WEBVTT 00:03.999 --> 00:05.291 THIS SPECIAL PRESENTATION WAS 00:05.291 --> 00:06.999 PRODUCED IN HIGH DEFINITION BY 00:06.999 --> 00:08.083 WEDU -- TAMPA, ST. PETERSBURG, 00:08.083 --> 00:11.125 SARASOTA. 00:11.125 --> 00:12.417 MAJOR FUNDING FOR 00:12.417 --> 00:14.625 "WEDU ARTS PLUS" IS PROVIDED 00:14.625 --> 00:16.000 THROUGH THE GREATER CINCINNATI 00:16.000 --> 00:17.458 FOUNDATION BY AN ARTS-LOVING 00:17.458 --> 00:19.917 DONOR WHO ENCOURAGES OTHERS TO 00:19.917 --> 00:22.208 SUPPORT YOUR PBS STATION, WEDU. 00:22.208 --> 00:23.834 FUNDING IS ALSO PROVIDED BY THE 00:23.834 --> 00:26.500 S.L. GIMBEL FOUNDATION. 00:26.500 --> 00:27.583 IN THIS EDITION OF 00:27.583 --> 00:30.041 "WEDU ARTS PLUS," 00:30.041 --> 00:31.792 A TAMPA DANCE COMPANY PRESENTS 00:31.792 --> 00:34.333 THE VIBRANT ART OF FLAMENCO. 00:34.333 --> 00:35.750 FOR ME, FLAMENCO IS KIND OF A 00:35.750 --> 00:37.999 COMPLETION OF NOT JUST MY 00:37.999 --> 00:38.999 EDUCATION BUT MY MUSICAL 00:38.999 --> 00:40.083 EXPRESSION. 00:40.083 --> 00:41.291 A STUNNING HAVEN FOR NEW 00:41.291 --> 00:42.750 ARTISTS AND COLLECTORS ALIKE. 00:42.750 --> 00:43.875 I'M EXCITED THAT (E)MERGE 00:43.875 --> 00:44.999 EXISTS AS A VENUE FOR ARTISTS 00:44.999 --> 00:46.417 JUST TO COME IN OF ANY TALENT 00:46.417 --> 00:47.583 AND BE ABLE TO PRESENT THEIR 00:47.583 --> 00:49.208 WORK PUBLICLY. 00:49.208 --> 00:50.250 MEET A SCULPTOR WHO 00:50.250 --> 00:52.375 TRANSLATES NATURE INTO STONE. 00:52.375 --> 00:53.709 MY DRAWINGS ARE PATHETIC 00:53.709 --> 00:56.000 SOMETIMES BECAUSE I SEE IT BUT I 00:56.000 --> 00:57.959 CAN'T PUT IT ON PAPER. 00:57.959 --> 00:59.166 THAT'S NOT MY MEDIUM. 00:59.166 --> 01:01.083 CHISEL AND STONE IS MY MEDIUM. 01:01.083 --> 01:02.583 AND A TEEN SHINES 01:02.583 --> 01:04.500 ON THE CATWALK. 01:04.500 --> 01:06.999 I FEEL LIKE PERSISTENCE IS A 01:06.999 --> 01:08.500 VERY KEY POINT IN BECOMING 01:08.500 --> 01:09.834 WHATEVER YOU WANT TO BE. 01:09.834 --> 01:11.333 IT'S ALL COMING UP NEXT ON 01:11.333 --> 01:13.000 "WEDU ARTS PLUS." 01:14.166 --> 01:28.417 ♪♪ 01:28.417 --> 01:29.999 HELLO. 01:29.999 --> 01:31.208 I'M GABE ORTIZ, AND THIS IS 01:31.208 --> 01:33.542 "WEDU ARTS PLUS." 01:33.542 --> 01:35.500 THE ART OF FLAMENCO BEGAN IN 01:35.500 --> 01:38.000 SPAIN OVER 200 YEARS AGO. 01:38.000 --> 01:39.792 THE SOMOS FLAMENCO COMPANY HERE 01:39.792 --> 01:42.041 IN TAMPA SHOWS US HOW THIS 01:42.041 --> 01:43.999 CLASSICAL AND VIBRANT ART FORM 01:43.999 --> 01:45.999 PROVIDES AN ENDURING MUSICAL AND 01:45.999 --> 01:48.917 VISUAL EXPERIENCE THROUGH UNIQUE 01:48.917 --> 01:50.500 ELEMENTS OF DANCE, SONG, 01:50.500 --> 01:52.875 AND INSTRUMENTATION. 01:52.875 --> 01:54.542 JOIN THE SOMOS FLAMENCO COMPANY 01:54.542 --> 01:55.792 AS THEY OFFER THEIR 01:55.792 --> 01:57.208 INTERPRETATION. 01:59.208 --> 02:03.999 ♪♪ 02:03.999 --> 02:30.834 [ FLAMENCO MUSIC ] 02:30.834 --> 02:31.999 I WAS INTRODUCED TO 02:31.999 --> 02:33.999 FLAMENCO MUSIC AS A CHILD. 02:33.999 --> 02:35.583 I HAD SEEN A PROGRAM ON 02:35.583 --> 02:37.166 TELEVISION AND FELL IN LOVE 02:37.166 --> 02:38.625 WITH IT. 02:38.625 --> 02:40.917 I DIDN'T KNOW WHAT IT WAS, 02:40.917 --> 02:42.999 BUT I FOUND THE DANCERS TO BE 02:42.999 --> 02:44.999 VERY POWERFUL AND BEAUTIFUL. 02:44.999 --> 02:47.250 I THOUGHT THE RHYTHMS WERE 02:47.250 --> 02:48.458 REALLY INTERESTING. 02:48.458 --> 02:49.834 AND AS A KID, I JUST WANTED TO 02:49.834 --> 02:51.417 KNOW MORE ABOUT IT. 02:52.417 --> 02:59.500 ♪♪ 02:59.500 --> 03:01.083 I WAS ACTUALLY AT SCHOOL, 03:01.083 --> 03:03.333 RIGHT, BACK IN CUBA. 03:03.333 --> 03:04.875 AND THEY HAVE, LIKE, BANDS, 03:04.875 --> 03:06.500 LIKE SCHOOL BANDS WHERE YOU PLAY 03:06.500 --> 03:08.667 SOME, LIKE, BASIC RHYTHMS AND 03:08.667 --> 03:11.291 LIKE MARCH AND STUFF. 03:11.291 --> 03:12.625 SO KIND OF LIKE I WAS ALREADY 03:12.625 --> 03:13.583 INTEGRATED INTO ONE OF THESE 03:13.583 --> 03:15.458 BANDS AS A KID. 03:15.458 --> 03:17.750 AND, EVENTUALLY, ONE OF MY 03:17.750 --> 03:21.667 NEIGHBORS, SHE HAD A BIG COMPANY 03:21.667 --> 03:23.999 OF MUSICIANS AND DANCERS, 03:23.999 --> 03:25.250 AND THEY WANTED TO TRAIN SOMEONE 03:25.250 --> 03:29.625 TO PLAY ACTUAL FLAMENCO. 