1 00:00:03,999 --> 00:00:05,166 THIS SPECIAL PRESENTATION WAS 2 00:00:05,166 --> 00:00:06,999 PRODUCED IN HIGH DEFINITION BY 3 00:00:06,999 --> 00:00:08,583 WEDU -- TAMPA, ST. PETERSBURG, 4 00:00:08,583 --> 00:00:10,917 SARASOTA. 5 00:00:10,917 --> 00:00:12,625 > MAJOR FUNDING FOR 6 00:00:12,625 --> 00:00:14,208 "WEDU ARTS PLUS" IS PROVIDED 7 00:00:14,208 --> 00:00:16,166 THROUGH THE GREATER CINCINNATI 8 00:00:16,166 --> 00:00:18,125 FOUNDATION BY AN ARTS-LOVING 9 00:00:18,125 --> 00:00:19,999 DONOR WHO ENCOURAGES OTHERS TO 10 00:00:19,999 --> 00:00:22,458 SUPPORT YOUR PBS STATION, WEDU. 11 00:00:22,458 --> 00:00:23,999 FUNDING IS ALSO PROVIDED BY THE 12 00:00:23,999 --> 00:00:25,999 S. L. GIMBEL FOUNDATION. 13 00:00:27,625 --> 00:00:29,041 > IN THIS EDITION OF 14 00:00:29,041 --> 00:00:31,041 "WEDU ARTS PLUS," PAINTER 15 00:00:31,041 --> 00:00:33,041 SAMUEL BAK REFLECTS ON SEVEN 16 00:00:33,041 --> 00:00:34,999 DECADES AS AN ARTIST AND 17 00:00:34,999 --> 00:00:37,500 HOLOCAUST SURVIVOR. 18 00:00:37,500 --> 00:00:40,000 I SURVIVED BECAUSE ACTUALLY 19 00:00:40,000 --> 00:00:42,375 TEN MIRACLES HAPPENED TO ME. 20 00:00:42,375 --> 00:00:44,041 IF HAD ONLY NINE MIRACLES 21 00:00:44,041 --> 00:00:45,583 HAPPENED TO ME, I WOULDN'T HAVE 22 00:00:45,583 --> 00:00:47,333 BEEN SITTING HERE TODAY. 23 00:00:47,333 --> 00:00:49,917 A SYMPHONY'S NEW DIRECTION. 24 00:00:49,917 --> 00:00:51,417 FOR ME IT'S NOT ENOUGH TO 25 00:00:51,417 --> 00:00:53,000 PLAY JUST NOTES. 26 00:00:53,000 --> 00:00:54,583 WE HAVE MUCH BIGGER 27 00:00:54,583 --> 00:00:56,125 RESPONSIBILITIES, THE NEED TO 28 00:00:56,125 --> 00:00:57,583 CREATE DRAMA, TO CREATE 29 00:00:57,583 --> 00:00:58,709 SOMETHING SPECIAL IN THE 30 00:00:58,709 --> 00:00:59,750 CONCERT. 31 00:00:59,750 --> 00:01:00,999 GO INSIDE AN EXHIBIT 32 00:01:00,999 --> 00:01:02,208 FEATURING DIFFERENT GENRES OF 33 00:01:02,208 --> 00:01:04,041 TOY ART. 34 00:01:04,041 --> 00:01:05,417 PEOPLE LOVE OUR COLLECTION 35 00:01:05,417 --> 00:01:06,792 BECAUSE IT'S SO APPROACHABLE. 36 00:01:06,792 --> 00:01:08,208 YOU HAVE TINY THINGS, WHICH ARE 37 00:01:08,208 --> 00:01:09,250 THE MINIATURES, THEN YOU HAVE 38 00:01:09,250 --> 00:01:10,500 TOYS, WHICH ARE THINGS THAT YOU 39 00:01:10,500 --> 00:01:11,875 PLAYED WITH AS A KID. 40 00:01:11,875 --> 00:01:13,166 AND AN ARTIST WHOSE ETCHED 41 00:01:13,166 --> 00:01:16,208 SURFACES ARE MAKING A MARK. 42 00:01:16,208 --> 00:01:18,999 I LIKE TO PAINT CERTAIN AREAS 43 00:01:18,999 --> 00:01:20,458 THAT ARE ALREADY STANDING OUT 44 00:01:20,458 --> 00:01:22,500 FROM THE PHOTOGRAPH AND CREATE 45 00:01:22,500 --> 00:01:24,125 DEPTH WITH THAT. 46 00:01:24,125 --> 00:01:25,875 IT'S ALL COMING UP NEXT ON 47 00:01:25,875 --> 00:01:27,750 "WEDU ARTS PLUS." 48 00:01:28,792 --> 00:01:41,583 [ MUSIC ] 49 00:01:43,999 --> 00:01:45,125 HELLO. 50 00:01:45,125 --> 00:01:46,458 I'M DALIA COLON AND THIS IS 51 00:01:46,458 --> 00:01:48,834 "WEDU ARTS PLUS." 52 00:01:48,834 --> 00:01:50,959 SAMUEL BAK HAS LED AN INCREDIBLE 53 00:01:50,959 --> 00:01:52,834 LIFE, FROM NARROWLY SURVIVING 54 00:01:52,834 --> 00:01:54,125 THE HOLOCAUST TO BECOMING A 55 00:01:54,125 --> 00:01:56,542 WORLD-RENOWNED ARTIST. 56 00:01:56,542 --> 00:01:58,291 NOW AT AGE 82, THE PROLIFIC 57 00:01:58,291 --> 00:02:00,375 PAINTER DISCUSSES HIS NEW 58 00:02:00,375 --> 00:02:01,959 RETROSPECTIVE AT THE FLORIDA 59 00:02:01,959 --> 00:02:03,999 HOLOCAUST MUSEUM AND SHARES WHY, 60 00:02:03,999 --> 00:02:06,041 AFTER EVERYTHING HE'S WITNESSED, 61 00:02:06,041 --> 00:02:07,999 HE'S STILL AN OPTIMIST. 62 00:02:10,834 --> 00:02:11,999 > HEAR HIS MESSAGE IN YOUR 63 00:02:11,999 --> 00:02:13,999 WORK THAT INSPIRES HOPE. 64 00:02:13,999 --> 00:02:15,500 AND THAT IS WHY YOU ARE THE 65 00:02:15,500 --> 00:02:18,208 RECIPIENT OF THIS YEAR'S 2016 66 00:02:18,208 --> 00:02:20,166 HUMANITARIAN AWARD. 67 00:02:20,166 --> 00:02:22,709 SO IF YOU COULD COME UP, PLEASE. 68 00:02:22,709 --> 00:02:26,333 [ APPLAUSE ] 69 00:02:27,625 --> 00:02:28,834 TO BE ABLE TO DO SOMETHING 70 00:02:28,834 --> 00:02:29,999 THAT MEANS SO MUCH TO OTHER 71 00:02:29,999 --> 00:02:31,125 PEOPLE, TELLS ME THAT I'M A 72 00:02:31,125 --> 00:02:34,792 VERY, VERY LUCKY DEVIL. 73 00:02:34,792 --> 00:02:37,999 WHAT CAN I SAY? 74 00:02:37,999 --> 00:02:40,709 MY NAME IS SAMUEL BAK. 75 00:02:40,709 --> 00:02:43,041 I AM A PAINTER WHO HAS BEEN 76 00:02:43,041 --> 00:02:48,583 DOING PAINTING SINCE AGE THREE, 77 00:02:48,583 --> 00:02:52,999 WHICH MEANS 83 YEARS. 