300 YEARS OF ART IN SAN ANTONIO.
>> SOME OF THE ARTISTS HAVE
REALLY STEPPED OUTSIDE OF THEIR
COMFORT ZONE AND TRIED NEW
MEDIUMS.
THE ART OF THE MAGICIAN.
>> WHEN YOU COMPOSE THE MAGIC
SHOW, YOU NEED TO PRACTICE AND
PRACTICE AND PRACTICE.
>> HI, I'M APRIL ANCIRA, AND
WELCOME TO TONIGHT'S EDITION OF
"ARTS."
IF YOU HAD TO INTERPRET A SINGLE
YEAR IN SAN ANTONIO'S 300-YEAR
HISTORY ARTISTICALLY, WHAT WOULD
YOU CREATE?
THAT'S THE QUESTION 300 ARTISTS
ACROSS THE CITY HAVE BEEN
PONDERING.
LET'S CHECK OUT WHAT THEY'VE
BEEN CREATING.
>> I THINK WHAT EXCITES ME THE
MOST IS THE COLLABORATION.
THE IDEA AND THE ABILITY FOR SIX
ORGANIZATIONS TO COLLABORATE ON
ONE SHOW.
>> A FIVE-MONTH SHOW CALLING FOR
300 ARTISTS TO COVER EACH YEAR
OF THE TRICENTENNIAL.
ART THAT SIGNIFIES EVENTS AND
CULTURE FROM 1718 THROUGH THE
PRESENT DAY.
>> WE HAVE FOR MONTHS BEEN
PULLING TOGETHER TO MAKE THIS
HAPPEN, GOING THROUGH TRIALS AND
TRIBULATIONS WITH FUNDING AND SO
FORTH AND WHERE ARE WE GOING TO
GET 300 ARTISTS?
>> TURNS OUT EACH OF THE SIX ART
PARTNERS REACHED OUT TO TWO
LOCAL ARTISTS.
THOSE 12 INVITED TWO PEER
ARTISTS.
AND SOON THERE WERE 300
PAINTERS, SKECHERS, VISUAL
ARTISTS, AND PHOTOGRAPHERS TO
RESEARCH THEIR INDIVIDUAL YEAR
AND CREATE A REPRESENTATIVE
PIECE.
>> ALL 300 ARTISTS ARE VERY
DIFFERENT.
ALL OF THE PIECES ARE VERY
UNIQUE.
SOME OF THE ARTISTS HAVE REALLY
STEPPED OUTSIDE OF THEIR COMFORT
ZONE AND TRIED NEW MEDIUMS.
SO IT'S JUST REALLY EXCITING.
>> AMALIA, PERFORMANCE ARTIST,
WAS INVITED AS ONE OF THE
ORIGINAL 300 BUT SAYS.
>> I TURNED IT DOWN BECAUSE I
WAS AFRAID.
I DON'T KNOW, IF I GET THIS
RANDOM YEAR, HOW I'M GOING TO
RESEARCH THE ASSIGNMENT.
IT'S DAUNTING.
WHEN I WAS INVITED TO BECOME THE
PERFORMANCE ARTIST IN RESIDENCE
TO ART PACE AND ASKED TO RESPOND
TO THE ENTIRE EXHIBIT, I FELT
LIKE IT WAS THE UNIVERSE
BRINGING ME BACK TO SOMETHING
THAT I WAS AFRAID OF.
IT'S BEEN HUMBLING.
IT'S BEEN A TON OF RESEARCH.
BUT IT'S BEEN A GREAT
EXPERIENCE.
>> THEY GAVE TWO PERFORMANCES
BASED ON CEREMONIES AND RITUALS
OF MISSION SAN JUAN, CELEBRATING
THE INHABITANTS OF THE LAND.
SHE INVOKED THOSE FIRST OFF.
THAT SONG WAS NEVER WRITTEN
DOWN, BUT IT WAS HANDED DOWN
THROUGH THE GENERATIONS.
