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THIS SPECIAL PRESENTATION WAS

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PRODUCED IN HIGH DEFINITION BY

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WEDU -- TAMPA, ST. PETERSBURG,

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SARASOTA.

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MAJOR FUNDING FOR

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"WEDU ARTS PLUS" IS PROVIDED

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THROUGH THE GREATER CINCINNATI

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FOUNDATION BY AN ARTS-LOVING

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DONOR WHO ENCOURAGES OTHERS TO

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SUPPORT YOUR PBS STATION, WEDU.

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FUNDING IS ALSO PROVIDED BY THE

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S.L. GIMBEL FOUNDATION.

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IN THIS EDITION OF

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"WEDU ARTS PLUS,"

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A TAMPA DANCE COMPANY PRESENTS

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THE VIBRANT ART OF FLAMENCO.

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FOR ME, FLAMENCO IS KIND OF A

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COMPLETION OF NOT JUST MY

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EDUCATION BUT MY MUSICAL

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EXPRESSION.

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A STUNNING HAVEN FOR NEW

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ARTISTS AND COLLECTORS ALIKE.

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I'M EXCITED THAT (E)MERGE

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EXISTS AS A VENUE FOR ARTISTS

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JUST TO COME IN OF ANY TALENT

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AND BE ABLE TO PRESENT THEIR

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WORK PUBLICLY.

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MEET A SCULPTOR WHO

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TRANSLATES NATURE INTO STONE.

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MY DRAWINGS ARE PATHETIC

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SOMETIMES BECAUSE I SEE IT BUT I

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CAN'T PUT IT ON PAPER.

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THAT'S NOT MY MEDIUM.

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CHISEL AND STONE IS MY MEDIUM.

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AND A TEEN SHINES

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ON THE CATWALK.

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I FEEL LIKE PERSISTENCE IS A

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VERY KEY POINT IN BECOMING

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WHATEVER YOU WANT TO BE.

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IT'S ALL COMING UP NEXT ON

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"WEDU ARTS PLUS."

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♪♪

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HELLO.

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I'M GABE ORTIZ, AND THIS IS

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"WEDU ARTS PLUS."

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THE ART OF FLAMENCO BEGAN IN

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SPAIN OVER 200 YEARS AGO.

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THE SOMOS FLAMENCO COMPANY HERE

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IN TAMPA SHOWS US HOW THIS

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CLASSICAL AND VIBRANT ART FORM

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PROVIDES AN ENDURING MUSICAL AND

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VISUAL EXPERIENCE THROUGH UNIQUE

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ELEMENTS OF DANCE, SONG,

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AND INSTRUMENTATION.

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JOIN THE SOMOS FLAMENCO COMPANY

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AS THEY OFFER THEIR

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INTERPRETATION.

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♪♪

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[ FLAMENCO MUSIC ]

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I WAS INTRODUCED TO

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FLAMENCO MUSIC AS A CHILD.

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I HAD SEEN A PROGRAM ON

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TELEVISION AND FELL IN LOVE

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WITH IT.

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I DIDN'T KNOW WHAT IT WAS,

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BUT I FOUND THE DANCERS TO BE

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VERY POWERFUL AND BEAUTIFUL.

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I THOUGHT THE RHYTHMS WERE

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REALLY INTERESTING.

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AND AS A KID, I JUST WANTED TO

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KNOW MORE ABOUT IT.

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♪♪

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I WAS ACTUALLY AT SCHOOL,

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RIGHT, BACK IN CUBA.

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AND THEY HAVE, LIKE, BANDS,

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LIKE SCHOOL BANDS WHERE YOU PLAY

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SOME, LIKE, BASIC RHYTHMS AND

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LIKE MARCH AND STUFF.

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SO KIND OF LIKE I WAS ALREADY

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INTEGRATED INTO ONE OF THESE

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BANDS AS A KID.

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AND, EVENTUALLY, ONE OF MY

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NEIGHBORS, SHE HAD A BIG COMPANY

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OF MUSICIANS AND DANCERS,

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AND THEY WANTED TO TRAIN SOMEONE

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TO PLAY ACTUAL FLAMENCO.

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SO AT THE TIME, I WAS LIVING

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IN NEW YORK AND FOUND ADULT

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ENRICHMENT CLASSES IN FLAMENCO

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AT BALLET HISPANICO OF NEW YORK.

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♪♪

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WHEN WE MOVED HERE, I STARTED

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TAKING CLASSES WITH CURRA ALBA

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WHO HAS BEEN PART OF THE

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FLAMENCO SCENE HERE IN TAMPA

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FOR OVER 40 YEARS.

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I ALSO STARTED TAKING CLASSES

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WITH HER DAUGHTER, SANDRA, WHO

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IS A PART OF OUR GROUP.

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♪♪

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I WAS INTRODUCED TO FLAMENCO

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AS A CHILD.

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BOTH OF MY PARENTS WERE INVOLVED

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IN FLAMENCO.

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THEY MOVED TO TAMPA TO PERFORM

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AT THE COLUMBIA RESTAURANT.

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MY MOM IS A FLAMENCO DANCER AND

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MY FATHER WAS A FLAMENCO

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GUITARIST.

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♪♪

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I'D GO INTO SPAIN WITH A

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BUDDY OF MINE WHO WE STUDIED

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TOGETHER, CLASSICAL GUITAR

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TOGETHER.

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AND WHEN I HAD COME BACK, MY

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GUITAR TEACHER, DR. SWITZER,

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ENCOURAGED ME TO ACCOMPANY

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SOME DANCE.

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AND AT THE TIME, HE HAD RUN A

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SCHOOL HERE IN TAMPA AND HAD

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HAPPENED TO BE SANDRA'S MOTHER,

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CURRA ALBA.

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♪♪

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I GREW UP IN TAMPA,

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AND A GENTLEMAN BY THE NAME OF

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THOMAS COFFEY WAS MY FIRST

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TEACHER AND GAVE ME A

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GREAT FOUNDATION.

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WHEN I WAS READY FOR COLLEGE,

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DR. SWITZER, MARK SWITZER, FOUND

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ME IN HIGH SCHOOL, AND I STUDIED

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AT FLORIDA SOUTHERN WITH HIM.

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FROM THERE, I DID MY MASTERS

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WORK AT MANHATTAN SCHOOL OF

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MUSIC IN NEW YORK CITY.

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♪♪

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FOR ME, FLAMENCO WAS KIND OF

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A COMPLETION OF MY EDUCATION IN

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MUSIC.

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IN CLASSICAL GUITAR, YOU GET ALL

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THE THEORY.

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YOU GET THE HISTORY.

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YOU GET THE TECHNIQUE.

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YOU GET THE EXPRESSION.

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YOU LEARN ALL THE BEAUTIFUL

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DETAILS OF MUSIC.

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WHAT VERY OFTEN IS LOST IN THAT,

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HOWEVER, IS THE SOUL AND THE

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SPIRIT OF THE MUSIC.

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AND FLAMENCO DID THAT FOR ME.

