1 00:00:13,080 --> 00:00:14,981 IS NO JOKE. >> IT'S SCARY. 2 00:00:14,983 --> 00:00:26,092 IT'S LIKE WALKING A TIGHTROPE, AND THERE'S NO SAFETY NET. 3 00:00:26,094 --> 00:00:30,397 >> SCULPTING METAL FABRIC A >> THERE'S SO MUCH TO LOOK AT 4 00:00:30,399 --> 00:00:32,432 AND SO MANY WAYS TO EXPRESS AN IDEA. 5 00:00:32,434 --> 00:00:36,169 HOW CAN YOU DO IT WITH JUST ONE MEDIUM? 6 00:00:36,171 --> 00:00:39,039 >> A MURAL MARATHON. >> THEY CAME TO THE MARKETING 7 00:00:39,041 --> 00:00:42,909 DEPARTMENT HERE AT CIRCUS CIRCUS AND SAID, HEY, WHAT IF WE HAVE 8 00:00:42,911 --> 00:00:45,678 OUR GREAT MURALISTS COME DOWN HERE AND PAINT MURALS? 9 00:00:45,680 --> 00:00:48,848 >> AND THE INTRICATE ART OF BEADING. 10 00:00:48,850 --> 00:00:54,354 >> YOU COMBINE THE SIMPLE BEADS. YOU COMBINE WATER ELEMENT. 11 00:00:54,356 --> 00:01:00,560 AND THEY LOOK ALL, I WOULD SAY, REALLY NICE, GORGEOUS. 12 00:01:00,562 --> 00:01:05,465 >> IT'S ALL AHEAD ON THIS EDITION OF "ARTS." 13 00:01:05,467 --> 00:01:19,879 >> BUT FOR THREE LOCAL COMEDIANS, IT'S A JOB THEY LOVE, 14 00:01:19,881 --> 00:01:22,782 THE CHANCE TO CONNECT WITH THE AUDIENCE AND MAKE THEM LAUGH. 15 00:01:22,784 --> 00:01:26,286 WHAT DOES IT TAKE? HARD WORK, AND BELIEVE IT OR 16 00:01:26,288 --> 00:01:29,522 NOT, INTROSPECTION. OUR DONNA PARKER INTRODUCES US 17 00:01:29,524 --> 00:01:39,632 TO THREE COMICS COMMITTED TO THE ART OF COMEDY. 18 00:01:39,634 --> 00:01:43,570 >> COMEDIANS TELLING STORIES. IT'S PERFORMANCE ART, AND LIKE 19 00:01:43,572 --> 00:01:49,142 ANY OTHER ART FORM, REQUIRES DISCIPLINE OF CRAFT. 20 00:01:49,144 --> 00:01:54,247 >> IT'S ONLY AWESOME WHEN I THINK WE'RE GETTING REACTIONS 21 00:01:54,249 --> 00:02:00,019 RIGHT THEN AND THERE AS FAR AS LAUGHTER OR LIKE A GASP TYPE 22 00:02:00,021 --> 00:02:01,788 THING. IT'S UP TO THE COMIC TO KNOW 23 00:02:01,790 --> 00:02:05,391 WHAT HE'S GOING FOR. >> GEORGE, JOEY McCORMICK, AND 24 00:02:05,393 --> 00:02:09,496 RAUL SANCHEZ ARE WORKING COMEDIANS AND THE STARS OF 25 00:02:09,498 --> 00:02:11,164 ONSLAUGHT. >> I REACH FOR MY WALLET, AND 26 00:02:11,166 --> 00:02:16,669 THE GIRL GOES, NO, NO, NO, RAUL, DON'T DO THAT. 27 00:02:16,671 --> 00:02:22,275 WE'RE GOING TO SPLIT THE CHECK. AND THE LADY JUST KIND OF LOOKED 28 00:02:22,277 --> 00:02:29,182 AT ME LIKE OOH. >> DO THESE TALENTED COMEDIANS 29 00:02:29,184 --> 00:02:33,052 CONSIDER THEMSELVES ARTISTS? >> NO, NOT IN THE SAME WAY OF 30 00:02:33,054 --> 00:02:38,224 LIKE A PAINTER AND A SINGER. I THINK COMEDY HAS ITS OWN 31 00:02:38,226 --> 00:02:45,532 CATEGORY OF ART. I THINK IT'S -- IT CAN BE AN ART 32 00:02:45,534 --> 00:02:49,903 FORM, BUT ALSO YOU TALK ABOUT THE STUPIDEST THINGS SOMETIMES 33 00:02:49,905 --> 00:02:57,343 TO GET PEOPLE TO LAUGH. I'M VISIBLY UPSET ABOUT THIS. 34 00:02:57,345 --> 00:03:02,248 I TELL HIM I'M UPSET. AND SHE GOES, NO, WHAT'S WRONG. 