STORIES NEED TO BE TOLD AND
REMEMBERED TO CARRY IT FORWARD.
ARTIST JOHN MEDINA PLACED A
SOUND BOOTH IN THE MAIN SPACE
GALLERY FOR ANY PASSER-BY TO
DROP IN AND RECORD THEIR OWN
STORY OF SAN ANTONIO.
>> AND HE'S COLLECTING STORIES
FROM SAN ANTONIOANS ABOUT SAN
ANTONIO.
AND ON MARCH 22nd, HE'S ACTUALLY
GOING TO UNVEIL A VERY LARGE
INSTALLATION MURAL, AND THEN THE
STORIES THAT HE'S COLLECTED WILL
BE ACTUALLY BROADCAST OUTSIDE ON
THE SIDEWALK THROUGH OUR SPEAKER
SYSTEMS IN THE TREES.
AND SO PEOPLE WALKING BY WILL
HEAR CONSTANT STORIES ABOUT SAN
ANTONIO AND SEE THIS HUGE PIECE
THAT JOHN HAS DONE ABOUT THE
EVOLUTION AND THE SUNSET OF SAN
ANTONIO.
>> WITH SUCH A VARIETY OF ART
MEDIA, THE STORY-TELLING WILL BE
RICH IN TEXTURE.
>> 20 DIFFERENT MEDIUMS BETWEEN
THE 3D PIECES, THE SCULPTURES,
THERE'S VIDEO PIECES, SOUND
PIECES, PERFORMANCE ART,
PHOTOGRAPHY, AND CLASSICAL
PAINTING AND COLLAGE WORK.
SO I REALLY FEEL LIKE THE
ECLECTIC NATURE REALLY SPEAKS TO
SAN ANTONIO AND THE 300 YEARS.
SAN ANTONIO HAS AN ECLECTIC
HISTORY, AND THIS SHOW REALLY
KIND OF SPEAKS TO THAT AS WELL.
>> SAN ANTONIO'S 300th BIRTHDAY,
COMMON CURRENTS, THE CELEBRATION
OF A COLLABORATION OF ART.
TO TELL THE STORY OF OUR CITY.
>> THIS IS A REALLY, REALLY
SPECIAL TIME FOR OUR CITY.
>> FOR MORE INFORMATION ABOUT
THESE 300 ARTISTS OVER AT ART
PACE, CHECK OUT THE WEBSITE.
UP NEXT, AS A MASTER IN THE ARTS
OF MAGIC AND HYPNOSIS, CESAR
DOMICO'S SPELLBINDING SHOWS CAN
BE SEEN IN HIS HOME STATE OF
FLORIDA AS WELL AS THROUGHOUT
THE AMERICAS.
THIS NATIVE OF COLOMBIA TEACHES
US THAT MAGIC IS MORE THAN JUST
A BAG OF TRICKS.
[MUSIC]
>> I BECOME A MAGICIAN WHEN I
WAS A LITTLE BOY.
I WAS AMAZED FROM THE OTHER
MAGICIANS.
THE PARTIES, THE THEATER -- IT
WAS JUST SOMETHING AMAZING.
AND I WANT TO KNOW HOW THEY CAN
DO IT.
[MUSIC]
LATER I REALIZED THAT THE TRICK
IS PART OF THE MAGIC, BUT ACTING
IS WHEN YOU COMPOSE THE REAL
SHOW AND THE REAL MAGIC.
YOU BRING THE REAL MAGIC TO THE
AUDIENCE WHEN YOU COMBINE THE
TRICK AND THE WAY THAT YOU
DELIVER THAT TRICK.
THE ONE GOAL RIGHT HERE IS THEY
NEED TO ENJOY.
NOW, HOW I'M GOING TO REACH THE
GOAL?
I NEED TO STUDY MY AUDIENCE
BEFORE TO GO THERE.