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♪♪

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I KNEW SOMEONE THAT WAS

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ACTUALLY A GUITARIST BACK IN

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CUBA, AND HE IS A FLAMENCO

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SINGER, CANTE JONDO, A VERY

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SPECIAL TYPE OF SINGING.

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IT'S PART OF THE BASICS OF

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FLAMENCO, RIGHT?

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♪♪

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THAT'S HOW I REALLY STARTED

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LOVING THE FLAMENCO, TRYING TO

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UNDERSTAND WHAT WAS GOING ON IN

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THE SINGING PART OF IT, WHICH IS

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I BELIEVE THE ROOT OF FLAMENCO.

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♪♪

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THE MUSIC FOR ME IS SOMETHING

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THAT KEEPS DRAWING ME BACK IN.

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I'VE BEEN DANCING FLAMENCO

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OVER 30 YEARS.

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SOMETIMES, YOU KNOW, YOU GO AWAY

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FROM IT A LITTLE BIT.

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I MOVED OUT OF STATE FOR, LIKE,

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FIVE YEARS, SO I WAS VERY

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DISTANT FROM IT BEING IN THE

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MIDWEST WHERE IT'S NOT TOO

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POPULAR.

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BUT THERE'S SOMETHING TO IT THAT

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JUST DRAWS YOU BACK IN.

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THERE IS A RHYTHM IN

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BULERIAS, FOR EXAMPLE.

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BULERIAS IS ONE OF THE CORE

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FORMS FOR FLAMENCO THAT IS

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12 BEATS.

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HOW DO YOU PLAY THOSE 12 BEATS?

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THERE ARE SO MANY DIFFERENT,

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WONDERFUL WAYS TO PLAY THOSE

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12 BEATS THAT IT'S FASCINATING.

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[ RHYTHMIC CLAPPING ]

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AND INCORPORATING THOSE KINDS OF

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RHYTHMS AND LAYERS OF RHYTHMS

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INTO THE MELODY AND THE HARMONY

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AND THE BASS THAT I WAS ALREADY

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LEARNING HOW TO DO.

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IT WAS FASCINATING FOR ME.

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SO FOR ME, FLAMENCO WAS KIND OF

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A COMPLETION OF NOT JUST MY

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EDUCATION BUT MY

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MUSICAL EXPRESSION.

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♪♪

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TO LEARN MORE, VISIT:

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THE FOURTH ANNUAL (E)MERGE

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ART FAIR RECENTLY TOOK PLACE AT

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THE ICONIC CAPITOL SKYLINE HOTEL

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IN THE NATION'S CAPITAL.

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(E)MERGE CELEBRATES THE ENERGY

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OF ART WITH AN IMMERSIVE

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ATMOSPHERE FEATURING

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MORE THAN 50 ARTISTS FROM

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AROUND THE WORLD.

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I'M JAMIE SMITH.

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I'M FOUNDING DIRECTOR OF

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(E)MERGE ART FAIR.

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THIS IS OUR FOURTH YEAR FOR THE

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FAIR IN WASHINGTON, D.C.

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WE HAVE 85 EXHIBITORS COMING

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FROM 32 DIFFERENT COUNTRIES.

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WE'RE VERY EXCITED TO WELCOME

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EVERYONE HERE TO THE CAPITOL

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SKYLINE HOTEL.

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THERE'S AMAZING DEPTH OF WORK ON

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VIEW HERE, INCLUDING PAINTING,

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SCULPTURE, PERFORMANCE,

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CONCEPTUAL ART, VIDEO,

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EVERYTHING WE CAN IMAGINE.

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♪♪

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MY NAME IS SHELDON SCOTT.

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I LIVE IN COLUMBIA HEIGHTS IN

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WASHINGTON, D.C.

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AND THIS IS MY FOURTH YEAR HERE

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AT (E)MERGE.

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MY THIRD TIME EXHIBITING.

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I THINK (E)MERGE HAS BEEN

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ESSENTIAL TO MY ARTISTIC CAREER.

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WHEN I CAME HERE THE FIRST YEAR,

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I CAME JUST AS A SPONSOR.

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SO I ACTUALLY WAS INSPIRED BY

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SEEING PEOPLE PRESENT THEIR WORK

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TO THE PUBLIC FOR THE

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FIRST TIME.

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♪♪

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THIS IS OUR FOURTH YEAR AT

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THE CAPITOL SKYLINE HOTEL.

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SINCE ITS LAUNCH, (E)MERGE HAS

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BEEN HERE.

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WE LOVE THE ARCHITECTURE OF THE

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HOTEL.

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IT OFFERS A WONDERFUL SOCIAL

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SPACE WITH A POOL DECK, LOUNGE,

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MANY DIFFERENT AREAS.

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THE ATMOSPHERE OF THE FAIR IS

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VERY RELAXED.

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IT'S VERY CASUAL.

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EVERYONE CAN EXPLORE AT THEIR

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OWN PACE.

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ONE OF THE MEANINGS OF THE NAME

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(E)MERGE IS EMERGING COLLECTORS

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AS WELL AS EMERGING ARTISTS.

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SO WE ENCOURAGE EVERYONE TO COME

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HAVE FUN AND TO FIND SOMETHING

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THAT APPEALS TO THEM HERE,

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WHETHER THEY ARE A SEASONED

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COLLECTOR OR THEY ARE LOOKING

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FOR THEIR FIRST ART ACQUISITION.

264
00:11:28,999 --> 00:11:31,999
AND THERE ARE A LOT OF

265
00:11:31,999 --> 00:11:33,750
EDUCATIONAL OPPORTUNITIES.

266
00:11:33,750 --> 00:11:35,834
WE HAVE PANEL DISCUSSIONS.

267
00:11:35,834 --> 00:11:37,959
ALL OF THE EXHIBITORS ARE

268
00:11:37,959 --> 00:11:39,999
EXPERTS, VERY KNOWLEDGEABLE.

269
00:11:39,999 --> 00:11:41,750
SO IT'S JUST A VERY WELCOMING,

270
00:11:41,750 --> 00:11:43,875
FRIENDLY ENVIRONMENT.

271
00:11:44,834 --> 00:11:53,917
♪♪

272
00:11:53,917 --> 00:11:56,041
WE TRY TO MAKE AN OPPORTUNITY

273
00:11:56,041 --> 00:11:57,458
FOR ARTISTS TO CONNECT WITH

274
00:11:57,458 --> 00:11:58,875
THEIR PUBLIC, INCLUDING

275
00:11:58,875 --> 00:12:01,208
COLLECTORS AND CURATORS AS WELL

276
00:12:01,208 --> 00:12:04,291
AS GALLERISTS.

277
00:12:04,291 --> 00:12:05,750
MANY NEW RELATIONSHIPS FORM AT

278
00:12:05,750 --> 00:12:07,291
THE FAIR.

279
00:12:07,291 --> 00:12:09,959
SOME UNREPRESENTED ARTISTS FIND

280
00:12:09,959 --> 00:12:11,583
GALLERY REPRESENTATION THROUGH

281
00:12:11,583 --> 00:12:13,041
THEIR EXPERIENCE AT (E)MERGE.