35 00:03:02,250 --> 00:03:05,552 I ASKED YOU OUT ON A DATE AND TELL THIS LADY SPLIT THE CHECK, 36 00:03:05,554 --> 00:03:09,255 AND SHE GETS A PAINFUL LOOK ON HER FACE AND LIKE, OH, I KNOW 37 00:03:09,257 --> 00:03:16,529 YOU'RE BROKE. >> IT'S JUST FUN TO FORCE YOUR 38 00:03:16,531 --> 00:03:19,132 PERSPECTIVE ON PEOPLE, UNSUSPECTING PEOPLE. 39 00:03:19,134 --> 00:03:23,069 I'M VERY PASSIONATE ABOUT IT. I LIKE THE PROCESS. 40 00:03:23,071 --> 00:03:28,608 I LIKE THE REACTIONS. I LIKE EVERYTHING ABOUT IT. 41 00:03:28,610 --> 00:03:32,912 >> LIKE EVERY GREAT ARTIST, THEY FOLLOW A DISCIPLINED PATH AND 42 00:03:32,914 --> 00:03:36,115 SCRIPT AND DELIVERY OF MATERIAL. >> I HAVE TO SIT DOWN WITH A 43 00:03:36,117 --> 00:03:40,186 NOTE PAD AND WRITE IDEAS, CERTAIN PHRASES THAT I THINK ARE 44 00:03:40,188 --> 00:03:42,889 FUNNY ON THE IDEA, AND THEN I HAVE TO STAND UP AND WORK THEM 45 00:03:42,891 --> 00:03:54,100 THROUGH IN MY HEAD. >> I KNOW YOU'RE BROKE. 46 00:03:54,102 --> 00:03:58,037 AND THE ELDERLY COUPLE IS LOOKING AT ME. 47 00:03:58,039 --> 00:04:02,041 FIRST OF ALL, IT'S MAKING ME FEEL GOOD BECAUSE I'M 48 00:04:02,043 --> 00:04:03,876 DECONSTRUCTING SOMETHING THAT'S BOTHERING ME. 49 00:04:03,878 --> 00:04:10,516 SO THIS THING RIGHT HERE MAKES ME MAD, LIKE I TAKE IT IN FRONT 50 00:04:10,518 --> 00:04:14,387 OF THE AUDIENCE, AND I TURN IT ON ITS HEAD AND GO, THIS IS 51 00:04:14,389 --> 00:04:16,856 STUPID. THIS IS WHY. 52 00:04:16,858 --> 00:04:19,993 >> THE MORE HONESTY YOU HAVE IN SOMETHING, THE MORE PEOPLE ARE 53 00:04:19,995 --> 00:04:24,063 GOING TO BE ABLE TO RELATE TO IT AND EVEN RESPECT IT AND SEE YOUR 54 00:04:24,065 --> 00:04:27,700 POINT OF VIEW ON IT. >> AND WHEN THE PERFORMANCE DOES 55 00:04:27,702 --> 00:04:35,041 RESONATE WITH THE CROWD. >> OH, MAN, I THINK IT'S YOUR 56 00:04:35,043 --> 00:04:37,610 DRUG, AND IT'S THE CURE. YOU HAVE THESE EXPECTATIONS FOR 57 00:04:37,612 --> 00:04:38,945 YOURSELF. YOU HAVE EXPECTATIONS FOR A 58 00:04:38,947 --> 00:04:40,480 SHOW. AND ALL OF THOSE EXPECTATIONS 59 00:04:40,482 --> 00:04:44,484 ARE MET AND ALL THE STARS ALIGN. YES, WE DID GOOD COMEDY TONIGHT, 60 00:04:44,486 --> 00:04:45,385 GUYS. GOOD COMEDY. 61 00:04:45,387 --> 00:04:58,464 AND IF NOT, ALL RIGHT. >> IF YOU UNDERSTAND, AT LEAST 62 00:04:58,466 --> 00:05:00,033 50% BOMBS. >> IT'S SCARY. 63 00:05:00,035 --> 00:05:03,469 IT'S LIKE WALKING A TIGHTROPE. IT'S LIKE EVERY CUSTOMER SERVICE 64 00:05:03,471 --> 00:05:06,272 JOB I'VE HAD. IT'S PATHETIC IN A LOT OF WAYS. 65 00:05:06,274 --> 00:05:08,875 YEAH, THAT'S WHY I FEEL COMFORTABLE WITH MAKING PEOPLE 66 00:05:08,877 --> 00:05:10,810 LAUGH. ARE YOU GUYS HAPPY SO I CAN BE 67 00:05:10,812 --> 00:05:13,513 HAPPY? IT'S JUST PEOPLE PLEASING THAT I 68 00:05:13,515 --> 00:05:15,882 DO, AND I AM. I'M HAPPY WHEN PEOPLE ARE HAPPY 69 00:05:15,884 --> 00:05:25,425 AND LAUGHING. COMEDY MAKES SENSE TO ME. 70 00:05:25,427 --> 