03:29.625 --> 03:31.834 SO AT THE TIME, I WAS LIVING 03:31.834 --> 03:33.875 IN NEW YORK AND FOUND ADULT 03:33.875 --> 03:35.917 ENRICHMENT CLASSES IN FLAMENCO 03:35.917 --> 03:37.959 AT BALLET HISPANICO OF NEW YORK. 03:38.999 --> 03:48.041 ♪♪ 03:48.041 --> 03:49.917 WHEN WE MOVED HERE, I STARTED 03:49.917 --> 03:51.500 TAKING CLASSES WITH CURRA ALBA 03:51.500 --> 03:52.834 WHO HAS BEEN PART OF THE 03:52.834 --> 03:53.999 FLAMENCO SCENE HERE IN TAMPA 03:53.999 --> 03:56.999 FOR OVER 40 YEARS. 03:56.999 --> 03:58.375 I ALSO STARTED TAKING CLASSES 03:58.375 --> 03:59.458 WITH HER DAUGHTER, SANDRA, WHO 03:59.458 --> 04:01.000 IS A PART OF OUR GROUP. 04:01.999 --> 04:46.667 ♪♪ 04:46.667 --> 04:48.667 I WAS INTRODUCED TO FLAMENCO 04:48.667 --> 04:51.375 AS A CHILD. 04:51.375 --> 04:52.999 BOTH OF MY PARENTS WERE INVOLVED 04:52.999 --> 04:54.333 IN FLAMENCO. 04:54.333 --> 04:56.083 THEY MOVED TO TAMPA TO PERFORM 04:56.083 --> 04:57.917 AT THE COLUMBIA RESTAURANT. 04:57.917 --> 04:59.999 MY MOM IS A FLAMENCO DANCER AND 04:59.999 --> 05:01.375 MY FATHER WAS A FLAMENCO 05:01.375 --> 05:02.999 GUITARIST. 05:03.875 --> 05:44.667 ♪♪ 05:44.667 --> 05:46.166 I'D GO INTO SPAIN WITH A 05:46.166 --> 05:48.875 BUDDY OF MINE WHO WE STUDIED 05:48.875 --> 05:49.500 TOGETHER, CLASSICAL GUITAR 05:49.500 --> 05:51.083 TOGETHER. 05:51.083 --> 05:53.542 AND WHEN I HAD COME BACK, MY 05:53.542 --> 05:54.999 GUITAR TEACHER, DR. SWITZER, 05:54.999 --> 05:56.834 ENCOURAGED ME TO ACCOMPANY 05:56.834 --> 05:59.208 SOME DANCE. 05:59.208 --> 06:01.000 AND AT THE TIME, HE HAD RUN A 06:01.000 --> 06:03.000 SCHOOL HERE IN TAMPA AND HAD 06:03.000 --> 06:05.083 HAPPENED TO BE SANDRA'S MOTHER, 06:05.083 --> 06:06.999 CURRA ALBA. 06:07.999 --> 06:17.583 ♪♪ 06:17.583 --> 06:20.000 I GREW UP IN TAMPA, 06:20.000 --> 06:21.125 AND A GENTLEMAN BY THE NAME OF 06:21.125 --> 06:22.166 THOMAS COFFEY WAS MY FIRST 06:22.166 --> 06:23.083 TEACHER AND GAVE ME A 06:23.083 --> 06:24.750 GREAT FOUNDATION. 06:24.750 --> 06:26.500 WHEN I WAS READY FOR COLLEGE, 06:26.500 --> 06:28.999 DR. SWITZER, MARK SWITZER, FOUND 06:28.999 --> 06:30.000 ME IN HIGH SCHOOL, AND I STUDIED 06:30.000 --> 06:34.792 AT FLORIDA SOUTHERN WITH HIM. 06:34.792 --> 06:36.291 FROM THERE, I DID MY MASTERS 06:36.291 --> 06:37.417 WORK AT MANHATTAN SCHOOL OF 06:37.417 --> 06:39.291 MUSIC IN NEW YORK CITY. 06:40.375 --> 06:45.917 ♪♪ 06:45.917 --> 06:47.542 FOR ME, FLAMENCO WAS KIND OF 06:47.542 --> 06:48.583 A COMPLETION OF MY EDUCATION IN 06:48.583 --> 06:50.333 MUSIC. 06:50.333 --> 06:51.208 IN CLASSICAL GUITAR, YOU GET ALL 06:51.208 --> 06:51.999 THE THEORY. 06:51.999 --> 06:52.999 YOU GET THE HISTORY. 06:52.999 --> 06:53.999 YOU GET THE TECHNIQUE. 06:53.999 --> 06:54.999 YOU GET THE EXPRESSION. 06:54.999 --> 06:55.999 YOU LEARN ALL THE BEAUTIFUL 06:55.999 --> 06:57.999 DETAILS OF MUSIC. 06:57.999 --> 06:59.458 WHAT VERY OFTEN IS LOST IN THAT, 06:59.458 --> 07:00.500 HOWEVER, IS THE SOUL AND THE 07:00.500 --> 07:01.959 SPIRIT OF THE MUSIC. 07:01.959 --> 07:03.999 AND FLAMENCO DID THAT FOR ME. 07:04.999 --> 07:10.917 ♪♪ 07:10.917 --> 07:12.834 I KNEW SOMEONE THAT WAS 07:12.834 --> 07:14.250 ACTUALLY A GUITARIST BACK IN 07:14.250 --> 07:17.959 CUBA, AND HE IS A FLAMENCO 07:17.959 --> 07:19.917 SINGER, CANTE JONDO, A VERY 07:19.917 --> 07:21.333 SPECIAL TYPE OF SINGING. 07:21.333 --> 07:22.709 IT'S PART OF THE BASICS OF 07:22.709 --> 07:24.166 FLAMENCO, RIGHT? 07:25.208 --> 07:30.375 ♪♪ 07:30.375 --> 07:32.875 THAT'S HOW I REALLY STARTED 07:32.875 --> 07:34.542 LOVING THE FLAMENCO, TRYING TO 07:34.542 --> 07:36.125 UNDERSTAND WHAT WAS GOING ON IN 07:36.125 --> 07:37.709 THE SINGING PART OF IT, WHICH IS 07:37.709 --> 07:40.542 I BELIEVE THE ROOT OF FLAMENCO. 07:41.542 --> 07:47.208 ♪♪ 07:47.208 --> 07:48.542 THE MUSIC FOR ME IS SOMETHING 07:48.542 --> 07:49.999 THAT KEEPS DRAWING ME BACK IN. 07:49.999 --> 07:51.667 I'VE BEEN DANCING FLAMENCO 07:51.667 --> 07:53.625 OVER 30 YEARS. 07:53.625 --> 07:56.999 SOMETIMES, YOU KNOW, YOU GO AWAY 07:56.999 --> 07:58.458 FROM IT A LITTLE BIT. 07:58.458 --> 07:59.999 I MOVED OUT OF STATE FOR, LIKE, 07:59.999 --> 08:01.875 FIVE YEARS, SO I WAS VERY 08:01.875 --> 08:03.125 DISTANT FROM IT BEING IN THE 08:03.125 --> 08:04.709 MIDWEST WHERE IT'S NOT TOO 08:04.709 --> 08:06.999 POPULAR. 08:06.999 --> 08:08.375 BUT THERE'S SOMETHING TO IT THAT 08:08.375 --> 08:10.208 JUST DRAWS YOU BACK IN. 08:10.208 --> 08:11.999 THERE IS A RHYTHM IN 08:11.999 --> 08:12.999 BULERIAS, FOR EXAMPLE. 