282
00:12:13,041 --> 00:12:14,750
SO THIS IS A BODY OF WORK

283
00:12:14,750 --> 00:12:16,917
CALLED FOLKLORE THAT I JUST

284
00:12:16,917 --> 00:12:18,999
PRODUCED OVER THE LAST YEAR,

285
00:12:18,999 --> 00:12:20,375
AND IT'S AN EXPLORATION OF THE

286
00:12:20,375 --> 00:12:21,750
MYTH AND LEGEND OF AMERICAN

287
00:12:21,750 --> 00:12:23,166
BLACKNESS THROUGH STORY, SONG,

288
00:12:23,166 --> 00:12:24,999
AND RIDDLE.

289
00:12:24,999 --> 00:12:26,709
I HAVE THE RIDDLE EENY MEENY

290
00:12:26,709 --> 00:12:29,375
MINY MOE, THE STORY OF

291
00:12:29,375 --> 00:12:31,750
JOHN HENRY, STEEL-DRIVING MAN,

292
00:12:31,750 --> 00:12:32,999
WHICH ACTUALLY INFORMS MY

293
00:12:32,999 --> 00:12:34,417
PERFORMANCES AND PORTRAITS THAT

294
00:12:34,417 --> 00:12:35,959
YOU SEE HERE.

295
00:12:36,959 --> 00:12:40,999
♪♪

296
00:12:40,999 --> 00:12:43,125
MY NAME IS AVNER SHER.

297
00:12:43,125 --> 00:12:44,917
I AM AN ISRAELI ARTIST.

298
00:12:44,917 --> 00:12:46,750
AND THIS IS MY FIRST TIME

299
00:12:46,750 --> 00:12:48,750
IN D.C.

300
00:12:48,750 --> 00:12:53,417
MY WORK IS AN EXPRESSION OF HOPE

301
00:12:53,417 --> 00:12:57,333
IN FACE OF FEARS.

302
00:12:57,333 --> 00:12:59,792
IT'S A UNIVERSAL WISH TO COLLECT

303
00:12:59,792 --> 00:13:02,083
PIECES FROM CHAOTIC SITUATION

304
00:13:02,083 --> 00:13:04,500
AND THEN TO BUILD A NEW WORLD,

305
00:13:04,500 --> 00:13:05,999
AND THAT IS ACTUALLY WHAT

306
00:13:05,999 --> 00:13:08,417
I'M DOING.

307
00:13:08,417 --> 00:13:09,834
FIRST, DESTRUCTION, AND AFTER

308
00:13:09,834 --> 00:13:11,625
THAT CONSTRUCTION.

309
00:13:11,625 --> 00:13:12,999
I COMBINE THEM, AND THEN

310
00:13:12,999 --> 00:13:14,375
SUDDENLY IT BECOMES STRANGE

311
00:13:14,375 --> 00:13:15,959
FACES.

312
00:13:15,959 --> 00:13:18,417
SOMETIMES CHILDISH.

313
00:13:18,417 --> 00:13:20,208
SOMETIMES SOMETHING THAT I COULD

314
00:13:20,208 --> 00:13:21,999
NEVER IMAGINE THAT IT WOULD BE

315
00:13:21,999 --> 00:13:23,500
THE RESULT.

316
00:13:23,500 --> 00:13:26,041
WELL, I HOPE THAT ANYONE THAT

317
00:13:26,041 --> 00:13:29,750
SEES MY WORK WILL WONDER,

318
00:13:29,750 --> 00:13:32,083
COULD IT BE THAT ALL THOSE FACES

319
00:13:32,083 --> 00:13:35,583
WERE RAISED FROM TOTAL CHAOS.

320
00:13:35,583 --> 00:13:37,375
WELL, YES.

321
00:13:37,375 --> 00:13:38,750
THAT'S SOMETHING THAT WE ALL

322
00:13:38,750 --> 00:13:41,166
HOPE THAT WE STARTED WITH

323
00:13:41,166 --> 00:13:42,834
NOTHING, WITH A CARELESS

324
00:13:42,834 --> 00:13:44,166
SITUATION BUT AT LEAST WE BUILD

325
00:13:44,166 --> 00:13:45,999
A NEW LIFE.

326
00:13:45,999 --> 00:13:47,250
WHEN VISITORS COME TO THE

327
00:13:47,250 --> 00:13:48,709
FAIR, WE WANT THEM TO HAVE AN

328
00:13:48,709 --> 00:13:49,959
ENJOYABLE EXPERIENCE, WHETHER

329
00:13:49,959 --> 00:13:51,999
THEY ARE COMING AS SEASONED

330
00:13:51,999 --> 00:13:54,458
COLLECTORS OR CURIOUS VISITORS

331
00:13:54,458 --> 00:13:57,375
WHO DO NOT FREQUENT ART FAIRS.

332
00:13:57,375 --> 00:13:59,625
WE WANT THEM TO ENJOY THE

333
00:13:59,625 --> 00:14:00,999
RELAXED ATMOSPHERE AND THE

334
00:14:00,999 --> 00:14:02,999
ENERGY THAT'S HERE.

335
00:14:02,999 --> 00:14:05,542
WE ALSO WANT THEM TO TAKE AWAY A

336
00:14:05,542 --> 00:14:08,125
SENSE OF HOW IMPORTANT ART IS IN

337
00:14:08,125 --> 00:14:09,999
OUR LIVES.

338
00:14:09,999 --> 00:14:11,208
I'M EXCITED THAT (E)MERGE

339
00:14:11,208 --> 00:14:12,792
EXISTS AS A VENUE FOR ARTISTS

340
00:14:12,792 --> 00:14:14,999
JUST TO COME IN OF ANY TALENT

341
00:14:14,999 --> 00:14:16,417
AND BE ABLE TO PRESENT THEIR

342
00:14:16,417 --> 00:14:17,999
WORK PUBLICLY.

343
00:14:17,999 --> 00:14:20,999
I THINK THAT'S A RARE FORMAT,

344
00:14:20,999 --> 00:14:22,000
AND IT'S EXCITING TO HAVE THAT

345
00:14:22,000 --> 00:14:23,999
HERE IN WASHINGTON, D.C.

346
00:14:23,999 --> 00:14:25,542
FOR MORE INFORMATION, VISIT:

347
00:14:28,959 --> 00:14:30,792
STONE SCULPTOR KAREN HEYL

348
00:14:30,792 --> 00:14:32,083
FOUND A NEW CAREER AND A LATE

349
00:14:32,083 --> 00:14:33,667
CALLING WHEN SHE PICKED UP HER

350
00:14:33,667 --> 00:14:35,542
FIRST CHISEL IN HER 30s.

351
00:14:35,542 --> 00:14:36,999
NOW, YEARS LATER, YOU CAN FIND

352
00:14:36,999 --> 00:14:38,999
HER WORK IN BUILDINGS, PARKS AND

353
00:14:38,999 --> 00:14:40,083
CITYSCAPES THROUGHOUT THE

354
00:14:40,083 --> 00:14:41,417
UNITED STATES.