00:05:28,461 >> THANKS, DONNA. YOU CAN ENJOY LIVE COMEDY AT THE 71 00:05:28,463 --> 00:05:32,932 BLIND TIGER OR SEVERAL OTHER COMEDY CLUBS AROUND TOWN. 72 00:05:32,934 --> 00:05:36,636 >> OVER IN CENTRAL FLORIDA, WE MEET AN ARTIST WHO BREAKS THE 73 00:05:36,638 --> 00:05:39,272 RULES. HE EXPRESSES HIS CREATIVITY 74 00:05:39,274 --> 00:05:42,675 THROUGH MANY DIFFERENT ART FORMS, FROM STONE SCULPTURES TO 75 00:05:42,677 --> 00:05:48,314 UNDERWATER ART. HAVE A LOOK. 76 00:05:48,316 --> 00:05:51,718 >> I STARTED OUT WORKING VERY YOUNG IN LEATHER AND ALWAYS 77 00:05:51,720 --> 00:05:56,789 LOVED THE MAKING OF THINGS. AND THEN LATER I STARTED TO 78 00:05:56,791 --> 00:06:01,527 CARVE MARBLE WHICH I FOUND FASCINATING AND HAVE SINCE GONE 79 00:06:01,529 --> 00:06:06,966 TO WORK IN MANY OTHER MATERIALS WITH WHAT I DO. 80 00:06:06,968 --> 00:06:09,402 THERE'S SO MANY INTERESTING WAYS TO APPROACH SOMETHING AS WELL AS 81 00:06:09,404 --> 00:06:13,172 SO MANY INTERESTING IDEAS. I CAN'T IMAGINE JUST DOING IT 82 00:06:13,174 --> 00:06:16,776 WITH THE SAME THING OVER AND OVER. 83 00:06:16,778 --> 00:06:20,513 ONE OF THE THINGS I LIKE ABOUT CARVING STONE IS THAT IT'S ONLY 84 00:06:20,515 --> 00:06:25,718 YOU AND THE STONE. THERE'S NO FOUNDERING INVOLVED, 85 00:06:25,720 --> 00:06:30,490 THERE'S NO PERSON RESPONSIBLE FOR PROVIDING HARDWARE. 86 00:06:30,492 --> 00:06:35,628 THERE'S NO ELEMENT OF PAINTS OR ADDITIVES. 87 00:06:35,630 --> 00:06:37,864 IT'S JUST A BLOCK OF STONE AND YOU CARVE DOWN TO THE OBJECT 88 00:06:37,866 --> 00:06:40,733 THAT'S IN IT. IT'S A VERY PURE FORM OF 89 00:06:40,735 --> 00:06:50,076 SCULPTURE. SO IN THE METHOD WHERE I WORK IN 90 00:06:50,078 --> 00:06:58,484 CULTIVATING ART WORKS IN THE OCEAN, SINCE THE MID 80'S I'VE 91 00:06:58,486 --> 00:07:00,086 BEEN WORKING WITH A MARINE SCIENTIST WHO IN THE KEYS, NAMED 92 00:07:00,088 --> 00:07:04,757 CHRIS ULSTAT. WE USE ELECTRIC CURRENT PRODUCED 93 00:07:04,759 --> 00:07:06,325 FROM PHOTO VOTAIC ZONES AND WE PROVOKE THE DEPOSITION OF 94 00:07:06,327 --> 00:07:11,631 MINERALS. THESE ARE ALL UNIQUE TO THE 95 00:07:11,633 --> 00:07:15,034 BIOLOGY TO THE PLACE WHERE THEY WERE MADE. 96 00:07:15,036 --> 00:07:19,305 DEVELOPMENT OF THE MATERIAL FROM THE OCEAN WAS VERY INTERESTING 97 00:07:19,307 --> 00:07:25,011 IN THAT THE MARINE ORGANISMS WERE VERY HAPPY TO COLONIZE IT 98 00:07:25,013 --> 00:07:34,320 AND HERE IT'S TRANSFORMED INTO LIKE AN ARTIFACT WHICH SHOULD 99 00:07:34,322 --> 00:07:39,525 EARN IT SOME RESPECT. I WORKED A LOT IN CAST METALS 100 00:07:39,527 --> 00:07:41,661 AND ALSO IN BUILT METALS WHICH IS WHEN WE CUT AND WELD THINGS 101 00:07:41,663 --> 00:08:06,018 TOGETHER. ONCE I DISCOVERED THIS MATERIAL 102 00:08:06,020 --> 00:08:07,987 OF WIRE FABRIC, I HAVE CONCENTRATED ON THAT PRETTY 103 00:08:07,989 --> 00:08:13,259 EXCLUSIVELY. THIS PIECE IS A TRAILER. 