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[gentle orchestral fanfare]

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[resonant strings 
lead building orchestration]

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♪

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(male narrator) 
Welcome to "Our State,"

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a production of UNC-TV

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in association 
with "Our State" magazine--

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for over 70 years,

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bringing the wonders 
of North Carolina

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to readers across the state.

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On this edition,

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the world-renowned 
Penland School of Crafts

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in the North Carolina mountains,

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the amazing and 
colorful work

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of artist 
Ivey Hayes,

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and D.G. Martin visits 
twin sisters in Chapel Hill

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known for the garden displays 
they create each year.

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♪

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(male announcer)g] 
BB&T serves the needs

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of more than 180 communities,

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from the Outer Banks 
and the Blue Ridge Mountains

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to everywhere in between.

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Since 1872,

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we have supported the people 
and places of North Carolina,

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and we've been proud 
to live and work here too.

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We love calling 
North Carolina our home,

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and we're pleased to provide 
major funding for "Our State."

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Additional funding has been 
[piano leads gentle melody]

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(narrator) 
Not far from Spruce Pine,

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nestled in a secluded 
Blue Ridge setting,

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there is a true 
North Carolina treasure.

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But you wouldn't know 
from the outside

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what's going on inside.

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[airy flute joins]

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♪

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This extraordinary place 
is 
the Penland School of Crafts,

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which, 
for more than 75 years,

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has been a Mecca of sorts 
for artists of all kinds.

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♪

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They come, 
from all over the world,

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here to this peaceful setting 
to further their craft...

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to discover something 
in themselves

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or, perhaps, even begin 
something completely new.

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♪

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Ceramic sculptor 
Cristina Cordova

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came to teach

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and experience 
the reality of a place

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that she'd heard about 
for a long time.

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(Cordova) 
The first time 
I heard of Penland

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was when I went 
to take a workshop

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with Paulus Berensohn 
about six years ago,

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and he talked about it almost 
like in a mythological way--

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uh, beautiful, rolling hills.

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And he kept saying to me, 
"Y 
ou have to come to this place.

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It's wonderful."

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It's fresh-- 
it's like it's isolated,

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but the most wonderful 
collectors come through.

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Like, all these people 
are drawn to it

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and get to feel 
that energy.

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Then you can still go back 
to 
your studio or take a walk,

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and you feel you're 
in the middle of nowhere.

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♪

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There's a very delicate balance 
that an artist thrives in,

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that, uh, I think Penland 
continually touches on,

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at least for me.

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(Cadman) 
I always thought of wood

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as being a very linear thing-- 
something that was very rigid.

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Once I saw how you 
could make it look so fluid,

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that was where 
it was at for me from then on.

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♪

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Everyone here 
is so willing to share

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and everyone comes 
fr 
om such different perspectives

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that you end up learning 
not only from the instructor

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but from every other student 
that you come in contact with.

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(man) 
I just got so sick 
of my ns havin' all the fun

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that I decided it was time 
for me to come down here

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and find out what this 
Penland thing is all about.

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Just learned this 
th 
is afternoon.

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♪

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(narrator) 
What has become a rich 
and varied creative environment

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actually had rather 
humble beginnings.

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♪

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During the 1920s,

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an educator named Lucy Morgan 
was looking for a way

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to help local families 
supplement their income

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by reviving 
the craft of weaving,

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which had just about died out 
in the Appalachians

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with growth of the commercial 
textile industry.

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Lucy provided them with looms

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and then, uh, began to work 
on a weekly basis,

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where she would describe

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the kind of things 
she thought might sell.

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She, uh, sold work

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through a lot 
of different craft shops

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in a multistate area.

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It wasn't just 
in North Carolina.

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(narrator) 
Edward Wurst,

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a well-respected weaver 
from Chicago soon arrived,

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at Lucy's invitation,

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to teach the community's weavers 
ho 
w to improve their skills,

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and soon, the fledgling 
Penland School of Crafts

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began to take flight.

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(McLaughlin) 
Well, Penland 
was drawing students

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from all over the country 
its very first year.

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And then it evolved, 
so 
that they were making pottery

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and working with metal.

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It didn't stay 
with just weaving.

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And over the years, 
Pe 
nland's become very well known

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across the country 
and internationally

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[acoustic guitar 
and piano play gently]

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♪

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(narrator) 
The artist's touch

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is apparent just about 
everywhere at Penland...

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created for and by artists...

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♪

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like this colorful wall 
along one walkway,

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which evolved from 
a class project in tile making.

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♪

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(McLaughlin) 
We have little art objects 
all over campus

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where people have left things 
or a visiting artist has said,

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I would really love 
to clad this tree in mica.

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And so we say, absolutely-- 
that's why we're here.

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Go experiment-- 
put your work in that place.