355
00:14:41,417 --> 00:14:43,959
AND TODAY, SHE'S EXPLORING NEW

356
00:14:43,959 --> 00:14:45,500
MEDIUMS AND FRESH FORMS,

357
00:14:45,500 --> 00:14:47,000
SHOWING THAT PASSION ISN'T

358
00:14:47,000 --> 00:14:49,125
ALWAYS SET IN STONE.

359
00:14:52,709 --> 00:14:54,709
I NEVER SAW MYSELF AS A

360
00:14:54,709 --> 00:14:55,999
STONE SCULPTOR OR ANY KIND

361
00:14:55,999 --> 00:14:57,583
OF A SCULPTOR.

362
00:14:57,583 --> 00:14:59,208
SO WHEN MY KIDS WENT TO SCHOOL,

363
00:14:59,208 --> 00:15:00,583
I DECIDED TO GO TO THE ART

364
00:15:00,583 --> 00:15:02,500
ACADEMY HERE IN CINCINNATI.

365
00:15:02,500 --> 00:15:03,999
AND IT WAS THERE THAT I WAS

366
00:15:03,999 --> 00:15:05,999
INTRODUCED TO STONE SCULPTURE.

367
00:15:05,999 --> 00:15:07,083
AND I WAS IN MY 30s AT THAT

368
00:15:07,083 --> 00:15:09,208
POINT.

369
00:15:09,208 --> 00:15:12,041
I THINK WHAT ATTRACTED ME TO

370
00:15:12,041 --> 00:15:15,125
STONE CARVING AND WHAT I SAW IN

371
00:15:15,125 --> 00:15:17,291
IT WAS THAT NOT ONLY WAS IT

372
00:15:17,291 --> 00:15:19,291
A CHALLENGE MENTALLY,

373
00:15:19,291 --> 00:15:20,999
BUT PHYSICALLY.

374
00:15:20,999 --> 00:15:22,834
I WENT HOME TIRED, AND I STILL

375
00:15:22,834 --> 00:15:24,250
DO GO HOME TIRED FROM THE

376
00:15:24,250 --> 00:15:25,750
PHYSICALITY OF DOING STONE

377
00:15:25,750 --> 00:15:26,999
SCULPTURE.

378
00:15:26,999 --> 00:15:29,500
MOST OF WHAT I DO IN BAS RELIEF

379
00:15:29,500 --> 00:15:30,917
STONE CARVING IS COMMISSIONED

380
00:15:30,917 --> 00:15:31,999
WORK.

381
00:15:31,999 --> 00:15:33,999
IT'S FROM EITHER CORPORATE

382
00:15:33,999 --> 00:15:35,583
AMERICA, HOSPITALS, OR PEOPLE'S

383
00:15:35,583 --> 00:15:37,999
PRIVATE HOMES.

384
00:15:37,999 --> 00:15:39,166
MY GREATEST JOY COMES FROM WHEN

385
00:15:39,166 --> 00:15:41,041
THEY JUST SAY DO WHAT YOU DO,

386
00:15:41,041 --> 00:15:42,999
AND THEN I CAN GIVE THEM A

387
00:15:42,999 --> 00:15:44,999
NARRATIVE ABOUT WHAT THEY ARE

388
00:15:44,999 --> 00:15:47,333
TALKING ABOUT BASED ON NATURAL

389
00:15:47,333 --> 00:15:48,917
FORMS THAT I GATHER FROM

390
00:15:48,917 --> 00:15:49,917
NATURE -- FLOWERS, LEAVES,

391
00:15:49,917 --> 00:15:51,750
EVEN ANIMALS, BIRDS.

392
00:15:52,792 --> 00:15:58,542
♪♪

393
00:15:58,542 --> 00:16:00,417
TO BEGIN THE PROCESS,

394
00:16:00,417 --> 00:16:01,999
KAREN SEES THE PIECE IN HER MIND

395
00:16:01,999 --> 00:16:03,333
AND THEN MUST PUT IT ON PAPER

396
00:16:03,333 --> 00:16:05,625
FOR HER CLIENTS.

397
00:16:05,625 --> 00:16:07,834
MY DRAWINGS ARE PATHETIC

398
00:16:07,834 --> 00:16:09,750
SOMETIMES BECAUSE I SEE IT,

399
00:16:09,750 --> 00:16:10,999
BUT I CAN'T PUT IT ON PAPER.

400
00:16:10,999 --> 00:16:13,208
THAT'S NOT MY MEDIUM.

401
00:16:13,208 --> 00:16:16,166
CHISEL AND STONE IS MY MEDIUM.

402
00:16:16,166 --> 00:16:17,500
ONCE I HAVE THE DRAWING,

403
00:16:17,500 --> 00:16:18,667
I GRID THE DRAWING.

404
00:16:18,667 --> 00:16:19,999
IT'S A SCALED DRAWING TO MATCH

405
00:16:19,999 --> 00:16:21,542
THE SIZE OF THE STONE,

406
00:16:21,542 --> 00:16:22,999
AND I TRANSFER THAT DRAWING

407
00:16:22,999 --> 00:16:25,291
TO THE STONE.

408
00:16:25,291 --> 00:16:26,709
AND THEN I BEGIN CARVING.

409
00:16:26,709 --> 00:16:28,250
I JUST TAKE THE EDGE OF THE

410
00:16:28,250 --> 00:16:30,917
CHISEL AND I START OUTLINING THE

411
00:16:30,917 --> 00:16:32,750
FORM.

412
00:16:32,750 --> 00:16:33,917
SAY IT'S A BIRD.

413
00:16:33,917 --> 00:16:34,999
IT WILL BE LIKE A SCRATCH IN

414
00:16:34,999 --> 00:16:35,959
THE SURFACE WHERE I OUTLINE

415
00:16:35,959 --> 00:16:36,999
THAT FORM.

416
00:16:36,999 --> 00:16:38,208
THAT'S GOING TO POP FORWARD.

417
00:16:38,208 --> 00:16:39,041
THAT'S THE PART THAT'S GOING TO

418
00:16:39,041 --> 00:16:40,250
STICK OUT.

419
00:16:40,250 --> 00:16:41,999
SO EVERYTHING SURROUNDING THAT

420
00:16:41,999 --> 00:16:43,458
BIRD HAS TO COME OFF.

421
00:16:43,458 --> 00:16:45,458
THEN THERE IS A LEAF.

422
00:16:45,458 --> 00:16:46,999
THEN I HAVE TO TAKE EVERYTHING

423
00:16:46,999 --> 00:16:48,375
AROUND THAT LEAF OFF WITHOUT

424
00:16:48,375 --> 00:16:50,041
LOSING THE OTHER LEAVES.