104 00:08:13,261 --> 00:08:21,567 I THINK THAT IT HAS AN APPEAL KIND OF TO THE COLLECTIVE MEMORY 105 00:08:21,569 --> 00:08:23,302 BECAUSE A LOT OF PEOPLE HAVE SOME ASSOCIATION WITH THIS 106 00:08:23,304 --> 00:08:25,171 SHAPE. WE'VE ALSO TAKEN ADVANTAGE OF 107 00:08:25,173 --> 00:08:27,874 THE FACT THAT IT'S AN OBJECT THAT YOU CAN INHABIT TO DO 108 00:08:27,876 --> 00:08:33,145 PERFORMANCE IN THE PIECE. I'VE HAD ACTORS INSTALLED IN 109 00:08:33,147 --> 00:08:37,850 HERE, AND OBSERVERS WILL COME UP TO IT AND WANT TO TALK TO THEM 110 00:08:37,852 --> 00:08:43,923 AND IT HAS AN INTERESTING EFFECT ON PEOPLE. 111 00:08:43,925 --> 00:08:45,391 THEY'LL COME UP, AND EVEN THOUGH YOU CAN SEE IN ANYWHERE, THEY'LL 112 00:08:45,393 --> 00:08:47,493 COME UP AND ACTUALLY LOOK THROUGH THE WINDOWS. 113 00:08:47,495 --> 00:08:49,795 LIKE THAT'S HOW YOU WOULD SEE INSIDE. 114 00:08:49,797 --> 00:08:52,999 THE FENCE PIECE THAT WE'VE JUST INSTALLED THIS LAST MONTH IS 115 00:08:53,001 --> 00:08:55,301 KIND OF INTERESTING AND A LITTLE BIT OF A DEPARTURE FOR ME 116 00:08:55,303 --> 00:08:58,437 BECAUSE IT REALLY DOES SEEK TO COMMUNICATE WITH JUST AN AVERAGE 117 00:08:58,439 --> 00:09:03,809 PERSON IN THEIR AVERAGE DAY. THE PIECE BORDERS A CAR PACK AND 118 00:09:03,811 --> 00:09:06,546 YOU LOOK AT IT CLOSELY AND IT DOES GET YOUR ATTENTION BECAUSE 119 00:09:06,548 --> 00:09:09,815 OF THE SCENES THERE THAT ARE DEPICTED. 120 00:09:09,817 --> 00:09:13,386 EACH OF THE PANELS IN IT, ILLUSTRATE ANIMALS USING CARS 121 00:09:13,388 --> 00:09:17,857 AND TRUCKS FOR THEIR PURPOSES. IT'S JUST BECOME ANOTHER PIECE 122 00:09:17,859 --> 00:09:24,297 OF FURNITURE DOWN TOWN. MATERIAL I'LL ACQUIRE AND LEARN 123 00:09:24,299 --> 00:09:27,667 HOW TO USE IS USUALLY DRIVEN BY THE IDEA AND HOW I THINK IT 124 00:09:27,669 --> 00:09:33,205 WOULD BEST BE EXPRESSED. AND WHATEVER MATERIALS SEEMS TO 125 00:09:33,207 --> 00:09:37,276 WORK FOR THAT IDEA IS WHERE I WILL TAKE IT. 126 00:09:37,278 --> 00:09:47,587 TO BE ABLE TO GO FROM MATERIAL TO MATERIAL I THINK YOU'RE MORE 127 00:09:47,589 --> 00:09:50,189 LIKE A WRITER THAN YOU ARE A PRACTICER OF WATER COLOR OR A 128 00:09:50,191 --> 00:09:54,460 PERSON THAT ONLY WORKS IN CLAY. THERE'S SO MUCH ART WORK TO LOOK 129 00:09:54,462 --> 00:09:55,461 HAD AT AND SO MANY WAYS TO EXPRESS 130 00:09:55,463 --> 00:10:02,668 AN IDEA. HOW CAN YOU DO IT WITH JUST ONE 131 00:10:02,670 --> 00:10:04,236 MEDIUM? SOMEONE CERTAINLY CAN, BUT 132 00:10:04,238 --> 00:10:06,739 THERE'S JUST TOO MANY INTERESTING THINGS TO DEAL WITH. 133 00:10:06,741 --> 00:10:07,974 TOO MANY INTERESTING THINGS TO WANT TO EXPLORE. 