78 00:02:52,999 --> 00:02:55,834 WE ARE HERE AT THE HOLOCAUST 79 00:02:55,834 --> 00:02:58,959 MUSEUM IN ST. PETERSBURG, WHICH 80 00:02:58,959 --> 00:03:01,917 IS FLORIDA'S STATE HOLOCAUST 81 00:03:01,917 --> 00:03:03,917 MUSEUM. 82 00:03:03,917 --> 00:03:05,333 AND THIS IS MY FIFTH EXHIBITION 83 00:03:05,333 --> 00:03:06,792 IN THIS MUSEUM. 84 00:03:06,792 --> 00:03:08,625 SO, COMING OVER HERE, IT'S 85 00:03:08,625 --> 00:03:10,750 ALMOST LIKE COMING BACK TO 86 00:03:10,750 --> 00:03:11,999 FAMILY. 87 00:03:14,250 --> 00:03:15,999 THE COMPONENT OF THE 88 00:03:15,999 --> 00:03:17,417 HOLOCAUST IS ONE OF THE 89 00:03:17,417 --> 00:03:18,999 COMPONENTS IN MY PAINTINGS. 90 00:03:18,999 --> 00:03:22,041 BUT MY PAINTINGS ARE NOT ABOUT 91 00:03:22,041 --> 00:03:24,417 THE HOLOCAUST SPECIFICALLY. 92 00:03:24,417 --> 00:03:26,625 OF COURSE, HERE AT THE MUSEUM, 93 00:03:26,625 --> 00:03:31,542 MY ART IS SHOWN AS ART OF A 94 00:03:31,542 --> 00:03:33,959 YOUNG BOY WHO SURVIVED THE 95 00:03:33,959 --> 00:03:37,583 HOLOCAUST, WHO HAD VERY, VERY, 96 00:03:37,583 --> 00:03:39,166 VERY LITTLE CHANCE TO SURVIVE 97 00:03:39,166 --> 00:03:40,792 BECAUSE I SURVIVED FROM A JEWISH 98 00:03:40,792 --> 00:03:43,999 COMMUNITY WHERE ONLY ONE OF 99 00:03:43,999 --> 00:03:47,709 EVERY 40 REMAINED ALIVE. 100 00:03:47,709 --> 00:03:50,166 I WAS BORN IN VILNIUS, WHICH 101 00:03:50,166 --> 00:03:51,999 TODAY IS THE CAPITAL OF 102 00:03:51,999 --> 00:03:53,750 LITHUANIA. 103 00:03:53,750 --> 00:03:57,125 WHEN I WAS BORN THERE, SINCE THE 104 00:03:57,125 --> 00:03:59,000 BORDERS OF EUROPE HAVE MOVED 105 00:03:59,000 --> 00:04:02,542 QUITE A LOT, IT WAS POLAND. 106 00:04:02,542 --> 00:04:03,999 MY LIFE WAS VERY COMFORTABLE FOR 107 00:04:03,999 --> 00:04:05,999 A CHILD, ALMOST PARADISE. 108 00:04:05,999 --> 00:04:08,125 THEN THE GERMANS ARRIVED. 109 00:04:08,125 --> 00:04:09,333 MY FATHER WAS SENT TO A LABOR 110 00:04:09,333 --> 00:04:13,000 CAMP. 111 00:04:13,000 --> 00:04:14,458 I AND MY MOTHER WERE THROWN INTO 112 00:04:14,458 --> 00:04:17,125 THE GHETTO. 113 00:04:17,125 --> 00:04:19,041 AND WE SOMEHOW MANAGED TO 114 00:04:19,041 --> 00:04:20,125 ESCAPE, WE MANAGED TO FIND A 115 00:04:20,125 --> 00:04:22,083 PLACE IN A CONVENT. 116 00:04:25,458 --> 00:04:27,417 I SURVIVED BECAUSE ACTUALLY 117 00:04:27,417 --> 00:04:29,999 TEN MIRACLES HAPPENED TO ME. 118 00:04:29,999 --> 00:04:31,542 IF HAD ONLY NINE MIRACLES 119 00:04:31,542 --> 00:04:32,834 HAPPENED TO ME, I WOULDN'T HAVE 120 00:04:32,834 --> 00:04:34,875 BEEN SITTING HERE TODAY. 121 00:04:36,000 --> 00:04:39,999 [ MUSIC ] 122 00:04:41,166 --> 00:04:42,375 MY FATHER WAS KILLED JUST A 123 00:04:42,375 --> 00:04:43,417 FEW DAYS BEFORE WE WERE 124 00:04:43,417 --> 00:04:44,458 LIBERATED. 125 00:04:44,458 --> 00:04:45,834 MY MOTHER MARRIED ANOTHER 126 00:04:45,834 --> 00:04:46,999 SURVIVOR, WHO LOST HIS WIFE AND 127 00:04:46,999 --> 00:04:49,291 HIS DAUGHTERS. 128 00:04:49,291 --> 00:04:51,041 AND WE WERE SURROUNDED BY THESE 129 00:04:51,041 --> 00:04:52,834 FAMILIES THAT WERE NOT FAMILIES, 130 00:04:52,834 --> 00:04:54,667 LIVING CONSTANTLY WITH THE 131 00:04:54,667 --> 00:04:55,999 GHOSTS OF THE ONES WHO HAVE LEFT 132 00:04:55,999 --> 00:04:59,709 US. 133 00:04:59,709 --> 00:05:00,999 AND THIS BECAME THE KIND OF 134 00:05:00,999 --> 00:05:03,999 SUBJECT MATTER OF MY ART. 135 00:05:05,667 --> 00:05:16,834 [ MUSIC ] 136 00:05:17,999 --> 00:05:19,250 THE FIRST PART OF THIS 137 00:05:19,250 --> 00:05:20,500 EXHIBITION SHOWS PAINTINGS THAT 138 00:05:20,500 --> 00:05:22,875 I DID IN THE REFUGEE CAMP IN 139 00:05:22,875 --> 00:05:26,999 GERMANY IN '45. 140 00:05:26,999 --> 00:05:30,583 SO I WAS 12 OR 13. 141 00:05:30,583 --> 00:05:32,750 AND THEN THERE ARE SOME 142 00:05:32,750 --> 00:05:35,458 PAINTINGS THAT WERE EXHIBITED 143 00:05:35,458 --> 00:05:36,917 WHEN I WAS A VERY SUCCESSFUL 144 00:05:36,917 --> 00:05:39,250 PAINTER WHO LIVED IN ROME. 145 00:05:39,250 --> 00:05:40,750 THEY'RE IN A MUCH MORE ABSTRACT 146 00:05:40,750 --> 00:05:42,583 LANGUAGE. 