425
00:16:50,041 --> 00:16:51,417
THIS IS THINKING THREE

426
00:16:51,417 --> 00:16:52,709
DIMENSIONALLY, SO YOU HAVE TO

427
00:16:52,709 --> 00:16:53,999
KNOW WHICH THINGS ARE COMING

428
00:16:53,999 --> 00:16:54,999
FORWARD AND WHICH THINGS ARE

429
00:16:54,999 --> 00:16:56,959
STAYING BACK.

430
00:16:56,959 --> 00:16:58,667
WHEN I MAKE A MISTAKE, NOBODY

431
00:16:58,667 --> 00:17:00,625
KNOWS IT BECAUSE A LEAF CAN BE

432
00:17:00,625 --> 00:17:02,250
JUST ABOUT ANY KIND OF SHAPE

433
00:17:02,250 --> 00:17:03,999
YOU WANT TO MAKE IT.

434
00:17:03,999 --> 00:17:06,000
THE TOOLS THAT I USE NOW ARE

435
00:17:06,000 --> 00:17:07,750
ALL PNEUMATIC.

436
00:17:07,750 --> 00:17:08,750
BUT WHEN I BEGAN CARVING,

437
00:17:08,750 --> 00:17:09,959
IT WAS ALL HAMMER AND CHISEL

438
00:17:09,959 --> 00:17:11,417
LIKE THEY DID IN THE OLDEN DAYS,

439
00:17:11,417 --> 00:17:13,375
BUT IT TAKES FOREVER TO GET A

440
00:17:13,375 --> 00:17:15,959
PIECE FINISHED.

441
00:17:15,959 --> 00:17:17,375
SO I WAS INTRODUCED INTO

442
00:17:17,375 --> 00:17:19,834
PNEUMATIC TOOLS WITH A SPECIAL

443
00:17:19,834 --> 00:17:22,583
HAMMER THAT'S A VERY SMALL

444
00:17:22,583 --> 00:17:24,000
VERSION OF A JACKHAMMER

445
00:17:24,000 --> 00:17:25,999
IN A STREET.

446
00:17:25,999 --> 00:17:28,667
ONLY THE CHISELS DON'T LOCK IN.

447
00:17:28,667 --> 00:17:30,917
YOU HAND-HOLD BOTH PIECES AND

448
00:17:30,917 --> 00:17:32,125
YOU GUIDE IT.

449
00:17:32,125 --> 00:17:33,417
SO YOU'RE WORKING BOTH HANDS,

450
00:17:33,417 --> 00:17:35,417
BOTH ARMS AT THE SAME TIME,

451
00:17:35,417 --> 00:17:36,999
AND YOU CONTROL THE AMOUNT OF

452
00:17:36,999 --> 00:17:38,333
PRESSURE THAT COMES THROUGH THAT

453
00:17:38,333 --> 00:17:39,709
AIR HOSE, SO YOU DON'T TAKE OFF

454
00:17:39,709 --> 00:17:41,250
TOO MUCH OR YOU CAN TAKE OFF

455
00:17:41,250 --> 00:17:42,999
MORE BY HAVING MORE PRESSURE

456
00:17:42,999 --> 00:17:44,917
COME THROUGH.

457
00:17:44,917 --> 00:17:46,333
MY STONE THAT I USED MOSTLY AT

458
00:17:46,333 --> 00:17:47,999
THIS POINT IN MY LIFE IS

459
00:17:47,999 --> 00:17:49,417
INDIANA LIMESTONE.

460
00:17:49,417 --> 00:17:50,542
MOST OF IT COMES FROM BEDFORD,

461
00:17:50,542 --> 00:17:52,125
INDIANA.

462
00:17:52,125 --> 00:17:53,709
I CHOOSE LIMESTONE, NUMBER ONE,

463
00:17:53,709 --> 00:17:55,667
BECAUSE IT'S AVAILABLE.

464
00:17:55,667 --> 00:17:59,625
NUMBER TWO, BECAUSE IT'S SOFT.

465
00:17:59,625 --> 00:18:01,291
NUMBER THREE, IT WEARS

466
00:18:01,291 --> 00:18:04,083
WELL OUTDOORS.

467
00:18:04,083 --> 00:18:06,166
AND NUMBER FOUR, IT FORCES ME TO

468
00:18:06,166 --> 00:18:10,417
PUT A REALLY GOOD DESIGN IN IT.

469
00:18:10,417 --> 00:18:12,208
SD1, NORTHERN KENTUCKY'S

470
00:18:12,208 --> 00:18:13,999
WASTEWATER AND STORMWATER

471
00:18:13,999 --> 00:18:16,166
UTILITY IS USING ART TO EDUCATE

472
00:18:16,166 --> 00:18:17,875
PEOPLE ABOUT OUR PRECIOUS

473
00:18:17,875 --> 00:18:19,917
RESOURCE -- WATER.

474
00:18:19,917 --> 00:18:21,166
THEY COMMISSIONED KAREN TO

475
00:18:21,166 --> 00:18:22,875
CREATE THREE SCULPTURES --

476
00:18:22,875 --> 00:18:24,999
WATER: GIFT OF THE EARTH.

477
00:18:24,999 --> 00:18:30,166
WATER: SOURCE OF LIFE.

478
00:18:30,166 --> 00:18:34,834
WATER: SCULPTOR OF THE LAND.

479
00:18:34,834 --> 00:18:37,500
I ACTUALLY WENT DOWN TO THE

480
00:18:37,500 --> 00:18:39,834
QUARRIES, AND I FOUND THESE HUGE

481
00:18:39,834 --> 00:18:41,875
CORES OF STONE THAT ARE PROBABLY

482
00:18:41,875 --> 00:18:44,875
36 INCHES ACROSS.

483
00:18:44,875 --> 00:18:45,999
AND I THOUGHT, WOW, WHAT

484
00:18:45,999 --> 00:18:46,999
ARE THESE?

485
00:18:46,999 --> 00:18:47,917
THEY SAID, OH, THAT'S

486
00:18:47,917 --> 00:18:48,834
JUST GARBAGE.

487
00:18:48,834 --> 00:18:50,166
THOSE WERE CORE SAMPLES.

488
00:18:50,166 --> 00:18:51,542
THEY WERE EACH FIVE FEET TALL,

489
00:18:51,542 --> 00:18:53,000
SO WE CUT THEM IN HALF.

490
00:18:53,000 --> 00:18:55,083
SO WE HAD THESE FOUR PIECES.

491
00:18:55,083 --> 00:18:56,458
THEN THERE WAS GOING TO BE A

492
00:18:56,458 --> 00:18:57,792
FOUNTAIN, SO WE HAD TO CORE

493
00:18:57,792 --> 00:19:00,959
THE CENTERS OUT.

494
00:19:00,959 --> 00:19:02,542
SO THE TITLE COMES FROM "WATER:

495
00:19:02,542 --> 00:19:03,917
SCULPTOR OF THE LAND" WHICH THE

496
00:19:03,917 --> 00:19:04,999
WATER CUTS THROUGH THE EARTH AND

497
00:19:04,999 --> 00:19:06,375
REVEALS THE FOSSILS WHICH TELLS

498
00:19:06,375 --> 00:19:08,291
THE HISTORY OF THE LAND,

499
00:19:08,291 --> 00:19:10,625
HOW MANY MILLIONS OF YEARS AGO.