134 00:10:07,976 --> 00:10:09,642 A LOT OF THE WORK THAT I DO, PARTICULARLY THE WORK IN THE 135 00:10:09,644 --> 00:10:12,745 OCEAN ARE EVERYDAY OBJECTS. BUT HERE THE ORDINARY HAS BEEN 136 00:10:12,747 --> 00:10:15,047 TRANSFORMED INTO THE EXTRA ORDINARY TO DRAW ATTENTION TO 137 00:10:15,049 --> 00:10:20,019 IT. I THINK FOR MY PURPOSE IS TO 138 00:10:20,021 --> 00:10:23,789 MAKE PEOPLE LOOK AT IT AND WONDER HOW IT WAS MADE AND 139 00:10:23,791 --> 00:10:37,703 PRESUMABLY WHY IT WAS MADE. 140 00:10:37,705 --> 00:11:09,468 >> UP NEXT, WE HEAD OUT WEST, WHERE SEVERAL OF THE NATION'S 141 00:11:09,470 --> 00:11:14,540 TOP MURALISTS DESCEND UPON THE WALLS OF CIRCUS CIRCUS CASINO IN 142 00:11:14,542 --> 00:11:18,110 DOWNTOWN RENO, NEVADA, TO COMPETE IN A 24-HOUR MURAL 143 00:11:18,112 --> 00:11:19,145 MARATHON. THE CLOCK IS RUNNING. 144 00:11:19,147 --> 00:11:32,124 LET'S WATCH THE RACE. [ MUSIC ] 145 00:11:32,126 --> 00:11:34,727 >> THE CIRCUS CIRCUS MURAL MARATHON IS SOMETHING THAT WAS 146 00:11:34,729 --> 00:11:36,362 STARTED THREE YEARS AGO TO GIVE ARTISTS A CHANCE TO DO THEIR 147 00:11:36,364 --> 00:11:41,600 STREET ART. THEY HAVE 24 HOURS TO DO THEIR 148 00:11:41,602 --> 00:11:42,968 PIECE ON THE SIDE OF CIRCUS CIRCUS. 149 00:11:42,970 --> 00:11:48,207 AND THEN IT GETS JUDGED THE NEXT DAY. 150 00:11:48,209 --> 00:11:49,842 I'M THE PRESIDENT OF THE REGIONAL ALLIANCE FOR DOWNTOWN. 151 00:11:49,844 --> 00:11:54,580 THE REGIONAL ALLIANCE FOR DOWNTOWN IS A MEMBERSHIP GROUP 152 00:11:54,582 --> 00:11:57,850 OF BUSINESS OWNERS, PROPERTY OWNERS, RESIDENTS AND ANYBODY 153 00:11:57,852 --> 00:12:05,191 THAT HAS ANY INTEREST IN DOWNTOWN. 154 00:12:05,193 --> 00:12:11,263 >> WE WERE LOOKING TO TIE IN THE UNIVERSITY WITH DOWNTOWN. 155 00:12:11,265 --> 00:12:12,765 >> THE MURAL MARATHON STARTED AS AN IDEA BY ONE OF OUR RAD BOARD 156 00:12:12,767 --> 00:12:15,668 MEMBERS AND A MEMBER OF THE UNIVERSITY, HOWARD ROSENBURG AND 157 00:12:15,670 --> 00:12:18,637 DICK. I GOT A TELEPHONE CALL FROM 158 00:12:18,639 --> 00:12:25,211 DICK. HE SAID WOULD YOU WALK DOWNTOWN 159 00:12:25,213 --> 00:12:26,679 WITH ME, SEE IF WE CAN COME UP WITH A COUPLE OF IDEAS TO MAKE 160 00:12:26,681 --> 00:12:29,582 IT LOOK A LITTLE BIT BETTER. WE STARTED OUT AT THE RIVER. 161 00:12:29,584 --> 00:12:33,686 AND WE STARTED WALKING NORTH. AND WE CAME ALONG HERE. 162 00:12:33,688 --> 00:12:35,054 AND HE SAID WHAT ABOUT CIRCUS CIRCUS? 163 00:12:35,056 --> 00:12:39,558 I SAID WHAT ABOUT IT? NEVER DAWNED ON ME THAT IT'S 164 00:12:39,560 --> 00:12:41,961 CIRCUS CIRCUS, SO, WHAT ARE YOU GOING TO DO, CLOWNS? 165 00:12:41,963 --> 00:12:43,763 HE SAID NO, COULD WE DO SOMETHING ALONG HERE. 166 00:12:43,765 --> 00:12:50,870 I SAID MURALS. >> THEY CAME TO THE MARKETING 167 00:12:50,872 --> 00:12:52,138 DEPARTMENT HERE AT CIRCUS CIRCUS. 168 00:12:52,140 --> 00:12:53,906 AND SAID, HEY, WHAT IF WE HAVE SOME OF OUR GREAT MURALISTS COME 169 00:12:53,908 --> 00:12:56,942 DOWN HERE AND PAINT MURALS. SO THE WHOLE MURAL MARATHON WAS 170 00:12:56,944 --> 00:13:02,681 BORN. >> THIS IS MY FIRST TIME EVER 171 00:13:02,683 --> 00:13:04,150 REALLY ENTERING INTO A COMPETITION LIKE THIS AND 172 00:13:04,152 --> 00:13:12,391 COMPETING WITH OTHER ARTISTS. >> THERE'S ONLY SEVEN SPACES. 