08:12.999 --> 08:14.208 BULERIAS IS ONE OF THE CORE 08:14.208 --> 08:15.542 FORMS FOR FLAMENCO THAT IS 08:15.542 --> 08:16.999 12 BEATS. 08:16.999 --> 08:18.792 HOW DO YOU PLAY THOSE 12 BEATS? 08:18.792 --> 08:19.917 THERE ARE SO MANY DIFFERENT, 08:19.917 --> 08:21.000 WONDERFUL WAYS TO PLAY THOSE 08:21.000 --> 08:23.834 12 BEATS THAT IT'S FASCINATING. 08:24.834 --> 08:32.709 [ RHYTHMIC CLAPPING ] 08:32.709 --> 08:33.999 AND INCORPORATING THOSE KINDS OF 08:33.999 --> 08:35.500 RHYTHMS AND LAYERS OF RHYTHMS 08:35.500 --> 08:36.792 INTO THE MELODY AND THE HARMONY 08:36.792 --> 08:37.999 AND THE BASS THAT I WAS ALREADY 08:37.999 --> 08:39.166 LEARNING HOW TO DO. 08:39.166 --> 08:40.083 IT WAS FASCINATING FOR ME. 08:40.083 --> 08:41.041 SO FOR ME, FLAMENCO WAS KIND OF 08:41.041 --> 08:42.250 A COMPLETION OF NOT JUST MY 08:42.250 --> 08:43.125 EDUCATION BUT MY 08:43.125 --> 08:44.792 MUSICAL EXPRESSION. 08:45.625 --> 09:18.999 ♪♪ 09:18.999 --> 09:20.583 TO LEARN MORE, VISIT: 09:26.709 --> 09:28.625 THE FOURTH ANNUAL (E)MERGE 09:28.625 --> 09:30.417 ART FAIR RECENTLY TOOK PLACE AT 09:30.417 --> 09:32.250 THE ICONIC CAPITOL SKYLINE HOTEL 09:32.250 --> 09:34.041 IN THE NATION'S CAPITAL. 09:34.041 --> 09:36.000 (E)MERGE CELEBRATES THE ENERGY 09:36.000 --> 09:37.834 OF ART WITH AN IMMERSIVE 09:37.834 --> 09:39.166 ATMOSPHERE FEATURING 09:39.166 --> 09:40.583 MORE THAN 50 ARTISTS FROM 09:40.583 --> 09:43.583 AROUND THE WORLD. 09:43.583 --> 09:44.959 I'M JAMIE SMITH. 09:44.959 --> 09:45.999 I'M FOUNDING DIRECTOR OF 09:45.999 --> 09:47.750 (E)MERGE ART FAIR. 09:47.750 --> 09:49.208 THIS IS OUR FOURTH YEAR FOR THE 09:49.208 --> 09:52.750 FAIR IN WASHINGTON, D.C. 09:52.750 --> 09:55.375 WE HAVE 85 EXHIBITORS COMING 09:55.375 --> 09:58.083 FROM 32 DIFFERENT COUNTRIES. 09:58.083 --> 09:59.917 WE'RE VERY EXCITED TO WELCOME 09:59.917 --> 10:00.999 EVERYONE HERE TO THE CAPITOL 10:00.999 --> 10:03.291 SKYLINE HOTEL. 10:03.291 --> 10:06.999 THERE'S AMAZING DEPTH OF WORK ON 10:06.999 --> 10:08.542 VIEW HERE, INCLUDING PAINTING, 10:08.542 --> 10:10.333 SCULPTURE, PERFORMANCE, 10:10.333 --> 10:12.166 CONCEPTUAL ART, VIDEO, 10:12.166 --> 10:13.999 EVERYTHING WE CAN IMAGINE. 10:15.083 --> 10:21.667 ♪♪ 10:21.667 --> 10:23.208 MY NAME IS SHELDON SCOTT. 10:23.208 --> 10:24.458 I LIVE IN COLUMBIA HEIGHTS IN 10:24.458 --> 10:26.083 WASHINGTON, D.C. 10:26.083 --> 10:27.917 AND THIS IS MY FOURTH YEAR HERE 10:27.917 --> 10:29.208 AT (E)MERGE. 10:29.208 --> 10:30.583 MY THIRD TIME EXHIBITING. 10:30.583 --> 10:31.959 I THINK (E)MERGE HAS BEEN 10:31.959 --> 10:33.375 ESSENTIAL TO MY ARTISTIC CAREER. 10:33.375 --> 10:34.917 WHEN I CAME HERE THE FIRST YEAR, 10:34.917 --> 10:36.542 I CAME JUST AS A SPONSOR. 10:36.542 --> 10:37.959 SO I ACTUALLY WAS INSPIRED BY 10:37.959 --> 10:39.500 SEEING PEOPLE PRESENT THEIR WORK 10:39.500 --> 10:40.875 TO THE PUBLIC FOR THE 10:40.875 --> 10:42.041 FIRST TIME. 10:43.208 --> 10:46.999 ♪♪ 10:46.999 --> 10:49.000 THIS IS OUR FOURTH YEAR AT 10:49.000 --> 10:50.792 THE CAPITOL SKYLINE HOTEL. 10:50.792 --> 10:52.041 SINCE ITS LAUNCH, (E)MERGE HAS 10:52.041 --> 10:53.417 BEEN HERE. 10:53.417 --> 10:54.583 WE LOVE THE ARCHITECTURE OF THE 10:54.583 --> 10:55.999 HOTEL. 10:55.999 --> 10:57.458 IT OFFERS A WONDERFUL SOCIAL 10:57.458 --> 10:58.999 SPACE WITH A POOL DECK, LOUNGE, 10:58.999 --> 11:01.625 MANY DIFFERENT AREAS. 11:01.625 --> 11:02.917 THE ATMOSPHERE OF THE FAIR IS 11:02.917 --> 11:03.999 VERY RELAXED. 11:03.999 --> 11:05.999 IT'S VERY CASUAL. 11:05.999 --> 11:07.375 EVERYONE CAN EXPLORE AT THEIR 11:07.375 --> 11:09.750 OWN PACE. 11:09.750 --> 11:11.999 ONE OF THE MEANINGS OF THE NAME 11:11.999 --> 11:13.834 (E)MERGE IS EMERGING COLLECTORS 11:13.834 --> 11:17.291 AS WELL AS EMERGING ARTISTS. 11:17.291 --> 11:19.375 SO WE ENCOURAGE EVERYONE TO COME 11:19.375 --> 11:21.625 HAVE FUN AND TO FIND SOMETHING 11:21.625 --> 11:23.583 THAT APPEALS TO THEM HERE, 11:23.583 --> 11:25.000 WHETHER THEY ARE A SEASONED 11:25.000 --> 11:26.375 COLLECTOR OR THEY ARE LOOKING 11:26.375 --> 11:28.999 FOR THEIR FIRST ART ACQUISITION. 11:28.999 --> 11:31.999 AND THERE ARE A LOT OF 11:31.999 --> 11:33.750 EDUCATIONAL OPPORTUNITIES. 11:33.750 --> 11:35.834 WE HAVE PANEL DISCUSSIONS. 11:35.834 --> 11:37.959 ALL OF THE EXHIBITORS ARE 11:37.959 --> 11:39.999 EXPERTS, VERY KNOWLEDGEABLE. 11:39.999 --> 11:41.750 SO IT'S JUST A VERY WELCOMING, 11:41.750 --> 11:43.875 FRIENDLY ENVIRONMENT. 