IT'S NOTHING LIKE, OKAY, LET'S
DO IT.
THE SAME TRICK FOR THE KIDS
WORKS FOR THE ADULTS.
LET'S TRY TO FIGURE OUT WHERE WE
CAN FIND THE ACE.
LET'S DO IT WITH MAGIC.
AS A PROFESSIONAL, WE NEED TO
TAKE CARE ABOUT EVERY POINT
BEFORE TO PERFORM FOR 20, 30,
OR ONE HOUR.
RIGHT THERE, LIGHTS, SOUND, THE
WAY YOU DRESS, THE TRICKS THAT
YOU ARE GOING TO USE.
THE AUDIENCE, WHAT THEY ARE
THERE FOR.
LAST CARD.
[CLICKING TONGUE]
RIGHT THERE.
ACE OF DIAMONDS.
RIGHT HERE.
OKAY.
LET'S TRY WITH THE SECOND ONE.
LET'S DO IT AND CUT IT --
[CLICKS TONGUE]
LIKE --
[ WHISTLES ]
IT'S SPADES, RIGHT THERE.
THE EXPRESSION FOR THAT TRICK IS
BEAUTIFUL.
IT'S A LONG PROCESS.
THE FEEDBACK WITH THE APPLAUSE,
LAUGHING, AND LIKE, WHOA, THAT'S
MY GOAL EVERY SHOW.
AND I NEED TO PREPARE EVERY DAY
FOR THAT.
COULD YOU PLEASE FOR ME, YOU
WANT TO TAKE ANY CARD THAT YOU
WANT, ANY CARD THAT YOU BELIEVE
THAT YOU LIKE.
NOT THAT ONE, THE OTHER ONE.
NO, JUST KIDDING.
[ LAUGHTER ]
>> NO, ANY CARD, PLEASE, FOR ME.
WHEN YOU COMPOSE THE MAGIC SHOW,
YOU NEED TO PRACTICE AND
PRACTICE AND PRACTICE.
BASICALLY, IT'S LIKE HOW THE
CARDS -- EVERY DAY BECAUSE YOU
NEED TO BRING THE
TECHNIQUE.
AS SOON AS YOU KNOW ONE TRICK,
YOU MOVE FORWARD WITH ANOTHER
ONE.
LOOK AT IT.
I DON'T WANT TO SEE IT.
SHOW IT TO EVERYBODY.
OKAY.
TURN A LITTLE BIT.
JUST REMEMBER THAT CARD.
WHATEVER YOU WANT.
PLEASE SAY "STOP."
>> STOP.
>> PUT IT BACK THERE.
OKAY.
NOW --
[CLICKS TONGUE]
JUST LET'S TRY TO FIGURE OUT --
UM, DO YOU WANT TO MIX THE CARDS
A LITTLE BIT, PLEASE, FOR ME?
DO YOU WANT TO DO IT JUST LIKE
THAT?
WELL, I WAS NOT EXPECTING THAT,
BUT, OKAY, THAT'S FINE.
DO YOU REMEMBER THE COLOR THAT
YOU HAD RIGHT THERE?
>> YEAH.
>> ARE YOU SURE ABOUT THAT?
>> I HOPE EVERYBODY REMEMBERS
THE COLOR RIGHT THERE.
NOW, LET'S TRY TO FIGURE OUT IF
IT'S RED.
IS IT RED?
IS IT MAYBE THE HEARTS?
>> YES.
>> SO WE ARE CLOSE.
NOW, LET'S TAKE THE ACE OF
HEARTS AND MOVE ONE, TWO, THREE.
[ CLICKS TONGUE ]
AND IT'S COMING FOR THE FIVE OF
HEARTS.
S
IS THAT THE CARD THAT YOU HAD
RIGHT THERE?
YEAH.
[ LAUGHTER ]
>> OKAY.
WHEN I GO TO THE STAGE AFTER THE
PREPARATION FOR YEARS AND YEARS
AND YEARS, I BRING MY MAGIC, ME.