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♪

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(narrator) 
Penland also provides 
temporary studio space,

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in what are called the "barns," 
to selected resident artists.

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That's where we found 
metalsmith Angela Bubash.

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(Bubash) 
The residency program 
here at Penland

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is a three-year position,

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and they look for people 
that are going through, uh,

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some sort of transition 
in their career, basically.

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And I'm coming 
from graduate school,

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so this is a way 
for me to, uh, figure out

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how I'm gonna use my degree 
and use my skills

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and my art and to be exposed 
to other media

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and other minds and other ways 
of thinking about art.

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And it's a great place to--

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to explore 
and to spread your wings

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and to learn how to use 
your skills in different ways.

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♪

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(narrator) 
Angela's work is on display

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and for sale in Penland's 
ever-changing gallery.

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(McLaughlin) 
Our gallery is considered

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one of the most important venues 
fo 
r contemporary craft.

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[flute and piano 
lead serene composition]

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♪

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Everyone whose work 
is exhibited here

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has either been 
a teacher at Penland...

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♪

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or a student...

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♪

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or a visiting artist...

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or one of our 
artists-in-residence

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in our program 
down in the barns.

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(Bubash) 
We get a lot of people coming 
through just to see the work.

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It's quite a nice thing 
to talk to people

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from all over the world

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and to promote 
the crafts and promote art.

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♪

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The whole idea 
of the residency--

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it was a way to bring artists 
from all over the country,

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do the residency, 
and end up settling here.

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And when you'll drive around, 
you'll see so many studios.

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And it is a lovely 
community of people,

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and you become 
a really tight-knit group.

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[indistinct talking]

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My professor 
that I went to--

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where I went to graduate school 
said it was kind of hard

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to leave this place 
because it is so protected.

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[birds faintly chirping] 
whi, whi...whi

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[hammer banging metal] 
tnk, tnk...tnk

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(narrator) 
One of the attractions 
for students

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is that Penland offers 
facilities and equipment

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that most likely won't be found

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in the average 
backyard workshop.

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[electric bass leads mellow jam]

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While any blacksmith

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would be at home 
with the traditional anvil...

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♪

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these powerful 
hydraulic hammers

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can take work 
to a whole new dimension.

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♪

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[piano transitions 
to serene arrangement]

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♪

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The fire of creativity

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takes other forms 
in the glass-blowing studio.

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♪

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Age-old techniques 
are refined and expanded

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to turn out almost anything 
that can be imagined.

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ssshhh

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♪

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♪

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♪

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Okay, Mike.

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Blow...hard.

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♪

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♪

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(narrator) 
And what is pottery 
without fire?

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Here, a gas kiln is being 
salted to produce glazes

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that eventually will adorn 
products of hand and wheel,

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further reflecting each 
artist's creative take on lif.

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♪

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00:10:41,607 --> 00:10:43,976
♪

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00:10:44,076 --> 00:10:48,414
(McLaughlin) 
Of 
ten, we will hear people 
ta 
lk about their hands itching--

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that they hadn't 
realized that, um--

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that there was something 
else they wanted to say.

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It's almost like 
you watch people's hands

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00:10:56,389 --> 00:10:57,923
while they're here,

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and their hands become 
this mode of expression--

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00:11:01,293 --> 00:11:04,930
a way to-- 
to communicate who they are.

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00:11:05,031 --> 00:11:09,301
♪

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00:11:09,402 --> 00:11:12,905
(narrator) 
Change is always 
in the wind at Penland,

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00:11:13,005 --> 00:11:16,208
as techniques 
and even mediums evolve,

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00:11:16,308 --> 00:11:19,045
building on 
the timeless art and craft

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00:11:19,145 --> 00:11:23,349
that has created this place 
over the past 75-plus years.

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00:11:23,449 --> 00:11:26,752
And yet, the essence 
of Penland does not change

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00:11:26,852 --> 00:11:29,922
and is not likely to 
in coming decades.

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00:11:30,022 --> 00:11:34,126
And that would have suited 
fo 
under Lucy Morgan rather well.

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00:11:39,699 --> 00:11:42,368
[piano and flute 
play idyllic arrangement]

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00:11:42,468 --> 00:11:50,009
♪

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00:11:50,109 --> 00:11:51,977
(Martin) 
Beginning 
in the early springtime,

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00:11:52,078 --> 00:11:54,513
people from all over 
Chapel Hill find an excuse

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00:11:54,613 --> 00:11:56,282
to come down Gimghoul Road.

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00:11:56,382 --> 00:11:59,518
Hundreds of walkers and 
joggers from the nearby campus,

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00:11:59,618 --> 00:12:01,787
many of them at this house,

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00:12:01,887 --> 00:12:04,323
will stop at least 
for a short while

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00:12:04,423 --> 00:12:08,260
to savor the scents and colors 
of the changing displays

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00:12:08,360 --> 00:12:10,796
of flowers and plants 
in this garden

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00:12:10,896 --> 00:12:12,765
where the sign says simply--

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00:12:12,865 --> 00:12:15,768
The garden is open!