147 00:05:46,792 --> 00:05:51,125 I BEING YOUNG TRIED TO COME 148 00:05:51,125 --> 00:05:54,041 TO TERMS WITH THE VERY DARK 149 00:05:54,041 --> 00:05:58,250 MEMORIES AND MY PAINTING BECAME 150 00:05:58,250 --> 00:06:00,999 MORE AND MORE ABSTRACT AND 151 00:06:00,999 --> 00:06:03,125 DARKER AND DARKER, AND IT WAS 152 00:06:03,125 --> 00:06:04,999 ONLY AT A CERTAIN POINT WHERE I 153 00:06:04,999 --> 00:06:07,250 FELT THAT I WAS GOING INTO A 154 00:06:07,250 --> 00:06:10,166 KIND OF A TUNNEL THAT WAS VERY 155 00:06:10,166 --> 00:06:13,000 DIFFICULT ALSO FOR ME TO BEAR. 156 00:06:13,000 --> 00:06:15,792 I THOUGHT, WELL, WHY NOT EXTRACT 157 00:06:15,792 --> 00:06:18,999 MYSELF AND GO INTO THE WORLD OF 158 00:06:18,999 --> 00:06:22,625 COLOR, OF A STYLE WHICH IS 159 00:06:22,625 --> 00:06:24,875 ALMOST LIKE THE ILLUSTRATION OF 160 00:06:24,875 --> 00:06:26,917 CHILDREN BOOKS AND LET ME 161 00:06:26,917 --> 00:06:28,083 ATTRACT THE VIEWERS TO MY 162 00:06:28,083 --> 00:06:29,917 PAINTINGS. 163 00:06:29,917 --> 00:06:32,041 AND ONCE I GOT, ONCE I GOT THEM 164 00:06:32,041 --> 00:06:33,999 INTO MY PAINTING, THEN SHOW THEM 165 00:06:33,999 --> 00:06:35,667 THE WORLD IS BROKEN. 166 00:06:39,999 --> 00:06:41,999 THERE IS NO POSSIBILITY OF 167 00:06:41,999 --> 00:06:45,834 FACING TRAGEDY WITHOUT HUMOR. 168 00:06:45,834 --> 00:06:48,000 THE WAY THERE IS NO POSSIBILITY 169 00:06:48,000 --> 00:06:50,625 OF DESCRIBING LIGHT WITHOUT 170 00:06:50,625 --> 00:06:54,583 USING SHADOW. 171 00:06:54,583 --> 00:06:56,999 SO, THERE IS A CERTAIN WHIMSICAL 172 00:06:56,999 --> 00:06:59,709 ELEMENT IN MY PAINTINGS. 173 00:07:03,999 --> 00:07:05,667 THINGS HAPPEN TO ME THAT I 174 00:07:05,667 --> 00:07:07,041 DID NOT CHOOSE. 175 00:07:07,041 --> 00:07:08,999 I MEAN, I WAS BORN IN A CERTAIN 176 00:07:08,999 --> 00:07:10,500 TIME, IN A CERTAIN PLACE, THE 177 00:07:10,500 --> 00:07:11,999 WAR HAPPENED. 178 00:07:11,999 --> 00:07:14,333 I LOST MY GRANDPARENTS. 179 00:07:14,333 --> 00:07:15,834 I LOST MY FATHER. 180 00:07:15,834 --> 00:07:17,583 I SAW PEOPLE BEING KILLED. 181 00:07:17,583 --> 00:07:19,959 I SAW BODIES ALL AROUND. 182 00:07:19,959 --> 00:07:21,999 I MEAN, SO, I HAD MY SHARE OF 183 00:07:21,999 --> 00:07:23,500 DIFFICULTIES. 184 00:07:23,500 --> 00:07:25,125 AND THEN I TRIED TO HAVE A 185 00:07:25,125 --> 00:07:27,417 WONDERFUL LIFE, LIKE EVERYONE 186 00:07:27,417 --> 00:07:29,208 TRIES TO HAVE A WONDERFUL LIFE, 187 00:07:29,208 --> 00:07:30,999 WITH UPS AND DOWNS. 188 00:07:30,999 --> 00:07:32,875 BUT I HAVE THREE GREAT 189 00:07:32,875 --> 00:07:34,959 DAUGHTERS. 190 00:07:34,959 --> 00:07:37,792 I HAVE FOUR WONDERFUL GRANDSONS. 191 00:07:37,792 --> 00:07:42,083 ONE IS FRENCH, TWO ARE AFRICAN. 192 00:07:42,083 --> 00:07:44,792 I MEAN, I HAVE THE BEST, THE 193 00:07:44,792 --> 00:07:47,333 BEST A MAN COULD HAVE BECAUSE I 194 00:07:47,333 --> 00:07:48,999 CAN SEE THE FUTURE OF THE WORLD, 195 00:07:48,999 --> 00:07:50,208 YOU KNOW, WHERE ALL THE HUMAN 196 00:07:50,208 --> 00:07:52,625 COLORS INTERMINGLE AND SO ON, 197 00:07:52,625 --> 00:07:54,834 AND I AM PART OF IT. 198 00:07:54,834 --> 00:07:56,417 FANTASTIC. 199 00:07:57,250 --> 00:08:04,709 [ MUSIC ] 200 00:08:05,583 --> 00:08:06,375 WILL IT REPAIR THE WORLD? 201 00:08:06,375 --> 00:08:07,291 I DON'T KNOW. 202 00:08:07,291 --> 00:08:08,458 I HOPE. 203 00:08:08,458 --> 00:08:09,999 I ALWAYS PUT IN MOST OF THE 204 00:08:09,999 --> 00:08:11,667 PAINTINGS SOME LIGHT ON THE 205 00:08:11,667 --> 00:08:14,208 HORIZON, JUST TO SAY ALL HOPE IS 206 00:08:14,208 --> 00:08:15,999 NOT LOST. 207 00:08:16,959 --> 00:08:21,999 [ MUSIC ] 208 00:08:23,834 --> 00:08:25,709 SAMUEL BAK, "A RETROSPECTIVE 209 00:08:25,709 --> 00:08:27,792 OF SEVEN DECADES" IS ON DISPLAY 210 00:08:27,792 --> 00:08:29,250 AT THE FLORIDA HOLOCAUST MUSEUM 211 00:08:29,250 --> 00:08:30,583 THROUGH JULY 10TH. 212 00:08:30,583 --> 00:08:31,959 FOR MORE INFORMATION, VISIT: 213 00:08:37,291 --> 00:08:39,750 > THE REIGN OF ANDRIS NELSONS 214 00:08:39,750 --> 00:08:41,041 AT THE BOSTON SYMPHONY ORCHESTRA 215 00:08:41,041 --> 00:08:42,999 IS NOW UNDERWAY AS THE YOUNG 216 00:08:42,999 --> 00:08:44,166 CONDUCTOR PRESIDED OVER A 217 00:08:44,166 --> 00:08:46,166 CONCERT BUILT VERY MUCH AROUND 218 00:08:46,166 --> 00:08:47,667 HIS IDENTITY. 219 00:08:47,667 --> 00:08:48,875 JARED BOWEN SPOKE WITH NELSONS 220 00:08:48,875 --> 00:08:51,000 ABOUT THE CONCERT AND HIS PLANS 221 00:08:51,000 --> 00:08:53,333 FOR THE WORLD-CLASS ORCHESTRA. 222 00:08:55,583 --> 00:09:00,208 [ MUSIC ] 223 00:09:01,208 --> 00:09:02,291 THIS WAS HOW ANDRIS NELSONS 224 00:09:02,291 --> 00:09:03,458 INTRODUCED HIMSELF IN HIS 225 00:09:03,458 --> 00:09:04,999 INAUGURAL CONCERT AS THE BOSTON 226 00:09:04,999 --> 00:09:06,083 SYMPHONY ORCHESTRA'S NEW MUSIC 227 00:09:06,083 --> 00:09:08,125 DIRECTOR. 