IT'S A MAGICAL PERSON TO
TRANSMIT THROUGH THE TRICKS AND
THROUGH THE ACTING SOMETHING
THAT I LOVE.
WANT TO TURN ANY NUMBER THAT YOU
WANT.
>> 9.
>> ARE YOU SURE?
THAT'S TOUGH.
THAT'S A LITTLE MORE DIFFICULT,
YEAH?
OKAY.
NOW, LET'S TRY TO DO IT.
[ CLICKS TONGUE ]
ONE, TWO, THREE, FOUR, FIVE,
SIX, SEVEN, EIGHT, AND YOU SAY
NINE.
>> UM-HUM.
>> ARE YOU SURE?
>> YEP.
>> YOU DIDN'T SAY EIGHT.
>> NINE.
>> YOU SAID NINE.
>> YES.
>> ARE YOU SURE THAT IT'S NOT
EIGHT?
[LAUGHTER]
WELL, I'M GLAD THAT YOU SAY NINE
BECAUSE WE HAVE FIVE HEARTS
RIGHT THERE, AND IT'S NOT THAT
ONE, IT'S NOT THAT ONE, IT'S NOT
THAT ONE, IT'S NOT THAT ONE.
IT'S NOT THAT ONE EITHER.
RIGHT THERE IS THE NUMBER 9 JUST
RIGHT HERE.
MAGIC IS BEAUTIFUL.
MAGIC IS REAL.
AND WHEN THE PEOPLE SAY, OH, BUT
IT'S JUST A TRICK.
YEAH, BUT WHEN YOU COMBINE THE
TRICK WITH THE ACTING, WITH THE
PREPARATION, AND IN MY CASE THAT
I DO COMEDY MAGIC AND THE PEOPLE
START LAUGHING, THAT'S MAGICAL.
¶
¶
¶
>> UP NEXT.
GROWING UP IN GARDEN CITY,
KANSAS, WAS NOT EASY FOR VI
TRAN.
HE AND HIS FAMILY WERE REFUGEES
FROM VIETNAM.
THEIR PERILOUS JOURNEY FROM
SAIGON THROUGH SOUTHEAST
ASIA TOOK TWO YEARS.
AFTER TAKING MANY TWISTS AND
TURNS TO FIND HIS WAY IN LIFE,
VI TRAN COBBLED HIS EXPERIENCES
INTO A UNIQUE SET OF ARTISTIC
SKILLS THAT LED HIM TO A CAREER
DOING WHAT HE LOVES.
WE GO TO KANSAS CITY, MISSOURI,
FOR THE STORY.
>> WE SPENT $65.26 ON POSTERS
AND SCRIPTS THIS TIME.
I'M VERY AMBITIOUS AND ALWAYS
HAVE BEEN, BUT I'M ALSO A
REALIST.
I MEAN, WHEN I WAS STUDYING
THEATER IN COLLEGE, I
LOOKED IN THE MIRROR.
I DIDN'T HAVE ANY DELUSIONS OF
GRANDEUR.
I'M 5'4" AND VIETNAMESE.
THE ODDS WERE AGAINST ME MAKING
IT IN THIS PROFESSION AS A
PERFORMER.
THEY HAVEN'T LEARNED THIS.
I WILL NEVER BE THEIRS.
SO I KNEW I HAD TO BE ADAPTABLE
AND MALLEABLE AND SHREWD IN
ORDER TO CONTINUE TO WORK.
WE WILL WAIT UNTIL THE BABY IS
BIGGER.
WHEN HE IS OLD ENOUGH TO TRAVEL,
WE WILL GO TOGETHER.
THAT TENACITY LED ME DOWN A LOT
OF DIFFERENT PATHS.
¶
AS FAR AS BEING A PERFORMER,
BEING AN EDUCATOR, THAT TAUGHT
ME EMPATHY.