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00:12:15,868 --> 00:12:17,737
♪

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00:12:17,837 --> 00:12:21,807
(Martin) 
This welcoming sign 
and this garden belong

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00:12:21,907 --> 00:12:25,177
to twin sisters Bernice Wade 
and Barbara Stiles.

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00:12:25,277 --> 00:12:26,879
They actually look forward

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00:12:26,979 --> 00:12:29,115
to the springtime 
onslaught of visitors.

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00:12:29,215 --> 00:12:30,950
Hi! Thanks 
for having us.

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00:12:31,050 --> 00:12:32,685
(Stiles) 
We have so many people

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00:12:32,785 --> 00:12:34,820
coming all the time 
to see the garden,

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00:12:34,920 --> 00:12:36,689
and they'd 
come knock on the door

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00:12:36,789 --> 00:12:38,357
and ask 
if they could come.

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So we decided 
it would be

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00:12:40,192 --> 00:12:41,994
much nicer 
to have a sign out--

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00:12:42,094 --> 00:12:44,497
that they'd feel more welcome 
and anybody could come.

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00:12:44,597 --> 00:12:47,099
So we put it out about 
three weeks every April.

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00:12:47,199 --> 00:12:48,834
If you wanna touch the tulips,

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00:12:48,934 --> 00:12:50,870
that's okay, 
because they're getting old.

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00:12:50,970 --> 00:12:52,238
(Martin) 
Barbara and Bernice

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00:12:52,338 --> 00:12:54,340
recently celebrated 
their 90th birthday.

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00:12:54,440 --> 00:12:57,910
They are being visited this day 
by a group of future gardeners

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00:12:58,010 --> 00:13:01,247
and by members 
of the Cary Garden Club.

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00:13:01,347 --> 00:13:04,016
Oh, 
okay.

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00:13:04,116 --> 00:13:05,985
(boy) 
You can touch 'em?

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00:13:06,085 --> 00:13:08,420
(girl) 
'Cause they're 
getting very old.

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00:13:08,521 --> 00:13:11,257
(Martin) 
There seems to be just 
a wonderful blending

254
00:13:11,357 --> 00:13:12,658
of different colors.

255
00:13:12,758 --> 00:13:14,827
Is that a-- 
is that an accident?

256
00:13:14,927 --> 00:13:17,463
No, I think most of it 
is pretty well planned.

257
00:13:17,563 --> 00:13:19,632
I can tell you 
it's not an accident

258
00:13:19,732 --> 00:13:21,734
because every year 
she comes around and says,

259
00:13:21,834 --> 00:13:23,669
now, we wanna move 
this bush here.

260
00:13:23,769 --> 00:13:26,605
We would move that bush there 
because the color's not right.

261
00:13:26,705 --> 00:13:29,708
And so the poor nephews 
that are around here

262
00:13:29,809 --> 00:13:32,945
have to lift these 
giant bushes into a new hole.

263
00:13:33,045 --> 00:13:35,447
Luckily, they-- 
most of them have survived.

264
00:13:35,548 --> 00:13:36,949
So sometimes,

265
00:13:37,049 --> 00:13:39,518
we wish you weren't 
quite so color conscious.

266
00:13:39,618 --> 00:13:42,188
But we don't ask 'em 
to move the huge ones.

267
00:13:42,288 --> 00:13:43,789
No.

268
00:13:43,889 --> 00:13:46,392
♪

269
00:13:46,492 --> 00:13:48,594
(Wade) 
We try not to have 
conflicting colors,

270
00:13:48,694 --> 00:13:50,062
so the colors flow.

271
00:13:50,162 --> 00:13:51,764
We don't have a bright red

272
00:13:51,864 --> 00:13:54,266
right where you have 
this beautiful row of pinks.

273
00:13:54,366 --> 00:13:57,403
We might have blues 
and whites and a soft yellow,

274
00:13:57,503 --> 00:14:01,073
but if we had a red, 
then we have to move it.

275
00:14:01,173 --> 00:14:05,244
We try to get a good blend 
of colors that will blend well

276
00:14:05,344 --> 00:14:06,979
with whatever's blooming 
in that area.

277
00:14:07,079 --> 00:14:09,381
So we do have a place 
in our garden

278
00:14:09,481 --> 00:14:12,051
where I can use 
the gaudy colors like I want,

279
00:14:12,151 --> 00:14:14,220
with the reds 
and the red and yellows

280
00:14:14,320 --> 00:14:16,322
and a flow of yellows 
and the reds,

281
00:14:16,422 --> 00:14:18,891
and they match 
with the white azaleas and all.