11:44.834 --> 11:53.917 ♪♪ 11:53.917 --> 11:56.041 WE TRY TO MAKE AN OPPORTUNITY 11:56.041 --> 11:57.458 FOR ARTISTS TO CONNECT WITH 11:57.458 --> 11:58.875 THEIR PUBLIC, INCLUDING 11:58.875 --> 12:01.208 COLLECTORS AND CURATORS AS WELL 12:01.208 --> 12:04.291 AS GALLERISTS. 12:04.291 --> 12:05.750 MANY NEW RELATIONSHIPS FORM AT 12:05.750 --> 12:07.291 THE FAIR. 12:07.291 --> 12:09.959 SOME UNREPRESENTED ARTISTS FIND 12:09.959 --> 12:11.583 GALLERY REPRESENTATION THROUGH 12:11.583 --> 12:13.041 THEIR EXPERIENCE AT (E)MERGE. 12:13.041 --> 12:14.750 SO THIS IS A BODY OF WORK 12:14.750 --> 12:16.917 CALLED FOLKLORE THAT I JUST 12:16.917 --> 12:18.999 PRODUCED OVER THE LAST YEAR, 12:18.999 --> 12:20.375 AND IT'S AN EXPLORATION OF THE 12:20.375 --> 12:21.750 MYTH AND LEGEND OF AMERICAN 12:21.750 --> 12:23.166 BLACKNESS THROUGH STORY, SONG, 12:23.166 --> 12:24.999 AND RIDDLE. 12:24.999 --> 12:26.709 I HAVE THE RIDDLE EENY MEENY 12:26.709 --> 12:29.375 MINY MOE, THE STORY OF 12:29.375 --> 12:31.750 JOHN HENRY, STEEL-DRIVING MAN, 12:31.750 --> 12:32.999 WHICH ACTUALLY INFORMS MY 12:32.999 --> 12:34.417 PERFORMANCES AND PORTRAITS THAT 12:34.417 --> 12:35.959 YOU SEE HERE. 12:36.959 --> 12:40.999 ♪♪ 12:40.999 --> 12:43.125 MY NAME IS AVNER SHER. 12:43.125 --> 12:44.917 I AM AN ISRAELI ARTIST. 12:44.917 --> 12:46.750 AND THIS IS MY FIRST TIME 12:46.750 --> 12:48.750 IN D.C. 12:48.750 --> 12:53.417 MY WORK IS AN EXPRESSION OF HOPE 12:53.417 --> 12:57.333 IN FACE OF FEARS. 12:57.333 --> 12:59.792 IT'S A UNIVERSAL WISH TO COLLECT 12:59.792 --> 13:02.083 PIECES FROM CHAOTIC SITUATION 13:02.083 --> 13:04.500 AND THEN TO BUILD A NEW WORLD, 13:04.500 --> 13:05.999 AND THAT IS ACTUALLY WHAT 13:05.999 --> 13:08.417 I'M DOING. 13:08.417 --> 13:09.834 FIRST, DESTRUCTION, AND AFTER 13:09.834 --> 13:11.625 THAT CONSTRUCTION. 13:11.625 --> 13:12.999 I COMBINE THEM, AND THEN 13:12.999 --> 13:14.375 SUDDENLY IT BECOMES STRANGE 13:14.375 --> 13:15.959 FACES. 13:15.959 --> 13:18.417 SOMETIMES CHILDISH. 13:18.417 --> 13:20.208 SOMETIMES SOMETHING THAT I COULD 13:20.208 --> 13:21.999 NEVER IMAGINE THAT IT WOULD BE 13:21.999 --> 13:23.500 THE RESULT. 13:23.500 --> 13:26.041 WELL, I HOPE THAT ANYONE THAT 13:26.041 --> 13:29.750 SEES MY WORK WILL WONDER, 13:29.750 --> 13:32.083 COULD IT BE THAT ALL THOSE FACES 13:32.083 --> 13:35.583 WERE RAISED FROM TOTAL CHAOS. 13:35.583 --> 13:37.375 WELL, YES. 13:37.375 --> 13:38.750 THAT'S SOMETHING THAT WE ALL 13:38.750 --> 13:41.166 HOPE THAT WE STARTED WITH 13:41.166 --> 13:42.834 NOTHING, WITH A CARELESS 13:42.834 --> 13:44.166 SITUATION BUT AT LEAST WE BUILD 13:44.166 --> 13:45.999 A NEW LIFE. 13:45.999 --> 13:47.250 WHEN VISITORS COME TO THE 13:47.250 --> 13:48.709 FAIR, WE WANT THEM TO HAVE AN 13:48.709 --> 13:49.959 ENJOYABLE EXPERIENCE, WHETHER 13:49.959 --> 13:51.999 THEY ARE COMING AS SEASONED 13:51.999 --> 13:54.458 COLLECTORS OR CURIOUS VISITORS 13:54.458 --> 13:57.375 WHO DO NOT FREQUENT ART FAIRS. 13:57.375 --> 13:59.625 WE WANT THEM TO ENJOY THE 13:59.625 --> 14:00.999 RELAXED ATMOSPHERE AND THE 14:00.999 --> 14:02.999 ENERGY THAT'S HERE. 14:02.999 --> 14:05.542 WE ALSO WANT THEM TO TAKE AWAY A 14:05.542 --> 14:08.125 SENSE OF HOW IMPORTANT ART IS IN 14:08.125 --> 14:09.999 OUR LIVES. 14:09.999 --> 14:11.208 I'M EXCITED THAT (E)MERGE 14:11.208 --> 14:12.792 EXISTS AS A VENUE FOR ARTISTS 14:12.792 --> 14:14.999 JUST TO COME IN OF ANY TALENT 14:14.999 --> 14:16.417 AND BE ABLE TO PRESENT THEIR 14:16.417 --> 14:17.999 WORK PUBLICLY. 14:17.999 --> 14:20.999 I THINK THAT'S A RARE FORMAT, 14:20.999 --> 14:22.000 AND IT'S EXCITING TO HAVE THAT 14:22.000 --> 14:23.999 HERE IN WASHINGTON, D.C. 14:23.999 --> 14:25.542 FOR MORE INFORMATION, VISIT: 14:28.959 --> 14:30.792 STONE SCULPTOR KAREN HEYL 14:30.792 --> 14:32.083 FOUND A NEW CAREER AND A LATE 14:32.083 --> 14:33.667 CALLING WHEN SHE PICKED UP HER 14:33.667 --> 14:35.542 FIRST CHISEL IN HER 30s. 14:35.542 --> 14:36.999 NOW, YEARS LATER, YOU CAN FIND 14:36.999 --> 14:38.999 HER WORK IN BUILDINGS, PARKS AND 14:38.999 --> 14:40.083 CITYSCAPES THROUGHOUT THE 14:40.083 --> 14:41.417 UNITED STATES. 14:41.417 --> 14:43.959 AND TODAY, SHE'S EXPLORING NEW 14:43.959 --> 14:45.500 MEDIUMS AND FRESH FORMS, 14:45.500 --> 14:47.000 SHOWING THAT PASSION ISN'T 14:47.000 --> 14:49.125 ALWAYS SET IN STONE. 