WORKING LOTS AND LOTS OF TEMP
JOBS, WAITING A LOT OF TABLES,
SLINGING A LOT OF DRINKS, BUT
LEARNING EVERY STEP OF THE WAY.
>> SO A COUPLE OF YEARS AGO WHEN
JOE ZWILLENBERG, THE FLEA
MARKET'S OWNER, OFFERED VI THE
OPPORTUNITY TO BOOK AND MANAGE
THE EVENT SPACE AROUND BACK
WHICH HAD PREVIOUSLY HOUSED AN
IMPROV COMEDY GROUP, HE SAID
"SURE."
THEN HE STARTED TO WORRY.
>> I HAD SEVERAL FRIENDS WHO
ALSO RAN VENUES OR CLUBS OR
THEATERS, AND I THOUGHT TO
MYSELF, OH, MAN, YOU KNOW, WE'RE
FRIENDS, BUT I WONDER HOW
THEY'RE GONNA TAKE THIS.
I WONDER IF THEY'RE GOING TO
KIND OF CROSS THEIR EYES AT ME
OR BE LIKE, OH, HERE'S MORE
COMPETITION.
BUT IT WAS THE EXACT OPPOSITE.
THEY WERE THE FIRST ONES TO CALL
AND SAY WHAT DO YOU NEED?
DO YOU NEED CURTAINS?
DO YOU NEED CHAIRS?
YOU KNOW, HOW CAN WE HELP?
>> WITH A NAME THAT NODS TO THE
BURGERS THE SPACE UP FRONT IS
KNOWN FOR AND AN EVEN SLYER NOD
TO HIS GARDEN CITY MASCOT, THE
BUFFALO ROOM HAS BEEN STEADILY
ROLLING ALONG, SHOWCASING A
LITTLE BIT OF EVERYTHING,
CABARET AND COMEDY, FILM AND
BURLESQUE, MUSICAL TRIBUTES,
STAGED READINGS, AND ORIGINAL
PLAYS OF ALL KINDS, INCLUDING
FRINGE FESTIVAL PRODUCTIONS LIKE
THIS ONE.
>> YES.
THAT IS THE ONE THING WE'RE
DOING HERE!
>> YOU JUST GOT IT.
>> KEVIN AND KING COMPANY'S
BANNER AUDITIONS RETURNED FOR AN
ENCORE IN AUGUST, THE SAME TIME
VI WAS IN CHICAGO DIRECTING A
NEW MUSICAL THERE.
>> MY MOTHER SAID THAT MY FATHER
THAT I TOOK AFTER MY
GRANDFATHER, WHO WAS AN
ARCHITECT.
HE WOULD DESIGN THESE RESORTS
AND BUILD THEM AND GO ON TO THE
NEXT THING AND BUILD THAT.
IT CLICKED FOR ME LIKE I HAVE
THAT SAME KIND OF SPIRIT.
>> MY FATHER ESCAPED VIETNAM.
>> I LIKE TO CONCEPTUALIZE
THINGS.
I LIKE TO DRAW A BLUEPRINT FOR
IT, AND THEN I LIKE TO EXECUTE.
AND THEN I LIKE TO MOVE ON TO
THE NEXT THING.
THIS IS MY OFFICE HOURS.
THIS IS HOW I KEEP TRACK OF
THAT.
RED AND YELLOW HERE ARE
CONFLICTS.
BLUE IS MY MUSIC CALENDAR FOR MY
BAND.
>> SPREADSHEETS AND COLOR CODED
GOOGLE CALENDARS LOOM LARGE IN
VI'S QUEST FOR BETTER TIME
MANAGEMENT.
HE TAKES IT SERIOUSLY.
>> KEEPING A GOOD CALENDAR KEEPS
ME HONEST, AND IT REMINDS ME
THAT NO ONE'S GOING TO ACCUSE
YOU OF BEING LAZY.
LOOK, YOU'VE LOGGED THESE HOURS.