228 00:09:08,125 --> 00:09:09,959 IT WAS WAGNER'S OVERTURE TO 229 00:09:09,959 --> 00:09:11,959 TANNHAÄUSER, THE PIECE HE FIRST 230 00:09:11,959 --> 00:09:13,375 HEARD AS A FIVE-YEAR-OLD IN HIS 231 00:09:13,375 --> 00:09:14,834 NATIVE LATVIA THAT WOULD INSPIRE 232 00:09:14,834 --> 00:09:16,959 HIS MUSICAL LIFE. 233 00:09:17,999 --> 00:09:20,542 [ MUSIC ] 234 00:09:21,834 --> 00:09:22,999 IT WAS A GALA CONCERT WITH 235 00:09:22,999 --> 00:09:24,667 PERFORMANCES BY NELSONS' FRIEND, 236 00:09:24,667 --> 00:09:26,333 TENOR JONAS KAUFMANN, AN 237 00:09:26,333 --> 00:09:27,583 UNDENIABLE ROCK STAR IN THE 238 00:09:27,583 --> 00:09:29,250 OPERA WORLD. 239 00:09:30,792 --> 00:09:50,000 [ MUSIC ] 240 00:09:50,999 --> 00:09:52,125 ALSO APPEARING WAS RENOWNED 241 00:09:52,125 --> 00:09:54,000 SOPRANO KRISTINE OPOLAIS, WHO 242 00:09:54,000 --> 00:09:56,959 ALSO HAPPENS TO BE MRS. NELSONS. 243 00:09:57,999 --> 00:10:13,999 [ MUSIC ] 244 00:10:14,917 --> 00:10:15,999 AND THIS IS HOW THE CONDUCTOR 245 00:10:15,999 --> 00:10:17,500 ENDED THE EVENING, WITH 246 00:10:17,500 --> 00:10:18,875 RESPIGHI'S ROUSING AND SHOWY 247 00:10:18,875 --> 00:10:20,750 PINES OF ROME, FLOODING THE HALL 248 00:10:20,750 --> 00:10:22,875 WITH ITS BOMBASTIC ENERGY AND A 249 00:10:22,875 --> 00:10:24,834 SIGNAL THAT A MUCH DIFFERENT ERA 250 00:10:24,834 --> 00:10:26,917 HAS BEGUN. 251 00:10:27,999 --> 00:10:40,291 [ MUSIC ] 252 00:10:43,125 --> 00:10:44,667 THE FINAL NOTES PLAYED, THE 253 00:10:44,667 --> 00:10:46,875 HOOPLA SUBSIDED, NOW NELSONS 254 00:10:46,875 --> 00:10:48,250 MUST GET TO WORK, HE TOLD ME 255 00:10:48,250 --> 00:10:50,083 EARLIER THIS FALL, FROM HIS ROOM 256 00:10:50,083 --> 00:10:52,208 NEAR THE SYMPHONY HALL STAGE. 257 00:10:52,208 --> 00:10:53,999 NOW IT'S, YOU KNOW -- 258 00:10:53,999 --> 00:10:56,208 [ SIGHS ] 259 00:10:56,208 --> 00:10:57,999 I CAN BREATHE, BUT I ENJOY AND 260 00:10:57,999 --> 00:11:01,999 WE START, WE START WORKING. 261 00:11:01,999 --> 00:11:03,875 SPEND TIME WATCHING NELSONS 262 00:11:03,875 --> 00:11:05,999 FROM HIS GIANT SMILE IN CONCERT 263 00:11:05,999 --> 00:11:07,875 TO HIS IMPASSIONED RESPONSES IN 264 00:11:07,875 --> 00:11:10,250 REHEARSAL AND YOU QUICKLY 265 00:11:10,250 --> 00:11:11,875 UNDERSTAND THIS IS A MAN ROOTED 266 00:11:11,875 --> 00:11:13,709 IN EMOTION. 267 00:11:13,709 --> 00:11:15,208 EVEN AS A MUSICIAN OR 268 00:11:15,208 --> 00:11:16,875 CONDUCTING, YOU SIMPLY JUST 269 00:11:16,875 --> 00:11:18,041 CAN'T, YOU WANT TO CRY AND YOU 270 00:11:18,041 --> 00:11:19,792 SIMPLY HAVE THE TEARS, BUT WHEN 271 00:11:19,792 --> 00:11:23,291 YOU SEE, YOU KNOW, THIS 272 00:11:23,291 --> 00:11:24,417 BEAUTIFUL MUSIC, AND THEN YOU 273 00:11:24,417 --> 00:11:25,875 HEAR THIS BEAUTIFUL MUSIC. 274 00:11:25,875 --> 00:11:27,959 IT'S HOW HE CREATES, HOW HE 275 00:11:27,959 --> 00:11:30,208 RESPONDS AND HOW HE WORKS AS HE 276 00:11:30,208 --> 00:11:31,959 SETTLES IN WITH THE ORCHESTRA, 277 00:11:31,959 --> 00:11:33,375 WHICH HAS BEEN ABSENT A DIRECTOR 278 00:11:33,375 --> 00:11:34,667 FOR THE LAST THREE AND A HALF 279 00:11:34,667 --> 00:11:36,125 YEARS. 280 00:11:36,125 --> 00:11:37,250 IT'S A LONG PERIOD WHEN WE 281 00:11:37,250 --> 00:11:38,999 GET CLOSER AND CLOSER 282 00:11:38,999 --> 00:11:41,875 EMOTIONALLY AND HUMANLY, AND AS 283 00:11:41,875 --> 00:11:45,250 SOON AS YOU GET CLOSE, YOU CAN 284 00:11:45,250 --> 00:11:47,375 PERFORM ANYTHING AND YOU CAN 285 00:11:47,375 --> 00:11:48,875 IMPROVISE OR YOU -- BECAUSE YOU 286 00:11:48,875 --> 00:11:50,041 TRUST EACH OTHER. 287 00:11:50,041 --> 00:11:54,083 SO YOU ARE CONSTANT PULSE, 288 00:11:54,083 --> 00:11:56,375 ONE, TWO, THREE. 289 00:11:56,375 --> 00:11:57,999 FOR ME, IT'S NOT ENOUGH TO 290 00:11:57,999 --> 00:11:59,583 PLAY JUST A NOTE. 291 00:11:59,583 --> 00:12:01,000 WE HAVE MUCH BIGGER 292 00:12:01,000 --> 00:12:02,959 RESPONSIBILITY, THE ABILITY TO 293 00:12:02,959 --> 00:12:05,250 CREATE, TO CREATE THE STORY, TO 294 00:12:05,250 --> 00:12:06,625 CREATE THE DRAMA, TO CREATE 295 00:12:06,625 --> 00:12:09,750 SOMETHING SPECIAL IN THE 296 00:12:09,750 --> 00:12:11,417 CONCERT. 297 00:12:11,417 --> 00:12:13,417 WORLD RENOWNED AND ONLY 35, 298 00:12:13,417 --> 00:12:14,999 NELSONS MAY HAVE AN EVEN LARGER 299 00:12:14,999 --> 00:12:16,542 RESPONSIBILITY. 