282
00:14:18,991 --> 00:14:21,961
So we like to plan our colors.

283
00:14:22,061 --> 00:14:24,663
(Martin) 
You can see, 
as you walk around the garden,

284
00:14:24,763 --> 00:14:29,301
that one of the icons of spring 
is on prominent display.

285
00:14:29,401 --> 00:14:31,170
(Stiles) 
We just have to have tulips.

286
00:14:31,270 --> 00:14:33,405
We just love tulips 
in the spring,

287
00:14:33,505 --> 00:14:35,274
and they're 
a great extravagance of ours

288
00:14:35,374 --> 00:14:37,176
because you have to dig them up

289
00:14:37,276 --> 00:14:39,278
and throw them away 
when they finish blooming.

290
00:14:39,378 --> 00:14:40,646
They won't come back here.

291
00:14:40,746 --> 00:14:43,315
The bulbs will divide 
in 
to three or four little bulbs.

292
00:14:43,415 --> 00:14:45,985
None of those are gonna 
be strong enough to support--

293
00:14:46,085 --> 00:14:47,253
A pretty tulip--

294
00:14:47,353 --> 00:14:48,520
Next year.

295
00:14:48,621 --> 00:14:50,923
A weak tulip, 
but not a pretty tulip.

296
00:14:51,023 --> 00:14:53,626
(Wade) 
We order them 
from a wholesale company,

297
00:14:53,726 --> 00:14:56,395
and you have to buy 'em 
by the hundred.

298
00:14:56,495 --> 00:14:59,965
It could be $24 or $34, 
depending on the variety.

299
00:15:00,065 --> 00:15:02,601
And uh, we always say 
that's our extravagance.

300
00:15:02,701 --> 00:15:05,504
We'd rather do that 
than go out to dinner.

301
00:15:05,604 --> 00:15:07,573
You could buy 
a hundred tulips

302
00:15:07,673 --> 00:15:09,909
or go out 
and have a meal.

303
00:15:10,009 --> 00:15:11,644
(Martin) 
Azaleas are another

304
00:15:11,744 --> 00:15:13,846
spectacular component 
of their garden.

305
00:15:13,946 --> 00:15:17,917
Success with them has come 
from years of experimentation.

306
00:15:18,017 --> 00:15:22,288
(Wade) 
We do find that you have 
to have 'em in good soil--

307
00:15:22,388 --> 00:15:23,956
not in the clay--

308
00:15:24,056 --> 00:15:27,626
so the roots can go out 
and they're easy to lift.

309
00:15:27,726 --> 00:15:31,096
And you have to water 
them frequently.

310
00:15:31,196 --> 00:15:32,998
Don't let 'em dry out.

311
00:15:33,098 --> 00:15:34,967
Fertilize them after they bloom.

312
00:15:35,067 --> 00:15:36,735
If you're gonna prune 'em,

313
00:15:36,835 --> 00:15:38,837
prune 'em immediately 
after they bloom.

314
00:15:38,938 --> 00:15:40,339
What else have I forgotten?

315
00:15:40,439 --> 00:15:42,141
Well, the most 
im 
portant, I think,

316
00:15:42,241 --> 00:15:45,244
is they have to be 
on raised beds

317
00:15:45,344 --> 00:15:47,279
because their roots 
do go out.

318
00:15:47,379 --> 00:15:50,015
And they have to have nice, 
soft soil there.

319
00:15:50,115 --> 00:15:55,387
To go down into that red clay 
is not very good for them.

320
00:15:55,487 --> 00:15:57,122
(Martin) 
Over the years,

321
00:15:57,222 --> 00:15:58,958
with many hundreds of visitors,

322
00:15:59,058 --> 00:16:01,060
Barbara and Bernice 
have been asked

323
00:16:01,160 --> 00:16:02,928
for lots of gardening tips.

324
00:16:03,028 --> 00:16:05,197
And they have some 
good advice to give.

325
00:16:05,297 --> 00:16:07,967
And one of the pieces 
might be a little big.

326
00:16:08,067 --> 00:16:10,402
(Wade) 
Get good beds; get good soil.

327
00:16:10,502 --> 00:16:13,072
Don't try to plant until 
you get the soil right.

328
00:16:13,172 --> 00:16:15,040
And it takes 
a lot of money

329
00:16:15,140 --> 00:16:16,709
to get a lot 
of compost

330
00:16:16,809 --> 00:16:19,078
and a lot of peat moss 
and everything else

331
00:16:19,178 --> 00:16:20,813
to get your bed 
just right.

332
00:16:20,913 --> 00:16:22,681
Then start spending 
your money on plants.

333
00:16:22,781 --> 00:16:24,583
We learned 
the hard way.