IT'S OKAY TO TURN IT OFF FOR THE
DAY.
IT'S OKAY TO DO A LEISURE
ACTIVITY.
IT'S OKAY TO ENJOY DINNER WITH
YOUR WIFE.
>> OF COURSE, AT ANY GIVEN TIME,
HIS WIFE McKENZIE GOODWIN TRAN,
MAY BE EQUALLY BUSY WITH A
THEATER PROJECT OF HER OWN.
IF NOT ONE OF THE STUFFED
BUFFALO PRODUCTIONS THEY TACKLE
IN TANDEM.
>> IT'S ALWAYS, OF COURSE, IN
YOUR IMAGINATION AS A THEATER
ARTIST TO HAVE YOUR OWN SPACE.
IT'S AN INCREDIBLE LUXURY AND A
WONDERFUL THING TO HAVE AND TO
KNOW ALL THESE AMAZING ARTISTS.
>> IT HELPS THAT McKENZIE AND VI
ARE GRADUATED OF THE KANSAS CITY
THEATER PROGRAM WITH AN EMPHASIS
ON LEARNING THE CRAFT.
>> HAVING RESOURCES IN SOME WAYS
OPENS UP YOUR CREATIVITY BECAUSE
YOU HAVE TO FIND CREATIVE
SOLUTIONS TO THINGS IN ORDER TO
MAKE THINGS HAPPEN, AND OFTEN
THE BEST IDEAS COME WHEN YOU
HAVE LIMITATIONS.
>> IF TWO HEADS ARE GOOD, THEN
THREE MIGHT BE EVEN BETTER.
ENTER KATIE GILCHRIST, THE
WELL-KNOWN LOCAL ARTIST SINGS
WITH THE VI TRAN BAND AND OFTEN
CO-DIRECTS PRODUCTIONS HERE TOO.
>> MY WIFE AND KATIE MET BEFORE
MY WIFE AND I MET, AND THEY WERE
AT A DIRECTOR'S TABLE TOGETHER.
SO THEY HAVE THIS HIVE MIND.
THEY HAVE THIS SHORTHAND OF
COMMUNICATION WITH THE TWO OF
THEM, AND SO WHEN IT COMES TO
PRODUCING A SHOW TOGETHER, I'M A
REDUNDANCY.
SO I SAID, YOU KNOW WHAT, WHY
DON'T YOU GUYS TAKE LEAD ON
DIRECTING, AND IF YOU NEED A
THIRD EYE, THEN I'LL GIVE MY
INPUT.
OTHERWISE, YOU KNOW, I'LL BE IN
THE BACK OF THE ROOM ON THE
LAPTOP THINKING ABOUT OUR
PROMOTIONAL STRATEGY.
SOMETIMES I FEEL LIKE FOR THE
LAST TEN YEARS, I'VE EVOLVED
MORE TOWARDS FOUR PART BUSINESS,
ONE PART ART, BUT THAT'S SO THAT
I COULD BUILD A FOUNDATION SO
THAT NOW, HEY, I DO HAVE THAT
SPARE TIME TO SIT DOWN WITH MY
GUITAR AND BECOME A BETTER
PLAYER.
>> IF AS THEY SAY TIMING IS
EVERYTHING, VI'S HAS BEEN
IMPECCABLE.
HE HIT TOWN IN 2005 JUST AS THE
CROSSROADS WAS BOOMING, THE
THEATER SCENE EXPANDING, AND
WITH THE KAUFMAN AND SPRINT
CENTER POISED TO JOIN THE S
SKYLINE.
IN SHORT, ALL THE BUILDING
BLOCKS OF A CULTURAL RENAISSANCE
THAT'S HELPING WHAT HE CALLS
MIDDLE CLASS ARTISTS THAT CHOOSE
TO LIVE HERE.
>> WHEN YOU'RE ABLE TO WORK
CONSISTENTLY OR YOU'RE ABLE TO
CREATE YOUR OWN WORK, THEN
YOU'RE MORE LIKELY TO STAY.