173 00:13:12,393 --> 00:13:16,629 ONCE THEY GET THOSE SEVEN THEY'RE INVITED DOWN HERE TO 174 00:13:16,631 --> 00:13:24,370 COMPETE 24 HOURS PAINTING THEIR MURAL FOR PRIZES. 175 00:13:24,372 --> 00:13:25,905 >> IT WAS JUST AN HONOR TO BE CHOSEN TO COME OUT HERE AND BE A 176 00:13:25,907 --> 00:13:35,681 PARTICIPANT. >> THIS IS MY THIRD YEAR BEING 177 00:13:35,683 --> 00:13:47,326 INVOLVED WITH THE MURAL COMPETITION. 178 00:13:47,328 --> 00:13:49,995 >> SO I'M FROM CONNECTICUT. AND THIS IS MY FIRST TIME IN 179 00:13:49,997 --> 00:13:52,064 RENO. THANKS TO CIRCUS CIRCUS. 180 00:13:52,066 --> 00:13:53,666 GIVING ME THIS AWESOME OPPORTUNITY TO BE PART OF THIS 181 00:13:53,668 --> 00:13:57,436 EVENT. MY MURALS ARE HIGHLY INFLUENCED 182 00:13:57,438 --> 00:14:03,509 IN THE GRAFFITI ART CULTURE YOU'LL SEE RAW SPLATTER AND 183 00:14:03,511 --> 00:14:07,279 PAINT SPLASHES AND COLOR. >> I'M FROM SACRAMENTO. 184 00:14:07,281 --> 00:14:09,181 I'VE PAINTED A LOT OF MURALS WITH A LOT OF ARTISTS WITH 185 00:14:09,183 --> 00:14:12,952 VARYING SKILL LEVELS. BUT NEVER ON SUCH A CRUCIAL TIME 186 00:14:12,954 --> 00:14:15,654 CRUNCH. >> I'M A LOCAL ARTIST FROM RENO, 187 00:14:15,656 --> 00:14:17,656 NEVADA. AND I DO MURAL WORK AS MY 188 00:14:17,658 --> 00:14:25,464 FULL-TIME JOB. I FEEL LIKE ANYTHING THAT REALLY 189 00:14:25,466 --> 00:14:27,132 PROMOTES ART AND MURAL ART AND ANYTHING IN GENERAL THAT WE'RE 190 00:14:27,134 --> 00:14:31,036 DOING IS GREAT. AND THIS IS A GOOD WAY TO KEEP 191 00:14:31,038 --> 00:14:34,874 IT FRESH AND UPDATED EVERY YEAR. >> CIRCUS CIRCUS KEEPS THESE 192 00:14:34,876 --> 00:14:38,911 MURALS UP FOR AN ENTIRE YEAR. IN FACT, ONLY ABOUT TWO WEEKS 193 00:14:38,913 --> 00:14:41,213 AGO WE HAD A BIG EVENT DOWN HERE WHERE WE STARTED PAINTING OVER 194 00:14:41,215 --> 00:14:43,382 LAST YEAR'S MURALS WHICH IS A HARD THING TO DO TO PAINT OVER 195 00:14:43,384 --> 00:14:46,585 SOME REALLY GOOD ART. BUT THEY'RE UP HERE FOR A YEAR 196 00:14:46,587 --> 00:14:49,188 THEN THEY PAINT OVER THEM AND THE SAME SEVEN PANELS ARE DONE 197 00:14:49,190 --> 00:14:52,258 EVERY YEAR. >> THEY'RE ALMOST TAKEN FOR 198 00:14:52,260 --> 00:14:55,127 GRANTED WHEN WE HAVE TO TELL EVERYBODY THEY'RE COMING DOWN. 199 00:14:55,129 --> 00:14:56,629 THEN WE GET A BIG MAD RUSH FOR EVERYBODY TO COME TAKE PICTURES 200 00:14:56,631 --> 00:15:03,102 OF THEM. >> THE NEAT THING ABOUT THIS IS 201 00:15:03,104 --> 00:15:04,637 THERE'S ONE DOWN THERE THAT'S JUST GOT THE UNDERPAINTING ON 202 00:15:04,639 --> 00:15:07,239 IT. AND IT'S A LANDSCAPE. 203 00:15:07,241 --> 00:15:11,143 >> IT IS GORGEOUS. NOW, IT'S AN UNDERPAINTING. 204 00:15:11,145 --> 00:15:12,878 HE'S NOT CONCERNED WITH WHERE THE BRUSH STROKES ARE GOING AND 205 00:15:12,880 --> 00:15:18,150 ALL THAT KIND OF BUSINESS. BUT HE HAS CREATED AN 206 00:15:18,152 --> 00:15:20,386 IMPRESSIONIST PAINTING THAT IS ABSOLUTELY GORGEOUS IN AND OF 207 00:15:20,388 --> 00:15:28,327 ITSELF. 