300 00:12:16,542 --> 00:12:18,166 OBSERVERS SAY HE COULD BE THE 301 00:12:18,166 --> 00:12:20,125 GREAT HOPE OF LURING YOUNGER 302 00:12:20,125 --> 00:12:21,999 AUDIENCES TO CLASSICAL MUSIC. 303 00:12:21,999 --> 00:12:23,875 DO YOU FEEL THAT THAT'S, THAT 304 00:12:23,875 --> 00:12:25,625 IS PART OF YOUR RESPONSIBILITY 305 00:12:25,625 --> 00:12:27,208 IN PART BECAUSE OF YOUR AGE? 306 00:12:27,208 --> 00:12:29,999 WELL, I NORMALLY DON'T THINK 307 00:12:29,999 --> 00:12:32,041 VERY MUCH ABOUT AGE, BUT OF 308 00:12:32,041 --> 00:12:33,917 COURSE I AM AWARE THAT I'M A 309 00:12:33,917 --> 00:12:35,834 YOUNG CONDUCTOR. 310 00:12:35,834 --> 00:12:39,999 AND OF COURSE I WANT TO GET MORE 311 00:12:39,999 --> 00:12:42,291 AND MORE EXPERIENCE AND -- BUT I 312 00:12:42,291 --> 00:12:46,458 DON'T WANT TO LOSE THE, IF I MAY 313 00:12:46,458 --> 00:12:49,875 SAY, THE CHILDNESS, IN A GOOD 314 00:12:49,875 --> 00:12:52,999 WAY, YOU KNOW, THIS CURIOSITY. 315 00:12:52,999 --> 00:12:54,875 NELSONS, AS HIS OPENING NIGHT 316 00:12:54,875 --> 00:12:56,750 DEMONSTRATED, ADORES THE 317 00:12:56,750 --> 00:12:58,333 CLASSICS, LEAVING CRITICS 318 00:12:58,333 --> 00:12:59,667 WONDERING WHAT SPACE HE'LL CARVE 319 00:12:59,667 --> 00:13:01,375 OUT FOR CONTEMPORARY WORKS. 320 00:13:01,375 --> 00:13:02,709 IT SOUNDS LIKE YOUR HEART IS 321 00:13:02,709 --> 00:13:04,083 MORE WITH TRADITION. 322 00:13:04,083 --> 00:13:05,792 WELL, NO, I MEAN MY HEART IS 323 00:13:05,792 --> 00:13:10,083 WITH -- MY HEART IS WITH, WITH 324 00:13:10,083 --> 00:13:12,166 COMBINING THESE THINGS AND NOT 325 00:13:12,166 --> 00:13:15,208 DIVIDING, OH, THAT IS 326 00:13:15,208 --> 00:13:16,917 OLD-FASHIONED MUSIC, THAT IS A 327 00:13:16,917 --> 00:13:18,000 CONTEMPORARY MUSIC. 328 00:13:18,000 --> 00:13:20,500 FOR ME I WOULD SAY, IT'S 329 00:13:20,500 --> 00:13:22,999 IMPORTANT THAT ANY COMPOSER, IN 330 00:13:22,999 --> 00:13:26,750 ANY CENTURY WANTS TO EXPRESS 331 00:13:26,750 --> 00:13:27,959 THE -- THERE IS A REASON WHY HE 332 00:13:27,959 --> 00:13:29,125 HAS COMPOSED A PIECE AND THE 333 00:13:29,125 --> 00:13:30,999 REASON COMES FROM THE HEART. 334 00:13:30,999 --> 00:13:32,834 MUCH IT SEEMS AS NELSONS 335 00:13:32,834 --> 00:13:34,041 HIMSELF. 336 00:13:34,999 --> 00:13:41,375 [ MUSIC ] 337 00:13:42,458 --> 00:13:44,333 > TO LEARN MORE, VISIT: 338 00:13:47,458 --> 00:13:49,792 > THE TOYTISSERIE EXHIBIT IN 339 00:13:49,792 --> 00:13:51,333 THE NATIONAL MUSEUM OF TOYS AND 340 00:13:51,333 --> 00:13:54,250 MINIATURES LOCATED IN KANSAS 341 00:13:54,250 --> 00:13:55,542 CITY, MISSOURI, FEATURES 342 00:13:55,542 --> 00:13:56,875 NUMEROUS NEW, OLD AND VINTAGE 343 00:13:56,875 --> 00:13:57,999 TOYS. 344 00:13:57,999 --> 00:13:59,417 THE MUSEUM FEATURES ONE OF THE 345 00:13:59,417 --> 00:14:00,999 NATION'S LARGEST ANTIQUE TOY 346 00:14:00,999 --> 00:14:02,750 COLLECTIONS ON PUBLIC DISPLAY. 347 00:14:02,750 --> 00:14:03,999 TAKE A LOOK. 348 00:14:05,208 --> 00:14:09,667 [ MUSIC ] 349 00:14:10,625 --> 00:14:11,959 WE COLLECTED ALL THE TOYS 350 00:14:11,959 --> 00:14:12,999 FROM THE COMMUNITY, WHICH WE 351 00:14:12,999 --> 00:14:14,458 THOUGHT WOULD BE A GREAT WAY TO 352 00:14:14,458 --> 00:14:15,999 HAVE THE COMMUNITY PROVIDE AN 353 00:14:15,999 --> 00:14:18,542 INTERACTIVE ELEMENT IN THE 354 00:14:18,542 --> 00:14:19,375 MUSEUM'S KIND OF RENOVATION 355 00:14:19,375 --> 00:14:20,750 PROCESS. 356 00:14:20,750 --> 00:14:21,999 WE BASICALLY ASKED FOR TOYS THAT 357 00:14:21,999 --> 00:14:22,999 WOULD FIT INTO THE PALM OF YOUR 358 00:14:22,999 --> 00:14:23,999 HAND. 359 00:14:23,999 --> 00:14:25,917 AT THE END, WE ENDED UP WITH TEN 360 00:14:25,917 --> 00:14:28,999 55-GALLON BARRELS FULL OF TOYS. 361 00:14:28,999 --> 00:14:31,709 SO, WE COLLECTED ALL THESE TOYS, 362 00:14:31,709 --> 00:14:33,291 CLEANED THEM, SORTED THEM, AND 363 00:14:33,291 --> 00:14:34,917 THEN SARAH WENT THROUGH AND 364 00:14:34,917 --> 00:14:38,083 STARTED TO CREATE SCENES. 365 00:14:38,083 --> 00:14:40,375 THIS TOYTISSERIE IS IN THE 366 00:14:40,375 --> 00:14:44,041 ENTRANCE OF THE MUSEUM. 367 00:14:44,041 --> 00:14:45,792 WE'LL GREET ALL THE VISITORS 368 00:14:45,792 --> 00:14:47,583 WHEN THEY FIRST ARRIVE. 