. AND THEN LATER I STARTED TO 05:56.791 --> 06:01.527 CARVE MARBLE WHICH I FOUND FASCINATING AND HAVE SINCE GONE 06:01.529 --> 06:06.966 TO WORK IN MANY OTHER MATERIALS WITH WHAT I DO. 06:06.968 --> 06:09.402 THERE'S SO MANY INTERESTING WAYS TO APPROACH SOMETHING AS WELL AS 06:09.404 --> 06:13.172 SO MANY INTERESTING IDEAS. I CAN'T IMAGINE JUST DOING IT 06:13.174 --> 06:16.776 WITH THE SAME THING OVER AND OVER. 06:16.778 --> 06:20.513 ONE OF THE THINGS I LIKE ABOUT CARVING STONE IS THAT IT'S ONLY 06:20.515 --> 06:25.718 YOU AND THE STONE. THERE'S NO FOUNDERING INVOLVED, 06:25.720 --> 06:30.490 THERE'S NO PERSON RESPONSIBLE FOR PROVIDING HARDWARE. 06:30.492 --> 06:35.628 THERE'S NO ELEMENT OF PAINTS OR ADDITIVES. 06:35.630 --> 06:37.864 IT'S JUST A BLOCK OF STONE AND YOU CARVE DOWN TO THE OBJECT 06:37.866 --> 06:40.733 THAT'S IN IT. IT'S A VERY PURE FORM OF 06:40.735 --> 06:50.076 SCULPTURE. SO IN THE METHOD WHERE I WORK IN 06:50.078 --> 06:58.484 CULTIVATING ART WORKS IN THE OCEAN, SINCE THE MID 80'S I'VE 06:58.486 --> 07:00.086 BEEN WORKING WITH A MARINE SCIENTIST WHO IN THE KEYS, NAMED 07:00.088 --> 07:04.757 CHRIS ULSTAT. WE USE ELECTRIC CURRENT PRODUCED 07:04.759 --> 07:06.325 FROM PHOTO VOTAIC ZONES AND WE PROVOKE THE DEPOSITION OF 07:06.327 --> 07:11.631 MINERALS. THESE ARE ALL UNIQUE TO THE 07:11.633 --> 07:15.034 BIOLOGY TO THE PLACE WHERE THEY WERE MADE. 07:15.036 --> 07:19.305 DEVELOPMENT OF THE MATERIAL FROM THE OCEAN WAS VERY INTERESTING 07:19.307 --> 07:25.011 IN THAT THE MARINE ORGANISMS WERE VERY HAPPY TO COLONIZE IT 07:25.013 --> 07:34.320 AND HERE IT'S TRANSFORMED INTO LIKE AN ARTIFACT WHICH SHOULD 07:34.322 --> 07:39.525 EARN IT SOME RESPECT. I WORKED A LOT IN CAST METALS 07:39.527 --> 07:41.661 AND ALSO IN BUILT METALS WHICH IS WHEN WE CUT AND WELD THINGS 07:41.663 --> 08:06.018 TOGETHER. ONCE I DISCOVERED THIS MATERIAL 08:06.020 --> 08:07.987 OF WIRE FABRIC, I HAVE CONCENTRATED ON THAT PRETTY 08:07.989 --> 08:13.259 EXCLUSIVELY. THIS PIECE IS A TRAILER. 08:13.261 --> 08:21.567 I THINK THAT IT HAS AN APPEAL KIND OF TO THE COLLECTIVE MEMORY 08:21.569 --> 08:23.302 BECAUSE A LOT OF PEOPLE HAVE SOME ASSOCIATION WITH THIS 08:23.304 --> 08:25.171 SHAPE. WE'VE ALSO TAKEN ADVANTAGE OF 08:25.173 --> 08:27.874 THE FACT THAT IT'S AN OBJECT THAT YOU CAN INHABIT TO DO 08:27.876 --> 08:33.145 PERFORMANCE IN THE PIECE. I'VE HAD ACTORS INSTALLED IN 08:33.147 --> 08:37.850 HERE, AND OBSERVERS WILL COME UP TO IT AND WANT TO TALK TO THEM 08:37.852 --> 08:43.923 AND IT HAS AN INTERESTING EFFECT ON PEOPLE. 