334
00:16:24,683 --> 00:16:26,485
Go small-- 
start with one small bed

335
00:16:26,585 --> 00:16:28,687
and get it perfect 
and then move on.

336
00:16:28,787 --> 00:16:31,123
Don't try to do 
the whole yard at once.

337
00:16:31,223 --> 00:16:33,525
(Martin) 
You can tell 
by looking at the garden

338
00:16:33,625 --> 00:16:37,129
that these energetic sisters 
are not afraid of hard work

339
00:16:37,229 --> 00:16:41,300
because a lot of that 
went into what you see.

340
00:16:41,400 --> 00:16:44,470
(Stiles) 
Well, it's a great joy 
to be out in the garden.

341
00:16:44,570 --> 00:16:47,139
It really is-- 
it's just fun to be out here.

342
00:16:47,239 --> 00:16:49,174
(Wade) 
An 
d we just like being outdoors.

343
00:16:49,274 --> 00:16:50,843
We've always liked that.

344
00:16:50,943 --> 00:16:52,311
We were 
outdoor campers,

345
00:16:52,411 --> 00:16:54,146
and when we went 
to college,

346
00:16:54,246 --> 00:16:55,881
we wanted 
to be forest rangers.

347
00:16:55,981 --> 00:16:58,951
And they said, 
"But you can't be 
forest rangers--

348
00:16:59,051 --> 00:17:00,452
that's a man's job."

349
00:17:00,552 --> 00:17:03,522
So I guess it's the next 
best thing as to being--

350
00:17:03,622 --> 00:17:07,026
having our beautiful garden-- 
to be outdoors.

351
00:17:07,126 --> 00:17:10,195
(Martin) 
Th 
e house that is now surrounded 
by 
their spectacular garden

352
00:17:10,295 --> 00:17:12,631
was an early 
20th-century phenomenon.

353
00:17:12,731 --> 00:17:15,934
You could order it 
from Sears Roebuck.

354
00:17:16,035 --> 00:17:18,537
(Stiles) 
The house was built in 1920.

355
00:17:18,637 --> 00:17:21,673
It's, uh, one of those 
Craftsman houses that--

356
00:17:21,774 --> 00:17:22,975
the Sears catalog house.

357
00:17:23,075 --> 00:17:24,343
It's 
a charming house.

358
00:17:24,443 --> 00:17:26,445
Yesterday, we had some people 
here from California.

359
00:17:26,545 --> 00:17:28,047
The lady said,

360
00:17:28,147 --> 00:17:30,349
"I saw, in the state 
magazine, my house."

361
00:17:30,449 --> 00:17:32,217
And she actually 
came to find it.

362
00:17:32,317 --> 00:17:34,653
She said that 
she lives in the same house,

363
00:17:34,753 --> 00:17:36,021
but in California.

364
00:17:36,121 --> 00:17:37,523
Oh, wow-- 
that's incredible.

365
00:17:37,623 --> 00:17:40,426
(Martin) 
But it's the garden 
that attracts most visitors,

366
00:17:40,526 --> 00:17:43,362
and it's fortunate for us 
that Barbara and Bernice

367
00:17:43,462 --> 00:17:45,631
are so generous with sharing it.

368
00:17:45,731 --> 00:17:48,700
Hey, look at 
those spiked ones.

369
00:17:48,801 --> 00:17:51,070
(Stiles) 
To have friends, 
you gotta be a friend.

370
00:17:51,170 --> 00:17:52,971
and this is what we feel, too,

371
00:17:53,072 --> 00:17:54,840
with the people 
coming through the yard.

372
00:17:54,940 --> 00:17:57,042
We have made 
so many wonderful friends

373
00:17:57,142 --> 00:18:00,345
from all walks of life 
and all areas around here.

374
00:18:00,446 --> 00:18:04,516
And it makes our life richer.

375
00:18:04,616 --> 00:18:07,686
(Wade) 
When we put a lot 
of work in it, it's pretty.

376
00:18:07,786 --> 00:18:10,389
We like someone else 
to come and say it's pretty.

377
00:18:10,489 --> 00:18:11,790
And to enjoy it too.

378
00:18:11,890 --> 00:18:13,959
And sit down 
and enjoy it with them.

379
00:18:14,059 --> 00:18:16,028
That great big tulip 
was that size--

380
00:18:16,128 --> 00:18:18,163
(Wade) 
But Barbara and I always say,

381
00:18:18,263 --> 00:18:20,265
as long as we're 
good gardeners,

382
00:18:20,365 --> 00:18:21,867
we'll never be lonely.

383
00:18:21,967 --> 00:18:23,435
They're just lots of people

384
00:18:23,535 --> 00:18:27,372
who are gonna come by 
and enjoy the garden with us.

385
00:18:27,473 --> 00:18:31,310
♪

386
00:18:42,054 --> 00:18:43,822
(narrator) 
It would be fascinating

387
00:18:43,922 --> 00:18:47,192
to know what Ivey Hayes 
dreams about at night.