369 00:14:47,583 --> 00:14:48,999 AND HOPEFULLY WILL ATTRACT THEIR 370 00:14:48,999 --> 00:14:50,875 ATTENTION TO SCAMPER UPSTAIRS 371 00:14:50,875 --> 00:14:52,625 AND SEE THE REST OF THE 372 00:14:52,625 --> 00:14:53,875 EXHIBITS, THE TOYS. 373 00:14:54,875 --> 00:14:56,417 [ MUSIC ] 374 00:14:57,542 --> 00:14:59,083 IF YOU LOOK ON THE 375 00:14:59,083 --> 00:15:00,250 TOYTISSERIE, YOU'LL SEE TOYS 376 00:15:00,250 --> 00:15:01,458 FROM ALL OVER. 377 00:15:01,458 --> 00:15:02,792 THEY'RE DONATED FROM PEOPLE 378 00:15:02,792 --> 00:15:04,999 AROUND KANSAS CITY, AND WE HAVE 379 00:15:04,999 --> 00:15:07,458 KIND OF TRIED TO GET A NICE 380 00:15:07,458 --> 00:15:08,834 ACCUMULATION OF TOYS TO 381 00:15:08,834 --> 00:15:10,583 REPRESENT DIFFERENT GENRES OF 382 00:15:10,583 --> 00:15:12,083 TOYS AND DIFFERENT ERAS. 383 00:15:13,083 --> 00:15:16,458 [ MUSIC ] 384 00:15:17,834 --> 00:15:19,250 THE CONCEPT IS BASED ON A 385 00:15:19,250 --> 00:15:21,625 GIANT BARBER'S POLE, YOU SEE 386 00:15:21,625 --> 00:15:23,625 OUTSIDE OLD-FASHIONED BARBER 387 00:15:23,625 --> 00:15:24,625 SHOPS THAT TURN AROUND, AROUND 388 00:15:24,625 --> 00:15:25,834 AND AROUND. 389 00:15:25,834 --> 00:15:27,834 AND THAT IS THE CONCEPT BEHIND 390 00:15:27,834 --> 00:15:29,999 THIS HUGE, JUST OVER A HUNDRED 391 00:15:29,999 --> 00:15:34,709 FOOT METAL HELIX. 392 00:15:34,709 --> 00:15:36,041 I THINK WHAT'S INTERESTING TO 393 00:15:36,041 --> 00:15:37,999 ME ABOUT THE TOYTISSERIE IS IT'S 394 00:15:37,999 --> 00:15:39,125 A LITTLE BIT OF A MICROCOSM OF 395 00:15:39,125 --> 00:15:40,125 THE EXPERIENCE HERE IN THE 396 00:15:40,125 --> 00:15:41,375 MUSEUM. 397 00:15:41,375 --> 00:15:42,542 PEOPLE LOVE OUR COLLECTION 398 00:15:42,542 --> 00:15:43,583 BECAUSE IT'S SO APPROACHABLE. 399 00:15:43,583 --> 00:15:44,917 YOU HAVE TINY THINGS, WHICH ARE 400 00:15:44,917 --> 00:15:45,959 THE MINIATURES, AND THEN YOU 401 00:15:45,959 --> 00:15:46,834 HAVE TOYS, WHICH ARE THINGS YOU 402 00:15:46,834 --> 00:15:48,999 PLAYED WITH AS A KID. 403 00:15:48,999 --> 00:15:50,083 SO, ANYBODY CAN COME IN AND FIND 404 00:15:50,083 --> 00:15:50,999 SOMETHING THAT THEY CONNECT 405 00:15:50,999 --> 00:15:52,625 WITH. 406 00:15:52,625 --> 00:15:53,999 I LIKE THE WAY THAT CHILDREN, 407 00:15:53,999 --> 00:15:56,500 THEY CREATE THEIR OWN WORLDS. 408 00:15:56,500 --> 00:15:58,583 I REMEMBER AS A CHILD IN MY 409 00:15:58,583 --> 00:16:00,583 BEDROOM, I HAD ROWS OF SHELVES 410 00:16:00,583 --> 00:16:02,500 AND I USED TO LIKE ARRANGING 411 00:16:02,500 --> 00:16:04,458 LITTLE GROUPINGS OF OBJECTS. 412 00:16:04,458 --> 00:16:06,458 AND I LOVED ARRANGING THEM AND 413 00:16:06,458 --> 00:16:08,250 YEAH, CREATING SCENES, SO I WAS 414 00:16:08,250 --> 00:16:10,291 IN PREPARATION FOR THIS JOB 415 00:16:10,291 --> 00:16:14,166 MANY, MANY YEARS AGO. 416 00:16:14,166 --> 00:16:16,083 THE PROCESS IS, YOU CHOOSE 417 00:16:16,083 --> 00:16:18,709 THE TOY AND THEN DRILL IN AND 418 00:16:18,709 --> 00:16:20,917 ATTACH A MAGNET. 419 00:16:20,917 --> 00:16:23,834 SO, VERY LABORIOUS. 420 00:16:23,834 --> 00:16:26,750 ONE HAS TO PAY ATTENTION 100% 421 00:16:26,750 --> 00:16:29,250 WHEN WORKING WITH EACH OBJECT. 422 00:16:29,250 --> 00:16:30,959 THERE ARE SEVERAL DIFFERENT 423 00:16:30,959 --> 00:16:31,999 MATERIALS WE'RE DEALING WITH 424 00:16:31,999 --> 00:16:33,750 HERE, THERE'S WOOD, THERE'S 425 00:16:33,750 --> 00:16:34,917 PLASTIC, THERE'S CERAMICS, 426 00:16:34,917 --> 00:16:36,291 THERE'S PAPER AND CARD. 427 00:16:36,291 --> 00:16:39,500 ALSO, THERE'S DIFFERENT AGES OF 428 00:16:39,500 --> 00:16:40,750 THE TOYS THAT WE'RE ATTACHING. 429 00:16:40,750 --> 00:16:41,999 SOME ARE OLD VINTAGE AND SOME 430 00:16:41,999 --> 00:16:43,083 ARE NEW. 431 00:16:43,083 --> 00:16:45,999 I THINK THIS IS THE MOST 432 00:16:45,999 --> 00:16:47,166 TIME-CONSUMING THING I'VE EVER 433 00:16:47,166 --> 00:16:48,750 WORKED ON. 434 00:16:49,750 --> 00:16:53,625 [ MUSIC ] 435 00:16:54,834 --> 00:16:55,999 TOY MANUFACTURERS WEREN'T 436 00:16:55,999 --> 00:16:57,041 REALLY DESIGNING TOYS FOR US TO 437 00:16:57,041 --> 00:16:58,166 PUT THEM UP ON THIS TWISTING 438 00:16:58,166 --> 00:16:59,625 SCULPTURE. 439 00:16:59,625 --> 00:17:01,999 THE INCONSISTENCIES IN MATERIALS 440 00:17:01,999 --> 00:17:03,333 AND KNOWING WHAT TOOL TO USE IS 441 00:17:03,333 --> 00:17:05,417 PROBABLY THE BIGGEST OBSTACLE. 