08:43.925 --> 08:45.391 THEY'LL COME UP, AND EVEN THOUGH YOU CAN SEE IN ANYWHERE, THEY'LL 08:45.393 --> 08:47.493 COME UP AND ACTUALLY LOOK THROUGH THE WINDOWS. 08:47.495 --> 08:49.795 LIKE THAT'S HOW YOU WOULD SEE INSIDE. 08:49.797 --> 08:52.999 THE FENCE PIECE THAT WE'VE JUST INSTALLED THIS LAST MONTH IS 08:53.001 --> 08:55.301 KIND OF INTERESTING AND A LITTLE BIT OF A DEPARTURE FOR ME 08:55.303 --> 08:58.437 BECAUSE IT REALLY DOES SEEK TO COMMUNICATE WITH JUST AN AVERAGE 08:58.439 --> 09:03.809 PERSON IN THEIR AVERAGE DAY. THE PIECE BORDERS A CAR PACK AND 09:03.811 --> 09:06.546 YOU LOOK AT IT CLOSELY AND IT DOES GET YOUR ATTENTION BECAUSE 09:06.548 --> 09:09.815 OF THE SCENES THERE THAT ARE DEPICTED. 09:09.817 --> 09:13.386 EACH OF THE PANELS IN IT, ILLUSTRATE ANIMALS USING CARS 09:13.388 --> 09:17.857 AND TRUCKS FOR THEIR PURPOSES. IT'S JUST BECOME ANOTHER PIECE 09:17.859 --> 09:24.297 OF FURNITURE DOWN TOWN. MATERIAL I'LL ACQUIRE AND LEARN 09:24.299 --> 09:27.667 HOW TO USE IS USUALLY DRIVEN BY THE IDEA AND HOW I THINK IT 09:27.669 --> 09:33.205 WOULD BEST BE EXPRESSED. AND WHATEVER MATERIALS SEEMS TO 09:33.207 --> 09:37.276 WORK FOR THAT IDEA IS WHERE I WILL TAKE IT. 09:37.278 --> 09:47.587 TO BE ABLE TO GO FROM MATERIAL TO MATERIAL I THINK YOU'RE MORE 09:47.589 --> 09:50.189 LIKE A WRITER THAN YOU ARE A PRACTICER OF WATER COLOR OR A 09:50.191 --> 09:54.460 PERSON THAT ONLY WORKS IN CLAY. THERE'S SO MUCH ART WORK TO LOOK 09:54.462 --> 09:55.461 HAD AT AND SO MANY WAYS TO EXPRESS 09:55.463 --> 10:02.668 AN IDEA. HOW CAN YOU DO IT WITH JUST ONE 10:02.670 --> 10:04.236 MEDIUM? SOMEONE CERTAINLY CAN, BUT 10:04.238 --> 10:06.739 THERE'S JUST TOO MANY INTERESTING THINGS TO DEAL WITH. 10:06.741 --> 10:07.974 TOO MANY INTERESTING THINGS TO WANT TO EXPLORE. 10:07.976 --> 10:09.642 A LOT OF THE WORK THAT I DO, PARTICULARLY THE WORK IN THE 10:09.644 --> 10:12.745 OCEAN ARE EVERYDAY OBJECTS. BUT HERE THE ORDINARY HAS BEEN 10:12.747 --> 10:15.047 TRANSFORMED INTO THE EXTRA ORDINARY TO DRAW ATTENTION TO 10:15.049 --> 10:20.019 IT. I THINK FOR MY PURPOSE IS TO 10:20.021 --> 10:23.789 MAKE PEOPLE LOOK AT IT AND WONDER HOW IT WAS MADE AND 10:23.791 --> 10:37.703 PRESUMABLY WHY IT WAS MADE. 10:37.705 --> 11:09.468 >> UP NEXT, WE HEAD OUT WEST, WHERE SEVERAL OF THE NATION'S 11:09.470 --> 11:14.540 TOP MURALISTS DESCEND UPON THE WALLS OF CIRCUS CIRCUS CASINO IN 11:14.542 --> 11:18.110 DOWNTOWN RENO, NEVADA, TO COMPETE IN A 24-HOUR MURAL 11:18.112 --> 11:19.145 MARATHON. THE CLOCK IS RUNNING. 