14:52.709 --> 14:54.709 I NEVER SAW MYSELF AS A 14:54.709 --> 14:55.999 STONE SCULPTOR OR ANY KIND 14:55.999 --> 14:57.583 OF A SCULPTOR. 14:57.583 --> 14:59.208 SO WHEN MY KIDS WENT TO SCHOOL, 14:59.208 --> 15:00.583 I DECIDED TO GO TO THE ART 15:00.583 --> 15:02.500 ACADEMY HERE IN CINCINNATI. 15:02.500 --> 15:03.999 AND IT WAS THERE THAT I WAS 15:03.999 --> 15:05.999 INTRODUCED TO STONE SCULPTURE. 15:05.999 --> 15:07.083 AND I WAS IN MY 30s AT THAT 15:07.083 --> 15:09.208 POINT. 15:09.208 --> 15:12.041 I THINK WHAT ATTRACTED ME TO 15:12.041 --> 15:15.125 STONE CARVING AND WHAT I SAW IN 15:15.125 --> 15:17.291 IT WAS THAT NOT ONLY WAS IT 15:17.291 --> 15:19.291 A CHALLENGE MENTALLY, 15:19.291 --> 15:20.999 BUT PHYSICALLY. 15:20.999 --> 15:22.834 I WENT HOME TIRED, AND I STILL 15:22.834 --> 15:24.250 DO GO HOME TIRED FROM THE 15:24.250 --> 15:25.750 PHYSICALITY OF DOING STONE 15:25.750 --> 15:26.999 SCULPTURE. 15:26.999 --> 15:29.500 MOST OF WHAT I DO IN BAS RELIEF 15:29.500 --> 15:30.917 STONE CARVING IS COMMISSIONED 15:30.917 --> 15:31.999 WORK. 15:31.999 --> 15:33.999 IT'S FROM EITHER CORPORATE 15:33.999 --> 15:35.583 AMERICA, HOSPITALS, OR PEOPLE'S 15:35.583 --> 15:37.999 PRIVATE HOMES. 15:37.999 --> 15:39.166 MY GREATEST JOY COMES FROM WHEN 15:39.166 --> 15:41.041 THEY JUST SAY DO WHAT YOU DO, 15:41.041 --> 15:42.999 AND THEN I CAN GIVE THEM A 15:42.999 --> 15:44.999 NARRATIVE ABOUT WHAT THEY ARE 15:44.999 --> 15:47.333 TALKING ABOUT BASED ON NATURAL 15:47.333 --> 15:48.917 FORMS THAT I GATHER FROM 15:48.917 --> 15:49.917 NATURE -- FLOWERS, LEAVES, 15:49.917 --> 15:51.750 EVEN ANIMALS, BIRDS. 15:52.792 --> 15:58.542 ♪♪ 15:58.542 --> 16:00.417 TO BEGIN THE PROCESS, 16:00.417 --> 16:01.999 KAREN SEES THE PIECE IN HER MIND 16:01.999 --> 16:03.333 AND THEN MUST PUT IT ON PAPER 16:03.333 --> 16:05.625 FOR HER CLIENTS. 16:05.625 --> 16:07.834 MY DRAWINGS ARE PATHETIC 16:07.834 --> 16:09.750 SOMETIMES BECAUSE I SEE IT, 16:09.750 --> 16:10.999 BUT I CAN'T PUT IT ON PAPER. 16:10.999 --> 16:13.208 THAT'S NOT MY MEDIUM. 16:13.208 --> 16:16.166 CHISEL AND STONE IS MY MEDIUM. 16:16.166 --> 16:17.500 ONCE I HAVE THE DRAWING, 16:17.500 --> 16:18.667 I GRID THE DRAWING. 16:18.667 --> 16:19.999 IT'S A SCALED DRAWING TO MATCH 16:19.999 --> 16:21.542 THE SIZE OF THE STONE, 16:21.542 --> 16:22.999 AND I TRANSFER THAT DRAWING 16:22.999 --> 16:25.291 TO THE STONE. 16:25.291 --> 16:26.709 AND THEN I BEGIN CARVING. 16:26.709 --> 16:28.250 I JUST TAKE THE EDGE OF THE 16:28.250 --> 16:30.917 CHISEL AND I START OUTLINING THE 16:30.917 --> 16:32.750 FORM. 16:32.750 --> 16:33.917 SAY IT'S A BIRD. 16:33.917 --> 16:34.999 IT WILL BE LIKE A SCRATCH IN 16:34.999 --> 16:35.959 THE SURFACE WHERE I OUTLINE 16:35.959 --> 16:36.999 THAT FORM. 16:36.999 --> 16:38.208 THAT'S GOING TO POP FORWARD. 16:38.208 --> 16:39.041 THAT'S THE PART THAT'S GOING TO 16:39.041 --> 16:40.250 STICK OUT. 16:40.250 --> 16:41.999 SO EVERYTHING SURROUNDING THAT 16:41.999 --> 16:43.458 BIRD HAS TO COME OFF. 16:43.458 --> 16:45.458 THEN THERE IS A LEAF. 16:45.458 --> 16:46.999 THEN I HAVE TO TAKE EVERYTHING 16:46.999 --> 16:48.375 AROUND THAT LEAF OFF WITHOUT 16:48.375 --> 16:50.041 LOSING THE OTHER LEAVES. 16:50.041 --> 16:51.417 THIS IS THINKING THREE 16:51.417 --> 16:52.709 DIMENSIONALLY, SO YOU HAVE TO 16:52.709 --> 16:53.999 KNOW WHICH THINGS ARE COMING 16:53.999 --> 16:54.999 FORWARD AND WHICH THINGS ARE 16:54.999 --> 16:56.959 STAYING BACK. 16:56.959 --> 16:58.667 WHEN I MAKE A MISTAKE, NOBODY 16:58.667 --> 17:00.625 KNOWS IT BECAUSE A LEAF CAN BE 17:00.625 --> 17:02.250 JUST ABOUT ANY KIND OF SHAPE 17:02.250 --> 17:03.999 YOU WANT TO MAKE IT. 17:03.999 --> 17:06.000 THE TOOLS THAT I USE NOW ARE 17:06.000 --> 17:07.750 ALL PNEUMATIC. 17:07.750 --> 17:08.750 BUT WHEN I BEGAN CARVING, 17:08.750 --> 17:09.959 IT WAS ALL HAMMER AND CHISEL 17:09.959 --> 17:11.417 LIKE THEY DID IN THE OLDEN DAYS, 17:11.417 --> 17:13.375 BUT IT TAKES FOREVER TO GET A 17:13.375 --> 17:15.959 PIECE FINISHED. 17:15.959 --> 17:17.375 SO I WAS INTRODUCED INTO 17:17.375 --> 17:19.834 PNEUMATIC TOOLS WITH A SPECIAL 17:19.834 --> 17:22.583 HAMMER THAT'S A VERY SMALL 17:22.583 --> 17:24.000 VERSION OF A JACKHAMMER 17:24.000 --> 17:25.999 IN A STREET. 