442 00:17:05,417 --> 00:17:06,709 BUT IT'S DEFINITELY SOMETHING 443 00:17:06,709 --> 00:17:08,834 THAT WE HAVE OVERCOME AND OVER 444 00:17:08,834 --> 00:17:10,999 TIME THROUGH THE PROJECT, WE 445 00:17:10,999 --> 00:17:13,542 HAVE KIND OF DEVELOPED A RHYTHM 446 00:17:13,542 --> 00:17:15,999 WHERE WE COULD SAY, OH, THIS 447 00:17:15,999 --> 00:17:18,999 THING IS A SQUISHY TOY ANIMAL, 448 00:17:18,999 --> 00:17:20,083 WE SHOULD PROBABLY SHOULDN'T USE 449 00:17:20,083 --> 00:17:21,834 THE DRILL ON THIS. 450 00:17:22,542 --> 00:17:29,291 [ MUSIC ] 451 00:17:30,250 --> 00:17:31,500 AT FIRST I WAS DAUNTED BY THE 452 00:17:31,500 --> 00:17:32,542 SCALE OF IT. 453 00:17:32,542 --> 00:17:33,333 I MEAN, THIS IS LIKE A GIANT 454 00:17:33,333 --> 00:17:34,500 MURAL. 455 00:17:34,500 --> 00:17:35,417 I HAVE NEVER WORKED ON SOMETHING 456 00:17:35,417 --> 00:17:36,542 OF THIS SCALE. 457 00:17:36,542 --> 00:17:39,125 YES, I DO REMEMBER THE FIRST 458 00:17:39,125 --> 00:17:41,375 MORNING I WALKED IN AND WAS JUST 459 00:17:41,375 --> 00:17:42,999 SURROUNDED BY ALL THESE 460 00:17:42,999 --> 00:17:45,333 CARDBOARD BOXES AND ME. 461 00:17:45,333 --> 00:17:48,125 I JUST TOOK A DEEP BREATH, 462 00:17:48,125 --> 00:17:50,125 WENT, OKAY, LET'S JUST START 463 00:17:50,125 --> 00:17:51,999 WITH THIS BOX. 464 00:17:52,999 --> 00:17:58,333 [ MUSIC ] 465 00:17:59,417 --> 00:18:00,625 I THINK PROBABLY IN JUST 466 00:18:00,625 --> 00:18:01,999 ABOUT EVERY SCENE, THERE'S SOME 467 00:18:01,999 --> 00:18:04,000 LITTLE TINY DETAILS THAT I LOVE 468 00:18:04,000 --> 00:18:05,500 AND I THINK MAYBE THERE'S QUITE 469 00:18:05,500 --> 00:18:07,125 A FEW LITTLE TINY DETAILS THAT 470 00:18:07,125 --> 00:18:08,792 PEOPLE WON'T NOTICE, OR MAYBE 471 00:18:08,792 --> 00:18:10,375 WILL NOTICE IN TIME. 472 00:18:10,375 --> 00:18:12,625 I MEAN, LIKE IN THE CASTLE 473 00:18:12,625 --> 00:18:14,166 SCENE, JUST BEHIND THE 474 00:18:14,166 --> 00:18:15,999 STEGOSAURUS, THERE'S A LITTLE 475 00:18:15,999 --> 00:18:16,999 MOUSE HOLE BECAUSE EVERY CASTLE 476 00:18:16,999 --> 00:18:19,125 HAS A LITTLE MOUSE DOOR. 477 00:18:19,125 --> 00:18:20,542 YOU KNOW, NOT COMPLETE WITHOUT A 478 00:18:20,542 --> 00:18:21,625 MOUSE DOOR AND A LITTLE MOUSE 479 00:18:21,625 --> 00:18:22,917 POKING HIS NOSE OUT, WHICH 480 00:18:22,917 --> 00:18:24,083 WITHIN THE THOUSANDS OF TOYS, 481 00:18:24,083 --> 00:18:26,417 THAT'S KIND OF A CRAZY DETAIL. 482 00:18:26,417 --> 00:18:30,999 AND THAT'S I GUESS ME. 483 00:18:30,999 --> 00:18:32,291 A LOT OF THE TOYS WE'RE 484 00:18:32,291 --> 00:18:34,125 TRYING TO HAVE DIRECTIONAL 485 00:18:34,125 --> 00:18:35,999 MOVEMENT, SO ONE TOY WILL BE 486 00:18:35,999 --> 00:18:37,999 MOVING A CERTAIN DIRECTION TO 487 00:18:37,999 --> 00:18:39,208 KIND OF HELP WITH THE FLOW OF 488 00:18:39,208 --> 00:18:40,709 THE SCULPTURE. 489 00:18:40,709 --> 00:18:41,999 THERE'S AN INTERACTION OF TOYS 490 00:18:41,999 --> 00:18:43,583 WANTING TO CHECK OUT OTHER 491 00:18:43,583 --> 00:18:44,999 SCENES, AND SO THAT'S KIND OF A 492 00:18:44,999 --> 00:18:46,125 LOT OF FUN. 493 00:18:46,999 --> 00:18:49,208 [ MUSIC ] 494 00:18:50,166 --> 00:18:51,417 IT COULD ALWAYS HAVE MORE, 495 00:18:51,417 --> 00:18:52,959 BUT ALSO IT COULD MAYBE HAVE 496 00:18:52,959 --> 00:18:54,375 LESS ON THERE AS WELL. 497 00:18:54,375 --> 00:18:56,041 SO, IT'S A FINE BALANCE OF 498 00:18:56,041 --> 00:18:58,166 KNOWING WHEN TO STOP. 499 00:18:58,166 --> 00:19:00,750 THAT'S THE HARD THING IS, YEAH, 500 00:19:00,750 --> 00:19:03,417 KNOWING WHEN TO JUST STEP BACK. 501 00:19:03,417 --> 00:19:04,917 I AM GOING TO HAVE TO JUST MAKE 502 00:19:04,917 --> 00:19:06,667 MYSELF GO STOP, OKAY, THAT'S IT. 503 00:19:06,667 --> 00:19:08,333 YOU JUST PULL UP THE DRAWBRIDGE 504 00:19:08,333 --> 00:19:10,834 AND STEP AWAY FROM THE 505 00:19:10,834 --> 00:19:11,999 TOYTISSERIE, SIR. 506 00:19:11,999 --> 00:19:13,667 YOU CAN LET GO. 507 00:19:15,166 --> 00:19:20,583 [ MUSIC ] 508 00:19:21,959 --> 00:19:23,875 THIS HAS BEEN A REALLY COOL 509 00:19:23,875 --> 00:19:25,333 OPPORTUNITY TO KIND OF PULL BACK 510 00:19:25,333 --> 00:19:27,333 THESE MEMORIES, THESE TOYS. 511 00:19:27,333 --> 00:19:29,583 WE'RE DRILLING HOLES IN THESE 512 00:19:29,583 --> 00:19:32,999 MEMORIES, BUT WE'RE ALSO BEING 513 00:19:32,999 --> 00:19:34,959 ABLE TO PLAY AGAIN AS AN ADULT, 514 00:19:34,959 --> 00:19:36,542 WHICH IS A REALLY COOL THING. 515 00:19:37,458 --> 00:19:41,333 [ MUSIC ] 516 00:19:42,333 --> 00:19:43,417 THE TOYTISSERIE JUST KIND OF 517 00:19:43,417 --> 00:19:44,500 ENCAPSULATES WHAT WE HOPE IS THE 518 00:19:44,500 --> 00:19:45,375 EXPERIENCE. 519 00:19:45,375 --> 00:19:46,417 YOU SEE STUFF ON IT, YOU START 520 00:19:46,417 --> 00:19:47,999 TO REMEMBER. 