11:19.147 --> 11:32.124 LET'S WATCH THE RACE. [ MUSIC ] 11:32.126 --> 11:34.727 >> THE CIRCUS CIRCUS MURAL MARATHON IS SOMETHING THAT WAS 11:34.729 --> 11:36.362 STARTED THREE YEARS AGO TO GIVE ARTISTS A CHANCE TO DO THEIR 11:36.364 --> 11:41.600 STREET ART. THEY HAVE 24 HOURS TO DO THEIR 11:41.602 --> 11:42.968 PIECE ON THE SIDE OF CIRCUS CIRCUS. 11:42.970 --> 11:48.207 AND THEN IT GETS JUDGED THE NEXT DAY. 11:48.209 --> 11:49.842 I'M THE PRESIDENT OF THE REGIONAL ALLIANCE FOR DOWNTOWN. 11:49.844 --> 11:54.580 THE REGIONAL ALLIANCE FOR DOWNTOWN IS A MEMBERSHIP GROUP 11:54.582 --> 11:57.850 OF BUSINESS OWNERS, PROPERTY OWNERS, RESIDENTS AND ANYBODY 11:57.852 --> 12:05.191 THAT HAS ANY INTEREST IN DOWNTOWN. 12:05.193 --> 12:11.263 >> WE WERE LOOKING TO TIE IN THE UNIVERSITY WITH DOWNTOWN. 12:11.265 --> 12:12.765 >> THE MURAL MARATHON STARTED AS AN IDEA BY ONE OF OUR RAD BOARD 12:12.767 --> 12:15.668 MEMBERS AND A MEMBER OF THE UNIVERSITY, HOWARD ROSENBURG AND 12:15.670 --> 12:18.637 DICK. I GOT A TELEPHONE CALL FROM 12:18.639 --> 12:25.211 DICK. HE SAID WOULD YOU WALK DOWNTOWN 12:25.213 --> 12:26.679 WITH ME, SEE IF WE CAN COME UP WITH A COUPLE OF IDEAS TO MAKE 12:26.681 --> 12:29.582 IT LOOK A LITTLE BIT BETTER. WE STARTED OUT AT THE RIVER. 12:29.584 --> 12:33.686 AND WE STARTED WALKING NORTH. AND WE CAME ALONG HERE. 12:33.688 --> 12:35.054 AND HE SAID WHAT ABOUT CIRCUS CIRCUS? 12:35.056 --> 12:39.558 I SAID WHAT ABOUT IT? NEVER DAWNED ON ME THAT IT'S 12:39.560 --> 12:41.961 CIRCUS CIRCUS, SO, WHAT ARE YOU GOING TO DO, CLOWNS? 12:41.963 --> 12:43.763 HE SAID NO, COULD WE DO SOMETHING ALONG HERE. 12:43.765 --> 12:50.870 I SAID MURALS. >> THEY CAME TO THE MARKETING 12:50.872 --> 12:52.138 DEPARTMENT HERE AT CIRCUS CIRCUS. 12:52.140 --> 12:53.906 AND SAID, HEY, WHAT IF WE HAVE SOME OF OUR GREAT MURALISTS COME 12:53.908 --> 12:56.942 DOWN HERE AND PAINT MURALS. SO THE WHOLE MURAL MARATHON WAS 12:56.944 --> 13:02.681 BORN. >> THIS IS MY FIRST TIME EVER 13:02.683 --> 13:04.150 REALLY ENTERING INTO A COMPETITION LIKE THIS AND 13:04.152 --> 13:12.391 COMPETING WITH OTHER ARTISTS. >> THERE'S ONLY SEVEN SPACES. 13:12.393 --> 13:16.629 ONCE THEY GET THOSE SEVEN THEY'RE INVITED DOWN HERE TO 13:16.631 --> 13:24.370 COMPETE 24 HOURS PAINTING THEIR MURAL FOR PRIZES. 