17:25.999 --> 17:28.667 ONLY THE CHISELS DON'T LOCK IN. 17:28.667 --> 17:30.917 YOU HAND-HOLD BOTH PIECES AND 17:30.917 --> 17:32.125 YOU GUIDE IT. 17:32.125 --> 17:33.417 SO YOU'RE WORKING BOTH HANDS, 17:33.417 --> 17:35.417 BOTH ARMS AT THE SAME TIME, 17:35.417 --> 17:36.999 AND YOU CONTROL THE AMOUNT OF 17:36.999 --> 17:38.333 PRESSURE THAT COMES THROUGH THAT 17:38.333 --> 17:39.709 AIR HOSE, SO YOU DON'T TAKE OFF 17:39.709 --> 17:41.250 TOO MUCH OR YOU CAN TAKE OFF 17:41.250 --> 17:42.999 MORE BY HAVING MORE PRESSURE 17:42.999 --> 17:44.917 COME THROUGH. 17:44.917 --> 17:46.333 MY STONE THAT I USED MOSTLY AT 17:46.333 --> 17:47.999 THIS POINT IN MY LIFE IS 17:47.999 --> 17:49.417 INDIANA LIMESTONE. 17:49.417 --> 17:50.542 MOST OF IT COMES FROM BEDFORD, 17:50.542 --> 17:52.125 INDIANA. 17:52.125 --> 17:53.709 I CHOOSE LIMESTONE, NUMBER ONE, 17:53.709 --> 17:55.667 BECAUSE IT'S AVAILABLE. 17:55.667 --> 17:59.625 NUMBER TWO, BECAUSE IT'S SOFT. 17:59.625 --> 18:01.291 NUMBER THREE, IT WEARS 18:01.291 --> 18:04.083 WELL OUTDOORS. 18:04.083 --> 18:06.166 AND NUMBER FOUR, IT FORCES ME TO 18:06.166 --> 18:10.417 PUT A REALLY GOOD DESIGN IN IT. 18:10.417 --> 18:12.208 SD1, NORTHERN KENTUCKY'S 18:12.208 --> 18:13.999 WASTEWATER AND STORMWATER 18:13.999 --> 18:16.166 UTILITY IS USING ART TO EDUCATE 18:16.166 --> 18:17.875 PEOPLE ABOUT OUR PRECIOUS 18:17.875 --> 18:19.917 RESOURCE -- WATER. 18:19.917 --> 18:21.166 THEY COMMISSIONED KAREN TO 18:21.166 --> 18:22.875 CREATE THREE SCULPTURES -- 18:22.875 --> 18:24.999 WATER: GIFT OF THE EARTH. 18:24.999 --> 18:30.166 WATER: SOURCE OF LIFE. 18:30.166 --> 18:34.834 WATER: SCULPTOR OF THE LAND. 18:34.834 --> 18:37.500 I ACTUALLY WENT DOWN TO THE 18:37.500 --> 18:39.834 QUARRIES, AND I FOUND THESE HUGE 18:39.834 --> 18:41.875 CORES OF STONE THAT ARE PROBABLY 18:41.875 --> 18:44.875 36 INCHES ACROSS. 18:44.875 --> 18:45.999 AND I THOUGHT, WOW, WHAT 18:45.999 --> 18:46.999 ARE THESE? 18:46.999 --> 18:47.917 THEY SAID, OH, THAT'S 18:47.917 --> 18:48.834 JUST GARBAGE. 18:48.834 --> 18:50.166 THOSE WERE CORE SAMPLES. 18:50.166 --> 18:51.542 THEY WERE EACH FIVE FEET TALL, 18:51.542 --> 18:53.000 SO WE CUT THEM IN HALF. 18:53.000 --> 18:55.083 SO WE HAD THESE FOUR PIECES. 18:55.083 --> 18:56.458 THEN THERE WAS GOING TO BE A 18:56.458 --> 18:57.792 FOUNTAIN, SO WE HAD TO CORE 18:57.792 --> 19:00.959 THE CENTERS OUT. 19:00.959 --> 19:02.542 SO THE TITLE COMES FROM "WATER: 19:02.542 --> 19:03.917 SCULPTOR OF THE LAND" WHICH THE 19:03.917 --> 19:04.999 WATER CUTS THROUGH THE EARTH AND 19:04.999 --> 19:06.375 REVEALS THE FOSSILS WHICH TELLS 19:06.375 --> 19:08.291 THE HISTORY OF THE LAND, 19:08.291 --> 19:10.625 HOW MANY MILLIONS OF YEARS AGO. 19:10.625 --> 19:11.959 AND THE FOSSILS, SOME OF THEM 19:11.959 --> 19:12.999 ARE CARVED. 19:12.999 --> 19:13.999 SOME OF THEM ARE MADE OUT OF 19:13.999 --> 19:15.333 TERRA-COTTA CLAY. 19:15.333 --> 19:17.166 AND THAT WAS A PROJECT I WORKED 19:17.166 --> 19:19.000 IN COLLABORATION WITH ALLAN 19:19.000 --> 19:21.125 NAIRN WHO IS A CINCINNATI POTTER 19:21.125 --> 19:22.375 NOW WORKING AT THE 19:22.375 --> 19:24.333 ROOKWOOD POTTERY. 19:24.333 --> 19:26.417 HAVING WORKED WITH STONE FOR 19:26.417 --> 19:27.999 YEARS, KAREN HAS TAKEN ON A NEW 19:27.999 --> 19:31.166 MEDIUM -- CLAY. 19:31.166 --> 19:33.625 I HAD NO IDEA WHAT I WAS 19:33.625 --> 19:34.959 DOING IN CLAY, SO I THOUGHT HOW 19:34.959 --> 19:37.208 CAN I MAKE CLAY MORE A PART OF 19:37.208 --> 19:41.208 ME AND ME A PART OF THE CLAY? 19:41.208 --> 19:42.333 SO ALL OF A SUDDEN ONE DAY 19:42.333 --> 19:43.166 IT JUST CAME TO ME -- WHY NOT 19:43.166 --> 19:44.999 CARVE THE CLAY? 19:44.999 --> 19:46.083 AND THEN I FOUND OUT, TOO, 19:46.083 --> 19:47.875 BECAUSE I HAVE ESSENTIAL TREMOR 19:47.875 --> 19:49.291 THAT I CAN'T THROW AND PULL 19:49.291 --> 19:50.667 CLAY. 19:50.667 --> 19:52.500 I CAN'T THROW CLAY BECAUSE MY 19:52.500 --> 19:55.041 HAND SHAKES THE WHOLE WAY UP. 19:55.041 --> 19:56.750 SO I HIRE SOMEBODY TO THROW A 19:56.750 --> 19:58.875 BASIC VESSEL FOR ME. 19:58.875 --> 20:01.542 AND THEN I EMBELLISH IT. 20:01.542 --> 20:03.208 I ADD THE HANDLES, 20:03.208 --> 20:04.542 THE DECORATIVE HANDLES TO IT. 20:04.542 --> 20:05.667 I ADD THE STUFF THAT MAKE 20:05.667 --> 20:07.250 THE BEAK. 20:07.250 --> 20:09.417 I'VE FOCUSED ON PITCHERS. 20:09.417 --> 20:10.959 AND THEN THE PITCHERS REMINDED 20:10.959 --> 20:12.542 ME OF BIRDS. 20:12.542 --> 20:13.999 SO, NOW ALL I DO ARE THESE 20:13.999 --> 20:17.250 VESSELS IN CLAY THAT ARE BIRDS. 