208 00:15:28,329 --> 00:15:36,135 >> I'M ABOUT AT THE NINE-HOUR POINT NOW AND TIME IS THE 209 00:15:36,137 --> 00:15:39,972 BIGGEST CHALLENGE. BUT ALSO PEOPLE TALK TO YOU AND 210 00:15:39,974 --> 00:15:44,276 WE WANT TO TALK BACK AND SOCIALIZE AS WELL. 211 00:15:44,278 --> 00:16:04,863 [ MUSIC ] >> IT PUSHED ME TO THE LIMITS 212 00:16:04,865 --> 00:16:06,865 FOR SURE. I PAINTED FOR LIKE 18 HOURS. 213 00:16:06,867 --> 00:16:12,104 I TOOK AN HOUR BREAK. SO, YEAH, I STILL PROBABLY HAVE 214 00:16:12,106 --> 00:16:14,139 BLOODSHOT EYES I DID NOT GET ANY SLEEP. 215 00:16:14,141 --> 00:16:16,608 IT WAS A VERY GRUELING PROCESS. BUT I'M VERY, VERY HAPPY AND 216 00:16:16,610 --> 00:16:20,746 SATISFIED WITH HOW THE END RESULT CAME OUT. 217 00:16:20,748 --> 00:16:22,147 >> IT WAS REALLY COOL TO WATCH LIKE EVERYBODY'S DIFFERENT 218 00:16:22,149 --> 00:16:24,883 PROCESS. AND THEY WERE COMPLETELY 219 00:16:24,885 --> 00:16:31,657 DIFFERENT FROM ONE WALL TO THE NEXT. 220 00:16:31,659 --> 00:16:43,602 [ MUSIC ] >> FIRST PLACE, $2,000, RYAN 221 00:16:43,604 --> 00:16:49,641 DARCY CHRISTENSEN. [APPLAUSE] 222 00:16:49,643 --> 00:16:50,876 >> THANK YOU VERY MUCH EVERYBODY. 223 00:16:50,878 --> 00:17:04,723 THANK YOU. [APPLAUSE] 224 00:17:04,725 --> 00:17:08,394 >> IT'S BRINGING RENO NATIONWIDE EXPOSURE AS AN ARTIST COMMUNITY 225 00:17:08,396 --> 00:17:11,797 AS WELL, BECAUSE A LOT OF THESE ARTISTS TRAVEL AND THEY HAVE 226 00:17:11,799 --> 00:17:15,167 REALLY WIDE AUDIENCES AND ARE WORLD FAMOUS AS WELL. 227 00:17:15,169 --> 00:17:19,171 SO IT'S JUST A WIN-WIN FOR EVERYBODY. 228 00:17:19,173 --> 00:17:40,526 >> FINALLY, WE MEET A RUSSIAN-BORN CINCINNATI, OHIO, 229 00:17:40,528 --> 00:17:43,762 ARTIST WHO TURNS HER COLLECTION OF FOUND OBJECTS INTO FINE 230 00:17:43,764 --> 00:17:50,402 JEWELRY. TAKE A LOOK. 231 00:17:50,404 --> 00:17:53,305 >> I WAS ALWAYS TRYING TO MAKE SOME JEWELRY. 232 00:17:53,307 --> 00:17:55,040 BUT FOLLOWING MY INSTINCTS AND FOLLOWING MY IDEAS IS LOTS OF 233 00:17:55,042 --> 00:17:57,076 FUN. I STARTED TO COLLECT MANY 234 00:17:57,078 --> 00:18:08,153 DIFFERENT SMALL THINGS. AND IT WAS OVERWHELMING 235 00:18:08,155 --> 00:18:23,702 BOXES, BAGS, TINY, NOT SO TINY EVERYWHERE. 236 00:18:23,704 --> 00:18:29,908 THE PEN HAS DIFFERENT SMALL DETAILS LIKE CIRCLES, ENDS, THE 237 00:18:29,910 --> 00:18:38,617 SPRING SO I SAVED SOME OF THEM AND I USED THEM TO MAKE UNIQUE 238 00:18:38,619 --> 00:18:47,559 DIFFERENT LOOKING PIECES. I WAS PORN AT A TIME WHEN WE 239 00:18:47,561 --> 00:18:57,369 WERE SAVING ALMOST EVERYTHING. THERE WAS NO SUCH THING LIKE 240 00:18:57,371 --> 00:19:00,472 THROW AWAY. ANYTHING'S POSSIBLE. 