13:24.372 --> 13:25.905 >> IT WAS JUST AN HONOR TO BE CHOSEN TO COME OUT HERE AND BE A 13:25.907 --> 13:35.681 PARTICIPANT. >> THIS IS MY THIRD YEAR BEING 13:35.683 --> 13:47.326 INVOLVED WITH THE MURAL COMPETITION. 13:47.328 --> 13:49.995 >> SO I'M FROM CONNECTICUT. AND THIS IS MY FIRST TIME IN 13:49.997 --> 13:52.064 RENO. THANKS TO CIRCUS CIRCUS. 13:52.066 --> 13:53.666 GIVING ME THIS AWESOME OPPORTUNITY TO BE PART OF THIS 13:53.668 --> 13:57.436 EVENT. MY MURALS ARE HIGHLY INFLUENCED 13:57.438 --> 14:03.509 IN THE GRAFFITI ART CULTURE YOU'LL SEE RAW SPLATTER AND 14:03.511 --> 14:07.279 PAINT SPLASHES AND COLOR. >> I'M FROM SACRAMENTO. 14:07.281 --> 14:09.181 I'VE PAINTED A LOT OF MURALS WITH A LOT OF ARTISTS WITH 14:09.183 --> 14:12.952 VARYING SKILL LEVELS. BUT NEVER ON SUCH A CRUCIAL TIME 14:12.954 --> 14:15.654 CRUNCH. >> I'M A LOCAL ARTIST FROM RENO, 14:15.656 --> 14:17.656 NEVADA. AND I DO MURAL WORK AS MY 14:17.658 --> 14:25.464 FULL-TIME JOB. I FEEL LIKE ANYTHING THAT REALLY 14:25.466 --> 14:27.132 PROMOTES ART AND MURAL ART AND ANYTHING IN GENERAL THAT WE'RE 14:27.134 --> 14:31.036 DOING IS GREAT. AND THIS IS A GOOD WAY TO KEEP 14:31.038 --> 14:34.874 IT FRESH AND UPDATED EVERY YEAR. >> CIRCUS CIRCUS KEEPS THESE 14:34.876 --> 14:38.911 MURALS UP FOR AN ENTIRE YEAR. IN FACT, ONLY ABOUT TWO WEEKS 14:38.913 --> 14:41.213 AGO WE HAD A BIG EVENT DOWN HERE WHERE WE STARTED PAINTING OVER 14:41.215 --> 14:43.382 LAST YEAR'S MURALS WHICH IS A HARD THING TO DO TO PAINT OVER 14:43.384 --> 14:46.585 SOME REALLY GOOD ART. BUT THEY'RE UP HERE FOR A YEAR 14:46.587 --> 14:49.188 THEN THEY PAINT OVER THEM AND THE SAME SEVEN PANELS ARE DONE 14:49.190 --> 14:52.258 EVERY YEAR. >> THEY'RE ALMOST TAKEN FOR 14:52.260 --> 14:55.127 GRANTED WHEN WE HAVE TO TELL EVERYBODY THEY'RE COMING DOWN. 14:55.129 --> 14:56.629 THEN WE GET A BIG MAD RUSH FOR EVERYBODY TO COME TAKE PICTURES 14:56.631 --> 15:03.102 OF THEM. >> THE NEAT THING ABOUT THIS IS 15:03.104 --> 15:04.637 THERE'S ONE DOWN THERE THAT'S JUST GOT THE UNDERPAINTING ON 15:04.639 --> 15:07.239 IT. AND IT'S A LANDSCAPE. 15:07.241 --> 15:11.143 >> IT IS GORGEOUS. NOW, IT'S AN UNDERPAINTING. 15:11.145 --> 15:12.878 HE'S NOT CONCERNED WITH WHERE THE BRUSH STROKES ARE GOING AND 15:12.880 --> 15:18.150 ALL THAT KIND OF BUSINESS. BUT HE HAS CREATED AN 15:18.152 --> 15:20.386 IMPRESSIONIST PAINTING THAT IS ABSOLUTELY GORGEOUS IN AND OF 15:20.388 --> 15:28.327 ITSELF. 