388
00:18:47,292 --> 00:18:49,328
[ethereal score]

389
00:18:49,428 --> 00:18:58,303
♪

390
00:18:58,403 --> 00:18:59,805
Whatever it is,

391
00:18:59,905 --> 00:19:02,307
there's a pretty good 
likelihood that he wakes up

392
00:19:02,407 --> 00:19:04,243
with a smile on his face

393
00:19:04,343 --> 00:19:06,745
and can't wait to get to work,

394
00:19:06,845 --> 00:19:08,780
putting paintbrush to canvas.

395
00:19:08,881 --> 00:19:10,749
(Hayes) 
I'm just bubbling over inside

396
00:19:10,849 --> 00:19:12,818
and saying, 
"Man, isn't this great?"

397
00:19:12,918 --> 00:19:14,486
And so I have fun.

398
00:19:14,586 --> 00:19:18,023
I mean, I have fun 
24/7 when I'm painting.

399
00:19:18,123 --> 00:19:20,692
♪

400
00:19:20,792 --> 00:19:23,362
(narrator) 
And Ivey Hayes 
is one of those painters

401
00:19:23,462 --> 00:19:26,031
whose work 
you don't soon forget.

402
00:19:26,131 --> 00:19:28,333
♪

403
00:19:28,433 --> 00:19:32,738
Sinuous shapes swirl 
across his creations.

404
00:19:32,838 --> 00:19:37,376
Brilliant colors present 
themselves in riotous array.

405
00:19:37,476 --> 00:19:39,811
There are no shades 
of gray here.

406
00:19:39,912 --> 00:19:42,748
Colors are so richly applied 
that the sounds

407
00:19:42,848 --> 00:19:46,118
and smells of the beach 
come close at hand.

408
00:19:46,218 --> 00:19:50,222
You can practically reach out 
and touch the fish,

409
00:19:50,322 --> 00:19:53,926
choose a bucket 
of oysters for dinner,

410
00:19:54,026 --> 00:19:58,263
begin to know what it's like 
to work tobacco...

411
00:19:58,363 --> 00:20:02,134
or even pick cotton.

412
00:20:02,234 --> 00:20:05,337
And you can almost 
hear the music...

413
00:20:05,437 --> 00:20:09,341
♪

414
00:20:09,441 --> 00:20:11,410
and have a pretty good idea

415
00:20:11,510 --> 00:20:14,079
what Ivey Hayes 
dreams about at night.

416
00:20:14,179 --> 00:20:17,783
♪

417
00:20:17,883 --> 00:20:21,153
How did this man come 
to paint this way,

418
00:20:21,253 --> 00:20:25,724
as if the very rainbow has 
been summoned to his service?

419
00:20:25,824 --> 00:20:28,427
(Hayes) 
Actually, it started 
in first grade, really.

420
00:20:28,527 --> 00:20:32,030
Uh, I had a love 
for the pencil to draw things,

421
00:20:32,130 --> 00:20:35,601
and so it was something 
that was in me I had to do.

422
00:20:35,701 --> 00:20:38,503
I didn't have a choice-- 
I lived it;

423
00:20:38,604 --> 00:20:41,173
I walked it; I talked it; 
I dreamed it.

424
00:20:41,273 --> 00:20:43,008
Everything was like art.

425
00:20:43,108 --> 00:20:45,744
It was like life for me.

426
00:20:45,844 --> 00:20:47,379
I didn't have to push myself.

427
00:20:47,479 --> 00:20:49,748
It was in me-- 
it took hold of me.

428
00:20:49,848 --> 00:20:52,184
And all I had to do 
was just do.

429
00:20:52,284 --> 00:20:54,586
(narrator) 
So the boy who could 
outdraw his teachers

430
00:20:54,686 --> 00:20:56,488
was off and running 
toward a future

431
00:20:56,588 --> 00:20:59,057
that eventually would 
allow him to make a living

432
00:20:59,157 --> 00:21:00,959
doing something he loved,

433
00:21:01,059 --> 00:21:04,496
although not before trying 
a variety of other occupations

434
00:21:04,596 --> 00:21:06,298
in different Carolina towns

435
00:21:06,398 --> 00:21:09,501
and then being thrown 
one critical curve ball

436
00:21:09,601 --> 00:21:13,772
that would change 
his life and his art.

437
00:21:13,872 --> 00:21:17,009
If Ivey Hayes' 
first gift was his talent,

438
00:21:17,109 --> 00:21:20,946
his second gift 
was born from adversity.

439
00:21:21,046 --> 00:21:25,050
(Hayes) 
When I, uh, moved back home 
in the early '80s,

440
00:21:25,150 --> 00:21:28,820
I started work 
at Federal Paper in Wilmington.