500
00:19:10,625 --> 00:19:11,959
AND THE FOSSILS, SOME OF THEM

501
00:19:11,959 --> 00:19:12,999
ARE CARVED.

502
00:19:12,999 --> 00:19:13,999
SOME OF THEM ARE MADE OUT OF

503
00:19:13,999 --> 00:19:15,333
TERRA-COTTA CLAY.

504
00:19:15,333 --> 00:19:17,166
AND THAT WAS A PROJECT I WORKED

505
00:19:17,166 --> 00:19:19,000
IN COLLABORATION WITH ALLAN

506
00:19:19,000 --> 00:19:21,125
NAIRN WHO IS A CINCINNATI POTTER

507
00:19:21,125 --> 00:19:22,375
NOW WORKING AT THE

508
00:19:22,375 --> 00:19:24,333
ROOKWOOD POTTERY.

509
00:19:24,333 --> 00:19:26,417
HAVING WORKED WITH STONE FOR

510
00:19:26,417 --> 00:19:27,999
YEARS, KAREN HAS TAKEN ON A NEW

511
00:19:27,999 --> 00:19:31,166
MEDIUM -- CLAY.

512
00:19:31,166 --> 00:19:33,625
I HAD NO IDEA WHAT I WAS

513
00:19:33,625 --> 00:19:34,959
DOING IN CLAY, SO I THOUGHT HOW

514
00:19:34,959 --> 00:19:37,208
CAN I MAKE CLAY MORE A PART OF

515
00:19:37,208 --> 00:19:41,208
ME AND ME A PART OF THE CLAY?

516
00:19:41,208 --> 00:19:42,333
SO ALL OF A SUDDEN ONE DAY

517
00:19:42,333 --> 00:19:43,166
IT JUST CAME TO ME -- WHY NOT

518
00:19:43,166 --> 00:19:44,999
CARVE THE CLAY?

519
00:19:44,999 --> 00:19:46,083
AND THEN I FOUND OUT, TOO,

520
00:19:46,083 --> 00:19:47,875
BECAUSE I HAVE ESSENTIAL TREMOR

521
00:19:47,875 --> 00:19:49,291
THAT I CAN'T THROW AND PULL

522
00:19:49,291 --> 00:19:50,667
CLAY.

523
00:19:50,667 --> 00:19:52,500
I CAN'T THROW CLAY BECAUSE MY

524
00:19:52,500 --> 00:19:55,041
HAND SHAKES THE WHOLE WAY UP.

525
00:19:55,041 --> 00:19:56,750
SO I HIRE SOMEBODY TO THROW A

526
00:19:56,750 --> 00:19:58,875
BASIC VESSEL FOR ME.

527
00:19:58,875 --> 00:20:01,542
AND THEN I EMBELLISH IT.

528
00:20:01,542 --> 00:20:03,208
I ADD THE HANDLES,

529
00:20:03,208 --> 00:20:04,542
THE DECORATIVE HANDLES TO IT.

530
00:20:04,542 --> 00:20:05,667
I ADD THE STUFF THAT MAKE

531
00:20:05,667 --> 00:20:07,250
THE BEAK.

532
00:20:07,250 --> 00:20:09,417
I'VE FOCUSED ON PITCHERS.

533
00:20:09,417 --> 00:20:10,959
AND THEN THE PITCHERS REMINDED

534
00:20:10,959 --> 00:20:12,542
ME OF BIRDS.

535
00:20:12,542 --> 00:20:13,999
SO, NOW ALL I DO ARE THESE

536
00:20:13,999 --> 00:20:17,250
VESSELS IN CLAY THAT ARE BIRDS.

537
00:20:17,250 --> 00:20:19,208
AND ONCE I FIGURED THAT OUT,

538
00:20:19,208 --> 00:20:21,709
AND I LIKED THAT I HAD THIS

539
00:20:21,709 --> 00:20:24,083
CARVED CLAY VESSEL, THEN I

540
00:20:24,083 --> 00:20:26,166
THOUGHT SOMETHING IS NOT RIGHT.

541
00:20:26,166 --> 00:20:27,709
SO THEN I DECIDED I'LL CARVE A

542
00:20:27,709 --> 00:20:29,999
BASE FOR IT OUT OF LIMESTONE.

543
00:20:29,999 --> 00:20:31,542
SO THEN I BROUGHT MY STONE

544
00:20:31,542 --> 00:20:33,166
CARVING BACK INTO IT.

545
00:20:33,166 --> 00:20:35,291
SO NOW I'M CONFLICTED BETWEEN

546
00:20:35,291 --> 00:20:38,333
CARVING AND MAKING CLAY.

547
00:20:38,333 --> 00:20:40,083
BUT I FOUND A WAY TO KEEP THE

548
00:20:40,083 --> 00:20:41,709
STONE CARVING INTO MY LIFE BY

549
00:20:41,709 --> 00:20:43,500
CREATING THESE VESSELS.

550
00:20:43,500 --> 00:20:44,583
SO THAT'S HOW THAT ALL

551
00:20:44,583 --> 00:20:45,999
GOT STARTED.

552
00:20:45,999 --> 00:20:47,291
RIGHT NOW THE CLAY VESSELS ARE

553
00:20:47,291 --> 00:20:49,999
JUST OCCUPYING ALL MY TIME.

554
00:20:49,999 --> 00:20:51,999
I CAN'T IMAGINE NOT DOING THIS.

555
00:20:51,999 --> 00:20:53,583
I MEAN, THE ONLY WAY I WON'T DO

556
00:20:53,583 --> 00:20:55,625
THIS IS IF I'M DEAD, BECAUSE

557
00:20:55,625 --> 00:20:57,166
THIS IS WHAT I FEEL LIKE I WAS

558
00:20:57,166 --> 00:20:59,041
BORN TO DO.

559
00:20:59,041 --> 00:21:00,750
IT IS MY PASSION, AND I THINK

560
00:21:00,750 --> 00:21:02,458
THAT'S WHAT MY LEGACY IS,

561
00:21:02,458 --> 00:21:03,667
TO JUST FULFILL YOUR DREAMS

562
00:21:03,667 --> 00:21:05,375
BY DOING YOUR PASSION,

563
00:21:05,375 --> 00:21:07,166
FOLLOW YOUR BLISS.

564
00:21:09,959 --> 00:21:11,125
FOR MORE OF KAREN HEYL'S

565
00:21:11,125 --> 00:21:13,000
STONE SCULPTURES, VISIT:

566
00:21:15,999 --> 00:21:17,709
DESIGNER AMIR TAGHI HAS BEEN

567
00:21:17,709 --> 00:21:19,792
MAKING WAVES FOR YEARS ON THE

568
00:21:19,792 --> 00:21:21,667
TEXAS FASHION SCENE, WHICH IS

569
00:21:21,667 --> 00:21:22,875
QUITE A FEAT GIVEN HE'S STILL

570
00:21:22,875 --> 00:21:24,375
IN HIGH SCHOOL.