241 00:19:00,474 --> 00:19:07,779 EVERYTHING HAD A PURPOSE. JEWELRY IS ART AND THE JEWELRY 242 00:19:07,781 --> 00:19:12,551 SOMETIMES IT'S SIMPLE PIECES, SOMETIMES IT'S DIFFERENT, 243 00:19:12,553 --> 00:19:18,223 SOMEBODY WILL THINK WHO IS GOING TO WEAR IT. 244 00:19:18,225 --> 00:19:23,028 BUT MY VIEW IS THAT'S BEAUTIFUL, IT'S DIFFERENT, AND YOU ARE NOT 245 00:19:23,030 --> 00:19:27,866 ABLE TO SEE IN OTHER PLACES BECAUSE IT'S UNIQUE, I MADE IT. 246 00:19:27,868 --> 00:19:33,405 SO BEADS, THEY ARE SO DIFFERENT AND VARIETY IS ENDLESS. 247 00:19:33,407 --> 00:19:39,545 I HAVE TO THINK WHAT IS BETTER FOR ME TO USE, SMALL, LARGE, 248 00:19:39,547 --> 00:19:45,150 MEDIUM, SO I AM -- IF I HAVE THEM, I WILL JUST LAY DOWN THEM 249 00:19:45,152 --> 00:19:48,387 ON THE TABLE WITHOUT THREAD, WITHOUT WIRE, JUST LAY THEM DOWN 250 00:19:48,389 --> 00:19:57,796 AND I MIXING COLORS LIKE THAT, BY MY HAND. 251 00:19:57,798 --> 00:19:59,231 I WORK WITH GEMSTONES, I WIRED THEM UP, I MAKE NECKLACES OF 252 00:19:59,233 --> 00:20:03,435 THEM, BRACELETS. THE WIRING IS VERY ATTRACTIVE 253 00:20:03,437 --> 00:20:10,509 THING. AND GOOD ELEMENT YOU COMBINE 254 00:20:10,511 --> 00:20:15,447 WITH SIMPLE BEADS, YOU COMBINE WIRE ELEMENTS AND THEY LOOK, OH, 255 00:20:15,449 --> 00:20:29,595 I WOULD SAY REALLY NICE, GORGEOUS. 256 00:20:29,597 --> 00:20:31,330 TO MAKE NICE PIECE, BEAUTIFUL PIECE YOU OUGHT TO HAVE GOOD 257 00:20:31,332 --> 00:20:39,104 TOOLS. I USE THREE DIFFERENT TYPES OF 258 00:20:39,106 --> 00:20:44,243 PLIERS, FLAT NOSE PLIERS, ROUNDED NOSE PLIERS, AND I NAME 259 00:20:44,245 --> 00:20:49,781 THEM DUCK NOSE PLIERS. SO THOSE ARE THE ENDS I TAPER 260 00:20:49,783 --> 00:20:57,322 IT. THEY ARE GOOD FOR MAKING WIRE 261 00:20:57,324 --> 00:20:58,290 DETAILS. CUTTERS. 262 00:20:58,292 --> 00:21:00,025 WE HAVE TO HAVE CUTTERS TO CUT WIRE. 263 00:21:00,027 --> 00:21:05,130 WHEN YOU WORK ONLY WITH BEADS, WE HAVE TO HAVE NICE VARIETY OF 264 00:21:05,132 --> 00:21:13,472 NEEDLES, NEEDLES THEN ENOUGH TO GO THROUGH TINIEST HOLE AND 265 00:21:13,474 --> 00:21:17,809 LAYING THE THREAD WITH IT, LIKE THROUGH. 266 00:21:17,811 --> 00:21:23,248 YOU HAVE TO HAVE SOME GLUE. YOU HAVE TO HAVE SOME SUPPORTING 267 00:21:23,250 --> 00:21:24,983 MATERIALS LIKE YOUR PAD, JEWELRY PAD TO PREVENT BEADS ROLLING 268 00:21:24,985 --> 00:21:28,954 DOWN FROM THE TABLE. AND YOU HAVE TO BE INVENTIVE 269 00:21:28,956 --> 00:21:35,093 ENOUGH TO KNOW HOW TO USE THEM IN WHAT ORDER. 270 00:21:35,095 --> 00:21:39,364 IF YOU HAVE INTENTION, IF YOU HAVE DESIRE TO USE IT, YOU WILL 271 00:21:39,366 --> 00:21:46,705 LEARN A LOT, AND YOU WILL LEARN WHAT TOOLS ARE WORKING FOR YOU. 272 00:21:46,707 --> 00:21:50,142 >> AND THAT WRAPS IT UP FOR THIS EDITION OF "ARTS." 273 00:21:50,144 --> 00:21:57,215 FOR MORE ARTS AND CULTURE, VISIT KLRN.ORG/ARTS, WHERE YOU CAN 274 00:21:57,217 --> 00:22:01,987 FIND INFORMATION, BLOGS, AND INFORMATION FOR UPCOMING EVENTS. 275 00:22:01,989 --> 00:22:06,591 I'M APRIL ANCIRA. I'LL SEE YOU NEXT WEEK.