441
00:21:28,920 --> 00:21:30,722
A few years later,

442
00:21:30,822 --> 00:21:33,225
I came down with an illness--

443
00:21:33,325 --> 00:21:35,260
rheumatoid arthritis.

444
00:21:35,360 --> 00:21:37,496
♪

445
00:21:37,596 --> 00:21:38,997
[sighing]

446
00:21:39,097 --> 00:21:42,601
The doctors suggested to me, 
as a form of therapy,

447
00:21:42,701 --> 00:21:45,137
to start drawing and painting.

448
00:21:45,237 --> 00:21:50,242
And so as a result of-- 
of a illness, uh,

449
00:21:50,342 --> 00:21:54,279
so many positive things 
came out of this.

450
00:21:54,379 --> 00:21:57,082
(narrator) 
Ivey continued 
painting right along,

451
00:21:57,182 --> 00:21:59,918
despite his damaged hands...

452
00:22:00,018 --> 00:22:03,088
gentle but arresting 
watercolors in natural hues,

453
00:22:03,188 --> 00:22:06,058
for the most part.

454
00:22:06,158 --> 00:22:08,327
And then he was presented

455
00:22:08,427 --> 00:22:11,596
with a fresh vision 
for his art...

456
00:22:12,864 --> 00:22:16,234
one bursting with brightness 
and distorted human images

457
00:22:16,335 --> 00:22:19,938
without discernible 
facial features.

458
00:22:20,038 --> 00:22:23,241
And there were design elements 
reminiscent of Africa.

459
00:22:23,342 --> 00:22:25,610
(Hayes) 
When the Lord began 
to show me things,

460
00:22:25,711 --> 00:22:27,813
a whole new world 
opened up to me--

461
00:22:27,913 --> 00:22:29,448
using bright colors-- 
and sometimes,

462
00:22:29,548 --> 00:22:31,817
He would show me, 
like, four paintings--

463
00:22:31,917 --> 00:22:33,618
one right behind the other--

464
00:22:33,719 --> 00:22:36,488
and usually were images 
of silhouette women.

465
00:22:36,588 --> 00:22:37,823
These people would have on--

466
00:22:37,923 --> 00:22:39,524
or the ladies would have on--

467
00:22:39,624 --> 00:22:41,960
these long, flowing gowns, 
full of light--

468
00:22:42,060 --> 00:22:44,363
moving, sweeping-- 
full of geometric patterns--

469
00:22:44,463 --> 00:22:46,398
you name it.

470
00:22:46,498 --> 00:22:48,900
And it blew me away... 
literally.

471
00:22:49,000 --> 00:22:50,869
♪

472
00:22:50,969 --> 00:22:53,338
I didn't ask 
for this gift.

473
00:22:53,438 --> 00:22:55,841
It was given to me.

474
00:22:55,941 --> 00:22:59,211
Before I really began 
to use it in my paintings,

475
00:22:59,311 --> 00:23:00,879
I didn't want to accept that

476
00:23:00,979 --> 00:23:02,848
because it looked 
so strange and odd.

477
00:23:02,948 --> 00:23:05,417
I said, "Wow, where'd 
that come from?"

478
00:23:05,517 --> 00:23:08,387
But... 
I enjoy it today.

479
00:23:08,487 --> 00:23:10,856
Why? 
Because it's me.

480
00:23:10,956 --> 00:23:12,991
♪

481
00:23:13,091 --> 00:23:15,360
(narrator) 
It's not hard to imagine how,

482
00:23:15,460 --> 00:23:17,662
given Ivey Hayes' 
level of inspiration,

483
00:23:17,763 --> 00:23:21,333
he has produced so much work, 
available in varied formats

484
00:23:21,433 --> 00:23:24,669
in the store adjacent 
to his Wilmington studio

485
00:23:24,770 --> 00:23:26,304
and in galleries elsewhere

486
00:23:26,405 --> 00:23:29,608
at surprisingly 
affordable prices.

487
00:23:29,708 --> 00:23:32,544
(Hayes) 
It's okay to be 
commissioned to do a work,

488
00:23:32,644 --> 00:23:34,479
providing it's done 
the Ivey Hayes way.

489
00:23:34,579 --> 00:23:37,482
If they say, "Well, Ivey, 
I need this; I want this;

490
00:23:37,582 --> 00:23:41,052
I want that, and I want you 
to show me this or that,"

491
00:23:41,153 --> 00:23:43,989
immediately, I have to say, 
I'm sorry; I cannot do that

492
00:23:44,089 --> 00:23:49,528
because of how I do things...

493
00:23:49,628 --> 00:23:51,029
because, in me,

494
00:23:51,129 --> 00:23:53,799
there's a student, 
then there's a master teacher.