571
00:21:24,375 --> 00:21:26,166
AND NOW THE REST OF THE COUNTRY

572
00:21:26,166 --> 00:21:27,500
HAS A CHANCE TO VIEW TAGHI'S

573
00:21:27,500 --> 00:21:28,667
WORK, TOO.

574
00:21:28,667 --> 00:21:29,959
HERE'S A LOOK.

575
00:21:31,333 --> 00:21:46,000
♪♪

576
00:21:46,000 --> 00:21:47,875
FASHION IS A JOB THAT'S

577
00:21:47,875 --> 00:21:49,750
ALWAYS CHANGING.

578
00:21:49,750 --> 00:21:50,542
IT'S DIFFERENT FROM

579
00:21:50,542 --> 00:21:51,999
ANYTHING ELSE.

580
00:21:51,999 --> 00:21:53,166
YOU'RE INVENTING.

581
00:21:53,166 --> 00:21:54,667
YOU'RE CREATING.

582
00:21:54,667 --> 00:21:55,999
YOU'RE LOOKING FOR IDEAS.

583
00:21:55,999 --> 00:21:57,291
YOU'RE ALWAYS UP AND ABOUT

584
00:21:57,291 --> 00:21:59,583
LOOKING AT IMAGES, LOOKING AT

585
00:21:59,583 --> 00:22:00,999
DIFFERENT THINGS, AND CREATING.

586
00:22:00,999 --> 00:22:02,500
AND THAT'S WHAT I LOVE ABOUT IT.

587
00:22:03,417 --> 00:22:07,542
♪♪

588
00:22:07,542 --> 00:22:08,999
MY NAME IS AMIR TAGHI,

589
00:22:08,999 --> 00:22:10,417
AND I'M A FASHION DESIGNER.

590
00:22:10,417 --> 00:22:12,291
AND I'M 18 YEARS OLD.

591
00:22:13,250 --> 00:22:16,333
♪♪

592
00:22:16,333 --> 00:22:18,000
I WAS 15 WHEN I FIRST SHOWED

593
00:22:18,000 --> 00:22:19,667
MY COLLECTION.

594
00:22:19,667 --> 00:22:21,875
I WAS A FRESHMAN IN HIGH SCHOOL.

595
00:22:21,875 --> 00:22:23,667
I SHOWED IT AT MY HOUSE.

596
00:22:23,667 --> 00:22:24,709
THE RUNWAY WAS OVER THE POOL,

597
00:22:24,709 --> 00:22:25,834
AND WE HAD MODELS THAT WERE MY

598
00:22:25,834 --> 00:22:28,333
CLASSMATES.

599
00:22:28,333 --> 00:22:29,999
AND I WANTED TO KEEP IT VERY

600
00:22:29,999 --> 00:22:31,917
HIGH SCHOOL, I GUESS, AND SHOW,

601
00:22:31,917 --> 00:22:32,792
LIKE, THE TALENT WE HAVE

602
00:22:32,792 --> 00:22:35,166
AT MY SCHOOL.

603
00:22:35,166 --> 00:22:36,792
THE AMIR TAGHI LABEL IS A

604
00:22:36,792 --> 00:22:38,000
MIXTURE OF FEMININE BUT STILL

605
00:22:38,000 --> 00:22:39,709
VERY MODERN AND SLEEK AT THE

606
00:22:39,709 --> 00:22:40,999
SAME TIME.

607
00:22:40,999 --> 00:22:42,999
A LOT OF DRESSES AND LACE.

608
00:22:42,999 --> 00:22:44,999
AND AFTER THAT, IT WAS MORE A

609
00:22:44,999 --> 00:22:46,959
DEVELOPED COLLECTION WITH

610
00:22:46,959 --> 00:22:48,542
TOPS AND BOTTOMS, SPORTSWEAR,

611
00:22:48,542 --> 00:22:51,625
EVENING WEAR, AND IT COMPLETELY

612
00:22:51,625 --> 00:22:52,834
CHANGED FOR ME THE OUTLOOK I HAD

613
00:22:52,834 --> 00:22:55,291
IN FASHION.

614
00:22:55,291 --> 00:22:57,041
I'M IN HIGH SCHOOL RIGHT NOW,

615
00:22:57,041 --> 00:22:58,999
SO IT'S DIFFICULT TO MANAGE MY

616
00:22:58,999 --> 00:23:01,500
TIME BECAUSE AT THIS TIME AND

617
00:23:01,500 --> 00:23:03,250
MOMENT I'M APPLYING FOR COLLEGE.

618
00:23:03,250 --> 00:23:04,208
I'M CREATING A COLLECTION

619
00:23:04,208 --> 00:23:05,750
FOR FALL.

620
00:23:05,750 --> 00:23:07,166
I'M ALWAYS TIED BETWEEN

621
00:23:07,166 --> 00:23:10,291
DIFFERENT THINGS.

622
00:23:10,291 --> 00:23:12,333
I INTERNED WITH OSCAR DURING MY

623
00:23:12,333 --> 00:23:15,792
SOPHOMORE SUMMER OF HIGH SCHOOL.

624
00:23:15,792 --> 00:23:17,208
WHAT I TOOK AWAY FROM MY

625
00:23:17,208 --> 00:23:19,333
INTERNSHIP AT OSCAR DE LA RENTA

626
00:23:19,333 --> 00:23:21,250
WAS REALLY STICKING TO MY

627
00:23:21,250 --> 00:23:23,000
PASSION AND GOING WITH IT AND

628
00:23:23,000 --> 00:23:25,458
PURSUING IT AS HARD AS I CAN.

629
00:23:25,458 --> 00:23:26,999
BECAUSE OSCAR, WHILE HE WAS

630
00:23:26,999 --> 00:23:28,208
THERE, HE WOULD GO TO WORK

631
00:23:28,208 --> 00:23:30,208
PRETTY MUCH EVERY SINGLE DAY.

632
00:23:30,208 --> 00:23:33,083
AND IT SHOWED HIS, LIKE,

633
00:23:33,083 --> 00:23:36,542
DETERMINATION TO REALLY, LIKE,

634
00:23:36,542 --> 00:23:37,999
SHOW WHAT HE REALLY LOVES.

635
00:23:37,999 --> 00:23:41,291
I TOOK THAT AWAY FROM IT.

636
00:23:41,291 --> 00:23:43,041
I WAS ASKED BY A COUPLE OF

637
00:23:43,041 --> 00:23:44,999
PEOPLE WHY DO I NOT TRY NEW YORK

638
00:23:44,999 --> 00:23:46,999
FASHION WEEK?