20:17.250 --> 20:19.208 AND ONCE I FIGURED THAT OUT, 20:19.208 --> 20:21.709 AND I LIKED THAT I HAD THIS 20:21.709 --> 20:24.083 CARVED CLAY VESSEL, THEN I 20:24.083 --> 20:26.166 THOUGHT SOMETHING IS NOT RIGHT. 20:26.166 --> 20:27.709 SO THEN I DECIDED I'LL CARVE A 20:27.709 --> 20:29.999 BASE FOR IT OUT OF LIMESTONE. 20:29.999 --> 20:31.542 SO THEN I BROUGHT MY STONE 20:31.542 --> 20:33.166 CARVING BACK INTO IT. 20:33.166 --> 20:35.291 SO NOW I'M CONFLICTED BETWEEN 20:35.291 --> 20:38.333 CARVING AND MAKING CLAY. 20:38.333 --> 20:40.083 BUT I FOUND A WAY TO KEEP THE 20:40.083 --> 20:41.709 STONE CARVING INTO MY LIFE BY 20:41.709 --> 20:43.500 CREATING THESE VESSELS. 20:43.500 --> 20:44.583 SO THAT'S HOW THAT ALL 20:44.583 --> 20:45.999 GOT STARTED. 20:45.999 --> 20:47.291 RIGHT NOW THE CLAY VESSELS ARE 20:47.291 --> 20:49.999 JUST OCCUPYING ALL MY TIME. 20:49.999 --> 20:51.999 I CAN'T IMAGINE NOT DOING THIS. 20:51.999 --> 20:53.583 I MEAN, THE ONLY WAY I WON'T DO 20:53.583 --> 20:55.625 THIS IS IF I'M DEAD, BECAUSE 20:55.625 --> 20:57.166 THIS IS WHAT I FEEL LIKE I WAS 20:57.166 --> 20:59.041 BORN TO DO. 20:59.041 --> 21:00.750 IT IS MY PASSION, AND I THINK 21:00.750 --> 21:02.458 THAT'S WHAT MY LEGACY IS, 21:02.458 --> 21:03.667 TO JUST FULFILL YOUR DREAMS 21:03.667 --> 21:05.375 BY DOING YOUR PASSION, 21:05.375 --> 21:07.166 FOLLOW YOUR BLISS. 21:09.959 --> 21:11.125 FOR MORE OF KAREN HEYL'S 21:11.125 --> 21:13.000 STONE SCULPTURES, VISIT: 21:15.999 --> 21:17.709 DESIGNER AMIR TAGHI HAS BEEN 21:17.709 --> 21:19.792 MAKING WAVES FOR YEARS ON THE 21:19.792 --> 21:21.667 TEXAS FASHION SCENE, WHICH IS 21:21.667 --> 21:22.875 QUITE A FEAT GIVEN HE'S STILL 21:22.875 --> 21:24.375 IN HIGH SCHOOL. 21:24.375 --> 21:26.166 AND NOW THE REST OF THE COUNTRY 21:26.166 --> 21:27.500 HAS A CHANCE TO VIEW TAGHI'S 21:27.500 --> 21:28.667 WORK, TOO. 21:28.667 --> 21:29.959 HERE'S A LOOK. 21:31.333 --> 21:46.000 ♪♪ 21:46.000 --> 21:47.875 FASHION IS A JOB THAT'S 21:47.875 --> 21:49.750 ALWAYS CHANGING. 21:49.750 --> 21:50.542 IT'S DIFFERENT FROM 21:50.542 --> 21:51.999 ANYTHING ELSE. 21:51.999 --> 21:53.166 YOU'RE INVENTING. 21:53.166 --> 21:54.667 YOU'RE CREATING. 21:54.667 --> 21:55.999 YOU'RE LOOKING FOR IDEAS. 21:55.999 --> 21:57.291 YOU'RE ALWAYS UP AND ABOUT 21:57.291 --> 21:59.583 LOOKING AT IMAGES, LOOKING AT 21:59.583 --> 22:00.999 DIFFERENT THINGS, AND CREATING. 22:00.999 --> 22:02.500 AND THAT'S WHAT I LOVE ABOUT IT. 22:03.417 --> 22:07.542 ♪♪ 22:07.542 --> 22:08.999 MY NAME IS AMIR TAGHI, 22:08.999 --> 22:10.417 AND I'M A FASHION DESIGNER. 22:10.417 --> 22:12.291 AND I'M 18 YEARS OLD. 22:13.250 --> 22:16.333 ♪♪ 22:16.333 --> 22:18.000 I WAS 15 WHEN I FIRST SHOWED 22:18.000 --> 22:19.667 MY COLLECTION. 22:19.667 --> 22:21.875 I WAS A FRESHMAN IN HIGH SCHOOL. 22:21.875 --> 22:23.667 I SHOWED IT AT MY HOUSE. 22:23.667 --> 22:24.709 THE RUNWAY WAS OVER THE POOL, 22:24.709 --> 22:25.834 AND WE HAD MODELS THAT WERE MY 22:25.834 --> 22:28.333 CLASSMATES. 22:28.333 --> 22:29.999 AND I WANTED TO KEEP IT VERY 22:29.999 --> 22:31.917 HIGH SCHOOL, I GUESS, AND SHOW, 22:31.917 --> 22:32.792 LIKE, THE TALENT WE HAVE 22:32.792 --> 22:35.166 AT MY SCHOOL. 22:35.166 --> 22:36.792 THE AMIR TAGHI LABEL IS A 22:36.792 --> 22:38.000 MIXTURE OF FEMININE BUT STILL 22:38.000 --> 22:39.709 VERY MODERN AND SLEEK AT THE 22:39.709 --> 22:40.999 SAME TIME. 22:40.999 --> 22:42.999 A LOT OF DRESSES AND LACE. 22:42.999 --> 22:44.999 AND AFTER THAT, IT WAS MORE A 22:44.999 --> 22:46.959 DEVELOPED COLLECTION WITH 22:46.959 --> 22:48.542 TOPS AND BOTTOMS, SPORTSWEAR, 22:48.542 --> 22:51.625 EVENING WEAR, AND IT COMPLETELY 22:51.625 --> 22:52.834 CHANGED FOR ME THE OUTLOOK I HAD 22:52.834 --> 22:55.291 IN FASHION. 22:55.291 --> 22:57.041 I'M IN HIGH SCHOOL RIGHT NOW, 22:57.041 --> 22:58.999 SO IT'S DIFFICULT TO MANAGE MY 22:58.999 --> 23:01.500 TIME BECAUSE AT THIS TIME AND 23:01.500 --> 23:03.250 MOMENT I'M APPLYING FOR COLLEGE. 23:03.250 --> 23:04.208 I'M CREATING A COLLECTION 23:04.208 --> 23:05.750 FOR FALL. 23:05.750 --> 23:07.166 I'M ALWAYS TIED BETWEEN 23:07.166 --> 23:10.291 DIFFERENT THINGS. 23:10.291 --> 23:12.333 I INTERNED WITH OSCAR DURING MY 23:12.333 --> 23:15.792 SOPHOMORE SUMMER OF HIGH SCHOOL. 