15:28.329 --> 15:36.135 >> I'M ABOUT AT THE NINE-HOUR POINT NOW AND TIME IS THE 15:36.137 --> 15:39.972 BIGGEST CHALLENGE. BUT ALSO PEOPLE TALK TO YOU AND 15:39.974 --> 15:44.276 WE WANT TO TALK BACK AND SOCIALIZE AS WELL. 15:44.278 --> 16:04.863 [ MUSIC ] >> IT PUSHED ME TO THE LIMITS 16:04.865 --> 16:06.865 FOR SURE. I PAINTED FOR LIKE 18 HOURS. 16:06.867 --> 16:12.104 I TOOK AN HOUR BREAK. SO, YEAH, I STILL PROBABLY HAVE 16:12.106 --> 16:14.139 BLOODSHOT EYES I DID NOT GET ANY SLEEP. 16:14.141 --> 16:16.608 IT WAS A VERY GRUELING PROCESS. BUT I'M VERY, VERY HAPPY AND 16:16.610 --> 16:20.746 SATISFIED WITH HOW THE END RESULT CAME OUT. 16:20.748 --> 16:22.147 >> IT WAS REALLY COOL TO WATCH LIKE EVERYBODY'S DIFFERENT 16:22.149 --> 16:24.883 PROCESS. AND THEY WERE COMPLETELY 16:24.885 --> 16:31.657 DIFFERENT FROM ONE WALL TO THE NEXT. 16:31.659 --> 16:43.602 [ MUSIC ] >> FIRST PLACE, $2,000, RYAN 16:43.604 --> 16:49.641 DARCY CHRISTENSEN. [APPLAUSE] 16:49.643 --> 16:50.876 >> THANK YOU VERY MUCH EVERYBODY. 16:50.878 --> 17:04.723 THANK YOU. [APPLAUSE] 17:04.725 --> 17:08.394 >> IT'S BRINGING RENO NATIONWIDE EXPOSURE AS AN ARTIST COMMUNITY 17:08.396 --> 17:11.797 AS WELL, BECAUSE A LOT OF THESE ARTISTS TRAVEL AND THEY HAVE 17:11.799 --> 17:15.167 REALLY WIDE AUDIENCES AND ARE WORLD FAMOUS AS WELL. 17:15.169 --> 17:19.171 SO IT'S JUST A WIN-WIN FOR EVERYBODY. 17:19.173 --> 17:40.526 >> FINALLY, WE MEET A RUSSIAN-BORN CINCINNATI, OHIO, 17:40.528 --> 17:43.762 ARTIST WHO TURNS HER COLLECTION OF FOUND OBJECTS INTO FINE 17:43.764 --> 17:50.402 JEWELRY. TAKE A LOOK. 17:50.404 --> 17:53.305 >> I WAS ALWAYS TRYING TO MAKE SOME JEWELRY. 17:53.307 --> 17:55.040 BUT FOLLOWING MY INSTINCTS AND FOLLOWING MY IDEAS IS LOTS OF 17:55.042 --> 17:57.076 FUN. I STARTED TO COLLECT MANY 17:57.078 --> 18:08.153 DIFFERENT SMALL THINGS. AND IT WAS OVERWHELMING 18:08.155 --> 18:23.702 BOXES, BAGS, TINY, NOT SO TINY EVERYWHERE. 18:23.704 --> 18:29.908 THE PEN HAS DIFFERENT SMALL DETAILS LIKE CIRCLES, ENDS, THE 18:29.910 --> 18:38.617 SPRING SO I SAVED SOME OF THEM AND I USED THEM TO MAKE UNIQUE 18:38.619 --> 18:47.559 DIFFERENT LOOKING PIECES. I WAS PORN AT A TIME WHEN WE 18:47.561 --> 18:57.369 WERE SAVING ALMOST EVERYTHING. THERE WAS NO SUCH THING LIKE 18:57.371 --> 19:00.472 THROW AWAY. ANYTHING'S POSSIBLE. 