IN THE AGE OF THE INTERNET WHERE
THE INTERNET SURVIVES AN
INTERNATIONAL TOWN SQUARE, MAYBE
I GET TO CHOOSE WHERE I LIVE.
BECAUSE IF I ESTABLISH MYSELF
HERE, THERE'S NOTHING TO SAY
THAT I CAN'T GO TO WORK IN
CHICAGO OR GO TO WORK IN NEW
YORK WHEN A PROJECT OR AN OFFER
COMES OR WITH MY OWN PROJECT,
BUT AT THE SAME TIME, WAKE UP IN
MY OWN BED IN A COMMUNITY THAT I
LOVE.
>> FINALLY, A PASSER-BY MIGHT
GET A SURPRISING EYEFUL ALONG
THE RIVER IN COLUMBUS, OHIO.
HERE NOT LOUNGING IN THE USUAL
WAY, THEY'RE LOUNGING IN A HUMAN
FASHION.
ARTIST TERRY ALLEN MADE THIS
WHIMSICAL ART ALONG THE STRETCH.
>> INITIALLY, WHEN I CAME HERE,
I'VE NEVER LOOKED AT COLUMBUS
FROM THE POINT OF VIEW OF REALLY
DOING SOMETHING OUT IN THE CITY.
SO I WALKED AROUND THE CITY AND
LOOKED AT DIFFERENT SIGHTS AND
PROPOSED DIFFERENT KIND OF IDEAS
IN MY MIND OF THINGS I CAN DO.
BUT I HEARD SOMEONE SAY THAT
SCIOTO RIVER HAD THE DEER.
AND THAT KIND OF PIQUED MY
INTEREST, AND I STARTED THINKING
ABOUT DEER.
IT WAS SUPPOSED TO BE IN THIS
AREA WHERE PEOPLE KIND OF
LOUNGED AROUND AND WALKED
AROUND.
I JUST STARTED THINKING ABOUT
DEER INSTEAD OF PEOPLE DOING THE
SAME THING, JUST KIND OF
LOUNGING AROUND.
AND THAT'S REALLY WHERE THE IDEA
CAME FROM.
WHEN I DO HAVE A PROJECT, THAT'S
THE FIRST THING I DO IS THINKING
AND MAKING NOTES AND JUST KIND
OF GETTING IT OUT OF MY HEAD
ONTO A SHEET OF PAPER.
IT CAN GO ANY DIRECTION.
SO THERE'S SEVERAL PROPOSALS
THAT I MADE, NOT JUST THE DEER,
I PROPOSED FOR SPRING AND LONG
STREET, NEONS OF SPRINGING AND
LONGING THAT WOULD BE ON THESE
TUNNELS THAT PEOPLE GO IN AND
OUT OF.
THERE'S ONE CALLED THE COLUMBUS
STUMP, WHICH IS A HUGE TREE
STUMP WITH CARVINGS IN EVERY
CONCEIVABLE LANGUAGE THAT SAYS
WISH.
SOME OF THEM ARE ABSOLUTELY
IMPOSSIBLE.
THAT'S WHERE THE POSSIBLE,
IMPOSSIBLE.
SOME OF THEM WERE MADE, OTHERS
ARE JUST WISHFUL THINKING AND
WHATEVER.
SO IT'S REALLY MORE OF A THOUGHT
PROCESS, I THINK, THAT HAPPENS
ON PAPER.
DID THE DRAWINGS AND HAD IDEAS
OF WHAT THEY MIGHT LOOK LIKE.
I GOT FORMS FROM A TAXIDERMIST
IN LOUISIANA AND THEIR ACTUAL
STYROFOAM FORMS THAT TAXIDERMY
GUYS USE, AFTER THEY SKIN THE
DEER, THEY PUT IT BACK ON.