23:15.792 --> 23:17.208 WHAT I TOOK AWAY FROM MY 23:17.208 --> 23:19.333 INTERNSHIP AT OSCAR DE LA RENTA 23:19.333 --> 23:21.250 WAS REALLY STICKING TO MY 23:21.250 --> 23:23.000 PASSION AND GOING WITH IT AND 23:23.000 --> 23:25.458 PURSUING IT AS HARD AS I CAN. 23:25.458 --> 23:26.999 BECAUSE OSCAR, WHILE HE WAS 23:26.999 --> 23:28.208 THERE, HE WOULD GO TO WORK 23:28.208 --> 23:30.208 PRETTY MUCH EVERY SINGLE DAY. 23:30.208 --> 23:33.083 AND IT SHOWED HIS, LIKE, 23:33.083 --> 23:36.542 DETERMINATION TO REALLY, LIKE, 23:36.542 --> 23:37.999 SHOW WHAT HE REALLY LOVES. 23:37.999 --> 23:41.291 I TOOK THAT AWAY FROM IT. 23:41.291 --> 23:43.041 I WAS ASKED BY A COUPLE OF 23:43.041 --> 23:44.999 PEOPLE WHY DO I NOT TRY NEW YORK 23:44.999 --> 23:46.999 FASHION WEEK? 23:46.999 --> 23:49.875 I GOT AN E-MAIL FROM A GROUP IN 23:49.875 --> 23:50.999 NEW YORK THAT HAS BEEN DOING 23:50.999 --> 23:52.625 FASHION WEEK PRESENTATIONS IN 23:52.625 --> 23:54.041 THEIR SPACE, AND I WAS ASKED TO 23:54.041 --> 23:55.792 PARTICIPATE AS WELL AND SHOW MY 23:55.792 --> 23:59.166 COLLECTION PRIVATELY. 23:59.166 --> 24:01.250 SO IT WAS A VERY SURREAL POINT 24:01.250 --> 24:03.000 OF MY TIME THAT I NEVER KNEW 24:03.000 --> 24:04.458 THAT AT SUCH A YOUNG AGE, AT 24:04.458 --> 24:05.999 ONLY 18, I COULD BE ABLE TO 24:05.999 --> 24:07.333 SHOW A COLLECTION AT 24:07.333 --> 24:09.542 NEW YORK FASHION WEEK. 24:09.542 --> 24:10.959 MY FASHION STYLE HAS BEEN 24:10.959 --> 24:12.875 EVOLVING SINCE THE BEGINNING, 24:12.875 --> 24:15.333 BUT I TRY TO ALWAYS STICK TO MY 24:15.333 --> 24:17.999 ROOTS AND MY ROOTS ARE HAVING A 24:17.999 --> 24:19.999 VERY FEMININE SILHOUETTE 24:19.999 --> 24:21.583 BUT VERY MINIMALISTIC, 24:21.583 --> 24:26.999 VERY TO THE POINT. 24:26.999 --> 24:28.999 WHEN CREATING A COLLECTION, 24:28.999 --> 24:30.083 IT STARTS OUT WITH A 24:30.083 --> 24:31.542 CONCEPTUAL IDEA. 24:31.542 --> 24:32.834 SO, FOR EXAMPLE, MY LAST 24:32.834 --> 24:34.542 COLLECTION WAS STRONG WOMEN. 24:34.542 --> 24:35.667 SO I WANTED TO PORTRAY THAT 24:35.667 --> 24:36.999 IMAGE. 24:36.999 --> 24:39.041 SO I STARTED FINDING VERY STRONG 24:39.041 --> 24:41.041 IMAGES INCLUDING STRONG ART 24:41.041 --> 24:42.458 PIECES AND THEN VERY STRONG 24:42.458 --> 24:43.999 COLORS, AND WE STARTED SKETCHING 24:43.999 --> 24:46.667 THE PIECES. 24:46.667 --> 24:49.999 FROM THEN, I SENT MY SKETCHES TO 24:49.999 --> 24:52.000 OUR MANUFACTURER, AND WE STARTED 24:52.000 --> 24:53.750 DRAPING THE PIECES AND CREATING 24:53.750 --> 24:55.999 THE PATTERN. 24:55.999 --> 24:57.583 FROM THEN ON, WE WERE STYLING 24:57.583 --> 24:58.999 AND THEN THE SHOW CAME AND WE 24:58.999 --> 25:02.875 PRESENTED THE COLLECTION. 25:02.875 --> 25:04.208 I WANT TO EXPRESS A WOMAN 25:04.208 --> 25:05.999 THAT'S FIERCE AND CONFIDENT, 25:05.999 --> 25:07.875 A WOMAN THAT'S NOT AFRAID TO 25:07.875 --> 25:09.458 SHOW WHO SHE REALLY IS AND NOT 25:09.458 --> 25:10.834 AFRAID TO WEAR WHAT SHE WANTS 25:10.834 --> 25:13.125 TO WEAR. 25:13.125 --> 25:16.250 I WANT PEOPLE TO FEEL THAT 25:16.250 --> 25:17.291 THEY ARE WEARING A NEW, 25:17.291 --> 25:20.417 INNOVATIVE DESIGNER. 25:20.417 --> 25:22.250 I GOT TO BECOME A DESIGNER AT 25:22.250 --> 25:24.208 SUCH A YOUNG AGE, YES, 25:24.208 --> 25:26.999 BECAUSE OF MY FAMILY'S SUPPORT, 25:26.999 --> 25:29.792 BUT ALSO BECAUSE OF PERSISTENCE. 25:29.792 --> 25:31.500 I FEEL LIKE PERSISTENCE IS A 25:31.500 --> 25:32.999 VERY KEY POINT IN BECOMING 25:32.999 --> 25:35.000 WHATEVER YOU WANT TO BE. 25:42.667 --> 25:43.792 TO SEE MORE OF AMIR'S 25:43.792 --> 25:45.041 FASHIONS, VISIT: 25:47.917 --> 25:48.999 AND THAT WRAPS IT UP FOR THIS 25:48.999 --> 25:52.333 EDITION OF "WEDU ARTS PLUS." 25:52.333 --> 25:53.999 FOR MORE ARTS AND CULTURE, 25:53.999 --> 25:57.792 VISIT wedu.org/artsplus WHERE 25:57.792 --> 25:59.041 YOU'LL FIND FEATURE VIDEOS, 25:59.041 --> 26:00.208 LOCAL EVENTS, AND ARTS 26:00.208 --> 26:01.917 AND CULTURE PARTNERS. 26:01.917 --> 26:03.625 UNTIL NEXT TIME, I'M GABE ORTIZ. 26:03.625 --> 26:05.208 THANKS FOR WATCHING. 26:06.250 --> 26:27.834 ♪♪ 26:27.834 --> 26:29.333 MAJOR FUNDING FOR 26:29.333 --> 26:31.166 "WEDU ARTS PLUS" IS PROVIDED 26:31.166 --> 26:32.500 THROUGH THE GREATER CINCINNATI 26:32.500 --> 26:34.125 FOUNDATION BY AN ARTS-LOVING 26:34.125 --> 26:35.834 DONOR WHO ENCOURAGES OTHERS TO 26:35.834 --> 26:38.375 SUPPORT YOUR PBS STATION, WEDU. 26:38.375 --> 26:39.959 FUNDING IS ALSO PROVIDED BY THE 26:39.959 --> 26:41.875 S.L. 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