19:00.474 --> 19:07.779 EVERYTHING HAD A PURPOSE. JEWELRY IS ART AND THE JEWELRY 19:07.781 --> 19:12.551 SOMETIMES IT'S SIMPLE PIECES, SOMETIMES IT'S DIFFERENT, 19:12.553 --> 19:18.223 SOMEBODY WILL THINK WHO IS GOING TO WEAR IT. 19:18.225 --> 19:23.028 BUT MY VIEW IS THAT'S BEAUTIFUL, IT'S DIFFERENT, AND YOU ARE NOT 19:23.030 --> 19:27.866 ABLE TO SEE IN OTHER PLACES BECAUSE IT'S UNIQUE, I MADE IT. 19:27.868 --> 19:33.405 SO BEADS, THEY ARE SO DIFFERENT AND VARIETY IS ENDLESS. 19:33.407 --> 19:39.545 I HAVE TO THINK WHAT IS BETTER FOR ME TO USE, SMALL, LARGE, 19:39.547 --> 19:45.150 MEDIUM, SO I AM -- IF I HAVE THEM, I WILL JUST LAY DOWN THEM 19:45.152 --> 19:48.387 ON THE TABLE WITHOUT THREAD, WITHOUT WIRE, JUST LAY THEM DOWN 19:48.389 --> 19:57.796 AND I MIXING COLORS LIKE THAT, BY MY HAND. 19:57.798 --> 19:59.231 I WORK WITH GEMSTONES, I WIRED THEM UP, I MAKE NECKLACES OF 19:59.233 --> 20:03.435 THEM, BRACELETS. THE WIRING IS VERY ATTRACTIVE 20:03.437 --> 20:10.509 THING. AND GOOD ELEMENT YOU COMBINE 20:10.511 --> 20:15.447 WITH SIMPLE BEADS, YOU COMBINE WIRE ELEMENTS AND THEY LOOK, OH, 20:15.449 --> 20:29.595 I WOULD SAY REALLY NICE, GORGEOUS. 20:29.597 --> 20:31.330 TO MAKE NICE PIECE, BEAUTIFUL PIECE YOU OUGHT TO HAVE GOOD 20:31.332 --> 20:39.104 TOOLS. I USE THREE DIFFERENT TYPES OF 20:39.106 --> 20:44.243 PLIERS, FLAT NOSE PLIERS, ROUNDED NOSE PLIERS, AND I NAME 20:44.245 --> 20:49.781 THEM DUCK NOSE PLIERS. SO THOSE ARE THE ENDS I TAPER 20:49.783 --> 20:57.322 IT. THEY ARE GOOD FOR MAKING WIRE 20:57.324 --> 20:58.290 DETAILS. CUTTERS. 20:58.292 --> 21:00.025 WE HAVE TO HAVE CUTTERS TO CUT WIRE. 21:00.027 --> 21:05.130 WHEN YOU WORK ONLY WITH BEADS, WE HAVE TO HAVE NICE VARIETY OF 21:05.132 --> 21:13.472 NEEDLES, NEEDLES THEN ENOUGH TO GO THROUGH TINIEST HOLE AND 21:13.474 --> 21:17.809 LAYING THE THREAD WITH IT, LIKE THROUGH. 21:17.811 --> 21:23.248 YOU HAVE TO HAVE SOME GLUE. YOU HAVE TO HAVE SOME SUPPORTING 21:23.250 --> 21:24.983 MATERIALS LIKE YOUR PAD, JEWELRY PAD TO PREVENT BEADS ROLLING 21:24.985 --> 21:28.954 DOWN FROM THE TABLE. AND YOU HAVE TO BE INVENTIVE 21:28.956 --> 21:35.093 ENOUGH TO KNOW HOW TO USE THEM IN WHAT ORDER. 21:35.095 --> 21:39.364 IF YOU HAVE INTENTION, IF YOU HAVE DESIRE TO USE IT, YOU WILL 21:39.366 --> 21:46.705 LEARN A LOT, AND YOU WILL LEARN WHAT TOOLS ARE WORKING FOR YOU. 21:46.707 --> 21:50.142 >> AND THAT WRAPS IT UP FOR THIS EDITION OF "ARTS." 21:50.144 --> 21:57.215 FOR MORE ARTS AND CULTURE, VISIT KLRN.ORG/ARTS, WHERE YOU CAN 21:57.217 --> 22:01.987 FIND INFORMATION, BLOGS, AND INFORMATION FOR UPCOMING EVENTS. 22:01.989 --> 22:06.591 I'M APRIL ANCIRA. I'LL SEE YOU NEXT WEEK.