639
00:23:46,999 --> 00:23:49,875
I GOT AN E-MAIL FROM A GROUP IN

640
00:23:49,875 --> 00:23:50,999
NEW YORK THAT HAS BEEN DOING

641
00:23:50,999 --> 00:23:52,625
FASHION WEEK PRESENTATIONS IN

642
00:23:52,625 --> 00:23:54,041
THEIR SPACE, AND I WAS ASKED TO

643
00:23:54,041 --> 00:23:55,792
PARTICIPATE AS WELL AND SHOW MY

644
00:23:55,792 --> 00:23:59,166
COLLECTION PRIVATELY.

645
00:23:59,166 --> 00:24:01,250
SO IT WAS A VERY SURREAL POINT

646
00:24:01,250 --> 00:24:03,000
OF MY TIME THAT I NEVER KNEW

647
00:24:03,000 --> 00:24:04,458
THAT AT SUCH A YOUNG AGE, AT

648
00:24:04,458 --> 00:24:05,999
ONLY 18, I COULD BE ABLE TO

649
00:24:05,999 --> 00:24:07,333
SHOW A COLLECTION AT

650
00:24:07,333 --> 00:24:09,542
NEW YORK FASHION WEEK.

651
00:24:09,542 --> 00:24:10,959
MY FASHION STYLE HAS BEEN

652
00:24:10,959 --> 00:24:12,875
EVOLVING SINCE THE BEGINNING,

653
00:24:12,875 --> 00:24:15,333
BUT I TRY TO ALWAYS STICK TO MY

654
00:24:15,333 --> 00:24:17,999
ROOTS AND MY ROOTS ARE HAVING A

655
00:24:17,999 --> 00:24:19,999
VERY FEMININE SILHOUETTE

656
00:24:19,999 --> 00:24:21,583
BUT VERY MINIMALISTIC,

657
00:24:21,583 --> 00:24:26,999
VERY TO THE POINT.

658
00:24:26,999 --> 00:24:28,999
WHEN CREATING A COLLECTION,

659
00:24:28,999 --> 00:24:30,083
IT STARTS OUT WITH A

660
00:24:30,083 --> 00:24:31,542
CONCEPTUAL IDEA.

661
00:24:31,542 --> 00:24:32,834
SO, FOR EXAMPLE, MY LAST

662
00:24:32,834 --> 00:24:34,542
COLLECTION WAS STRONG WOMEN.

663
00:24:34,542 --> 00:24:35,667
SO I WANTED TO PORTRAY THAT

664
00:24:35,667 --> 00:24:36,999
IMAGE.

665
00:24:36,999 --> 00:24:39,041
SO I STARTED FINDING VERY STRONG

666
00:24:39,041 --> 00:24:41,041
IMAGES INCLUDING STRONG ART

667
00:24:41,041 --> 00:24:42,458
PIECES AND THEN VERY STRONG

668
00:24:42,458 --> 00:24:43,999
COLORS, AND WE STARTED SKETCHING

669
00:24:43,999 --> 00:24:46,667
THE PIECES.

670
00:24:46,667 --> 00:24:49,999
FROM THEN, I SENT MY SKETCHES TO

671
00:24:49,999 --> 00:24:52,000
OUR MANUFACTURER, AND WE STARTED

672
00:24:52,000 --> 00:24:53,750
DRAPING THE PIECES AND CREATING

673
00:24:53,750 --> 00:24:55,999
THE PATTERN.

674
00:24:55,999 --> 00:24:57,583
FROM THEN ON, WE WERE STYLING

675
00:24:57,583 --> 00:24:58,999
AND THEN THE SHOW CAME AND WE

676
00:24:58,999 --> 00:25:02,875
PRESENTED THE COLLECTION.

677
00:25:02,875 --> 00:25:04,208
I WANT TO EXPRESS A WOMAN

678
00:25:04,208 --> 00:25:05,999
THAT'S FIERCE AND CONFIDENT,

679
00:25:05,999 --> 00:25:07,875
A WOMAN THAT'S NOT AFRAID TO

680
00:25:07,875 --> 00:25:09,458
SHOW WHO SHE REALLY IS AND NOT

681
00:25:09,458 --> 00:25:10,834
AFRAID TO WEAR WHAT SHE WANTS

682
00:25:10,834 --> 00:25:13,125
TO WEAR.

683
00:25:13,125 --> 00:25:16,250
I WANT PEOPLE TO FEEL THAT

684
00:25:16,250 --> 00:25:17,291
THEY ARE WEARING A NEW,

685
00:25:17,291 --> 00:25:20,417
INNOVATIVE DESIGNER.

686
00:25:20,417 --> 00:25:22,250
I GOT TO BECOME A DESIGNER AT

687
00:25:22,250 --> 00:25:24,208
SUCH A YOUNG AGE, YES,

688
00:25:24,208 --> 00:25:26,999
BECAUSE OF MY FAMILY'S SUPPORT,

689
00:25:26,999 --> 00:25:29,792
BUT ALSO BECAUSE OF PERSISTENCE.

690
00:25:29,792 --> 00:25:31,500
I FEEL LIKE PERSISTENCE IS A

691
00:25:31,500 --> 00:25:32,999
VERY KEY POINT IN BECOMING

692
00:25:32,999 --> 00:25:35,000
WHATEVER YOU WANT TO BE.

693
00:25:42,667 --> 00:25:43,792
TO SEE MORE OF AMIR'S

694
00:25:43,792 --> 00:25:45,041
FASHIONS, VISIT:

695
00:25:47,917 --> 00:25:48,999
AND THAT WRAPS IT UP FOR THIS

696
00:25:48,999 --> 00:25:52,333
EDITION OF "WEDU ARTS PLUS."

697
00:25:52,333 --> 00:25:53,999
FOR MORE ARTS AND CULTURE,

698
00:25:53,999 --> 00:25:57,792
VISIT wedu.org/artsplus WHERE

699
00:25:57,792 --> 00:25:59,041
YOU'LL FIND FEATURE VIDEOS,

700
00:25:59,041 --> 00:26:00,208
LOCAL EVENTS, AND ARTS

701
00:26:00,208 --> 00:26:01,917
AND CULTURE PARTNERS.

702
00:26:01,917 --> 00:26:03,625
UNTIL NEXT TIME, I'M GABE ORTIZ.

703
00:26:03,625 --> 00:26:05,208
THANKS FOR WATCHING.

704
00:26:06,250 --> 00:26:27,834
♪♪

705
00:26:27,834 --> 00:26:29,333
MAJOR FUNDING FOR

706
00:26:29,333 --> 00:26:31,166
"WEDU ARTS PLUS" IS PROVIDED

707
00:26:31,166 --> 00:26:32,500
THROUGH THE GREATER CINCINNATI

708
00:26:32,500 --> 00:26:34,125
FOUNDATION BY AN ARTS-LOVING

709
00:26:34,125 --> 00:26:35,834
DONOR WHO ENCOURAGES OTHERS TO

710
00:26:35,834 --> 00:26:38,375
SUPPORT YOUR PBS STATION, WEDU.

711
00:26:38,375 --> 00:26:39,959
FUNDING IS ALSO PROVIDED BY THE

712
00:26:39,959 --> 00:26:41,875
S.L. GIMBEL FOUNDATION.