AND I USED THAT AS AN ARMATURE
AND WORKED AT A FOUNDRY THAT
I'VE WORKED AT FOR YEARS IN WALA
WALA, WASHINGTON.
SO WE SET UP THESE PIECES AND
BUILT IT AND KIND OF CONSTRUCTED
IT INTO THE FORMS THAT YOU SEE
OUT THERE NOW AND COVERED WITH
CLAY AND MODELED THE CLAY AND
THEN MADE A MOLD OF THEM.
IT'S HARD, WHEN YOU'RE TALKING
ABOUT DEER, I THINK PEOPLE
INSTANTLY HAVE AN IMAGE IN THEIR
HEAD OF WHATEVER DEER THEY SEE
AS A SCULPTURE IN THEIR MIND.
THESE ARE REALLY YOU KIND OF
HAVE TO BE THERE.
YOU HAVE TO GO LOOK BECAUSE
THEY'VE BEEN HUMANIZED IN THE
SENSE THAT THEY STILL LOOK LIKE
DEER, BUT THEY'RE ALSO HUMAN.
AS FAR AS A LOT OF THEIR JOINTS,
YOU WOULD NEVER SEE JOINTS LIKE
THAT ON A REAL DEER, BUT I DID
THAT TO KIND OF, I THINK, MAKE
THEM ACCESSIBLE.
I THINK THAT'S WHAT'S SO
SEDUCTIVE TO ME ABOUT IT IS THAT
IT BECOMES REALLY SOMETHING THAT
PEOPLE WANT TO BE WITH AND WANT
TO ACTUALLY TOUCH.
NO MATTER HOW YOU THINK THROUGH
SOMETHING, AS SOON AS IT'S
THERE, IT'S REAL, AND IT BECOMES
SOMETHING ELSE.
IT BECOMES ITS OWN LIFE, YOU
KNOW.
AND THAT'S REALLY IMPORTANT, I
THINK.
THAT IT DOES SOMETHING.
IT DOESN'T JUST SIT THERE AND
SAY I'M A POLITICIAN.
I'M A GENERAL OR WHATEVER.
THIS ONE IS SITTING AS A DEER.
IT'S NOT SAYING ANYTHING.
IT'S JUST SITTING THERE.
AND I LOVE IT WHEN SOMEBODY
RESPONDS IN A WAY I NEVER
ANTICIPATED.
OR SAYS SOMETHING YOU NEVER
ANTICIPATED.
IT MAKES YOU THINK ABOUT IT IN A
WAY YOU NEVER THOUGHT.
BUT I THINK THAT'S WHAT HAPPENS
WITH PUBLIC WORK.
THAT'S WHY I THINK THEY'RE SO
IMPORTANT.
BECAUSE IT REALLY IS SOMETHING
TH
THAT, EVEN THOUGH IT'S PUBLIC,
IT'S SO IMPORTANT TO EACH
VIEWER, EACH PERSON THAT LOOKS
AT IT.
I THINK ITS RESISTANCE THAT
PEOPLE WILL HAVE TO PUBLIC WORKS
IS USUALLY BECAUSE THEY
ENCOUNTER IT AND THEY ARE USED
TO PASSING A PLACE DAY AFTER DAY
AND SUDDENLY THERE IS SOMETHING
DIFFERENT.
IMMEDIATELY FOR SOME REASON,
DIFFERENT MEANS WRONG, BAD.
IT'S BLOCKING SOMETHING.
BUT I THINK OVER TIME PEOPLE GET
COMFORTABLE.
>> AND THAT WRAPS IT UP FOR THIS
EDITION OF "ARTS."
FOR MORE ARTS AND CULTURE, VISIT
KLRN.ORG/ARTS WHERE YOU CAN FIND
FEATURES, BLOGS, AND INFORMATION
ON UPCOMING ARTS EVENTS.
I'M APRIL ANCIRA.
I'LL SEE YOU WITH MORE "ARTS"
NEXT WEEK.