495
00:23:53,899 --> 00:23:56,635
And when 
that master teacher shows up,

496
00:23:56,735 --> 00:23:59,538
Ivey becomes the paint pusher.

497
00:23:59,638 --> 00:24:03,074
And you could say 
the supernatural takes over.

498
00:24:03,175 --> 00:24:05,477
No longer is it about Ivey.

499
00:24:05,577 --> 00:24:10,248
It's about Ivey just doing that 
which is being shown to him.

500
00:24:10,348 --> 00:24:12,083
♪

501
00:24:12,184 --> 00:24:13,952
I don't have a clue

502
00:24:14,052 --> 00:24:17,088
as to what's gonna be 
in this scene or whatever,

503
00:24:17,189 --> 00:24:18,623
but I can tell you,

504
00:24:18,723 --> 00:24:22,093
it will be grand and fantastic-- 
that I do know.

505
00:24:22,194 --> 00:24:28,934
♪

506
00:24:29,034 --> 00:24:31,369
(narrator) 
When this artist's 
gnarled fingers

507
00:24:31,470 --> 00:24:34,673
apply paint to canvas-- 
mostly primary colors--

508
00:24:34,773 --> 00:24:38,076
it's as if he enters 
another world.

509
00:24:38,176 --> 00:24:40,745
I'm shown many colors.

510
00:24:40,846 --> 00:24:42,647
When I use color,

511
00:24:42,747 --> 00:24:45,851
it may not relate directly 
to what I'm painting,

512
00:24:45,951 --> 00:24:50,822
so it's not about the fish, 
but it's more about color.

513
00:24:50,922 --> 00:24:53,792
(narrator) 
And color is what makes 
everything come alive

514
00:24:53,892 --> 00:24:55,627
in Ivey Hayes' painting.

515
00:24:55,727 --> 00:24:59,731
♪

516
00:24:59,831 --> 00:25:02,801
(Hayes) 
When I paint, 
I become what I'm painting,

517
00:25:02,901 --> 00:25:05,237
though I have 
to get around right now

518
00:25:05,337 --> 00:25:07,105
with the use of crutches.

519
00:25:07,205 --> 00:25:09,241
Physically, 
you look at me saying,

520
00:25:09,341 --> 00:25:11,142
now, how can he do that?

521
00:25:11,243 --> 00:25:15,914
But mentally, I'm-- 
I feel what I'm painting.

522
00:25:16,014 --> 00:25:19,951
I literally become 
what I'm painting.

523
00:25:20,051 --> 00:25:23,421
The painting takes hold of me,

524
00:25:23,522 --> 00:25:26,124
and we become one.

525
00:25:26,224 --> 00:25:34,666
♪

526
00:25:36,368 --> 00:25:39,638
[birds chirping] 
twi, twi...twi

527
00:25:39,738 --> 00:25:42,541
[strings lead 
resonant orchestration]

528
00:25:42,641 --> 00:25:45,644
♪

529
00:25:45,744 --> 00:25:47,913
[thunder rumbling] 
bmm, bmm...bmm

530
00:25:48,013 --> 00:25:50,749
[piano joins]

531
00:25:50,849 --> 00:25:56,187
♪

532
00:26:03,995 --> 00:26:06,631
[acoustic guitar plays softly]

533
00:26:06,731 --> 00:26:13,872
♪

534
00:26:13,972 --> 00:26:21,680
♪

535
00:26:21,780 --> 00:26:33,892
♪

536
00:26:33,992 --> 00:26:37,062
[piano leads]

537
00:26:37,162 --> 00:26:44,302
♪

538
00:26:44,402 --> 00:26:52,077
♪

539
00:26:52,177 --> 00:27:03,121
♪

540
00:27:03,221 --> 00:27:05,423
[birds chirping] 
wha, wha...wha

541
00:27:09,894 --> 00:27:12,163
[piano suggests chamber music]

542
00:27:12,263 --> 00:27:20,739
♪

543
00:27:20,839 --> 00:27:23,375
[violins join]

544
00:27:23,475 --> 00:27:30,649
♪

545
00:27:30,749 --> 00:27:38,390
♪

546
00:27:38,490 --> 00:27:43,495
Captioning by Caption Perfect 
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547
00:27:45,730 --> 00:27:48,266
(announcer) 
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548
00:27:48,366 --> 00:27:52,437
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549
00:27:59,144 --> 00:28:01,146
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550
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551
00:28:03,848 --> 00:28:06,751
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552
00:28:06,851 --> 00:28:09,654
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553
00:28:09,754 --> 00:28:12,791
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554
00:28:12,891 --> 00:28:15,193
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555
00:28:15,293 --> 00:28:17,062
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556
00:28:17,162 --> 00:28:20,699
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557
00:28:20,799 --> 00:28:22,667
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558
00:28:22,767 --> 00:28:25,270
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