521 00:19:47,999 --> 00:19:50,000 IT DRAWS YOU UPSTAIRS AND, YOU 522 00:19:50,000 --> 00:19:52,583 KNOW, YOU GET TO START TO HAVE A 523 00:19:52,583 --> 00:19:54,959 REAL -- I GUESS YOU GET TO 524 00:19:54,959 --> 00:19:56,375 REENGAGE YOUR CHILD-LIKE SENSE 525 00:19:56,375 --> 00:19:57,999 OF WONDER, WHICH IS SOMETHING 526 00:19:57,999 --> 00:20:00,834 THAT WE'RE ALL ABOUT HERE. 527 00:20:00,834 --> 00:20:02,667 IT'S BEEN REALLY FUN. 528 00:20:02,667 --> 00:20:04,250 AND TO LET ME REVISIT MY 529 00:20:04,250 --> 00:20:06,750 CHILDHOOD, SO, I HOPE -- I HOPE 530 00:20:06,750 --> 00:20:09,375 PEOPLE ENJOY IT AS MUCH AS I 531 00:20:09,375 --> 00:20:10,959 HAVE. 532 00:20:11,834 --> 00:20:18,041 [ MUSIC ] 533 00:20:21,999 --> 00:20:23,625 > TO SEE MORE, VISIT: 534 00:20:27,792 --> 00:20:29,917 > ETCHED PHOTOGRAPHY, THAT'S 535 00:20:29,917 --> 00:20:31,875 HOW DENVER, COLORADO'S LISA 536 00:20:31,875 --> 00:20:33,166 GARNESS MALLORY CATEGORIZES HER 537 00:20:33,166 --> 00:20:34,417 WORK. 538 00:20:34,417 --> 00:20:35,750 WHILE A TRADITIONAL ETCHING 539 00:20:35,750 --> 00:20:37,959 WOULD REQUIRE A METAL PLATE, 540 00:20:37,959 --> 00:20:39,291 GARNESS MALLORY USES A NEEDLE TO 541 00:20:39,291 --> 00:20:40,500 DIG INTO THE SURFACE OF HER 542 00:20:40,500 --> 00:20:41,917 PHOTOGRAPHS. 543 00:20:41,917 --> 00:20:43,417 WE CAUGHT UP WITH HER AT ONE OF 544 00:20:43,417 --> 00:20:44,999 HER FAVORITE PLACES TO BEGIN 545 00:20:44,999 --> 00:20:46,750 THAT PROCESS, DENVER BOTANIC 546 00:20:46,750 --> 00:20:48,250 GARDENS. 547 00:20:49,999 --> 00:20:50,999 OH, MY GOSH, LOOK. 548 00:20:50,999 --> 00:20:52,291 WOW! 549 00:20:52,291 --> 00:20:53,291 THAT'S EXCITING. 550 00:20:53,291 --> 00:20:55,417 BECAUSE I LIKE THESE. 551 00:20:55,417 --> 00:20:57,834 WHEN I STARTED THIS PROCESS, 552 00:20:57,834 --> 00:20:59,000 I WOULD CALL IT AN ANSWER TO 553 00:20:59,000 --> 00:21:00,667 PRAYERS. 554 00:21:00,667 --> 00:21:02,875 ONE NIGHT IT JUST CAME TO ME, I 555 00:21:02,875 --> 00:21:04,999 WONDER WHAT WOULD HAPPEN IF I 556 00:21:04,999 --> 00:21:07,166 WOULD USE NEEDLES TO START 557 00:21:07,166 --> 00:21:09,125 ETCHING OFF THE EMOTION OF MY 558 00:21:09,125 --> 00:21:11,959 DIGITAL PHOTOGRAPHY? 559 00:21:11,959 --> 00:21:14,125 I DISCOVERED THAT I COULD 560 00:21:14,125 --> 00:21:16,999 ENHANCE LINES AND TEXTURES AS 561 00:21:16,999 --> 00:21:19,999 WELL AS CREATE DEPTH AND LIGHT. 562 00:21:19,999 --> 00:21:21,542 WHEN YOU FIRST LOOK AT IT, THE 563 00:21:21,542 --> 00:21:23,999 NAKED EYE CAN'T SEE ALL THE 564 00:21:23,999 --> 00:21:26,166 DETAILS UNTIL I USE A MACRO 565 00:21:26,166 --> 00:21:27,750 LENS. 566 00:21:27,750 --> 00:21:29,834 AND THEN THE DETAIL IS WHAT I 567 00:21:29,834 --> 00:21:32,000 CONCENTRATE ON ETCHING. 568 00:21:32,000 --> 00:21:34,500 I CALL MY ART FORM ETCHED 569 00:21:34,500 --> 00:21:37,041 PHOTOGRAPHY, BUT IT'S BASICALLY 570 00:21:37,041 --> 00:21:38,750 ALTERING AND ENHANCING MY 571 00:21:38,750 --> 00:21:42,000 PHOTOGRAPH. 572 00:21:42,000 --> 00:21:44,500 IT ALTERS THE IMAGE BY THE WHITE 573 00:21:44,500 --> 00:21:45,875 MARKS THAT I'M MAKING. 574 00:21:45,875 --> 00:21:48,250 EVERY WHITE MARK ON MY 575 00:21:48,250 --> 00:21:50,999 PHOTOGRAPH IS MY CREATIVE MARK. 576 00:21:51,999 --> 00:21:54,750 [ MUSIC ] 577 00:21:55,999 --> 00:21:56,917 MY WORK HAS BEEN CALLED 578 00:21:56,917 --> 00:21:58,125 FEMININE YET EDGY. 579 00:21:58,125 --> 00:21:59,291 MY MAIN LOVE IS NATURE. 580 00:21:59,291 --> 00:22:00,709 I'LL NEVER DIVERT FROM THAT, 581 00:22:00,709 --> 00:22:02,333 ESPECIALLY FLORALS AND 582 00:22:02,333 --> 00:22:05,999 BUTTERFLIES AND DEER. 583 00:22:05,999 --> 00:22:07,458 I SEEM TO HAVE A WAY WITH 584 00:22:07,458 --> 00:22:09,083 ANIMALS. 585 00:22:09,083 --> 00:22:11,500 I ACTUALLY WOULD GET EXTREMELY 586 00:22:11,500 --> 00:22:13,542 CLOSE TO MY SUBJECTS, YOU KNOW, 587 00:22:13,542 --> 00:22:16,083 DEER, ELK, AND IT'S INTERESTING 588 00:22:16,083 --> 00:22:18,250 HOW THEY SEEM TO UNDERSTAND THAT 589 00:22:18,250 --> 00:22:20,875 I WASN'T GOING TO HURT THEM. 590 00:22:20,875 --> 00:22:23,999 I FEEL A CONNECTION SPIRITUALLY. 591 00:22:23,999 --> 00:22:25,083 I DON'T KNOW HOW ELSE TO EXPLAIN 592 00:22:25,083 --> 00:22:26,458 THAT. 593 00:22:26,458 --> 00:22:27,542 AND I JUST THINK IT'S A 594 00:22:27,542 --> 00:22:29,500 GOD-GIVEN GIFT. 595 00:22:30,375 --> 00:22:32,999 [ MUSIC ] 596 00:22:33,959 --> 00:22:34,999 THE REASON THE ORCHIDS ARE MY 597 00:22:34,999 --> 00:22:36,083 FAVORITE FLOWER IS BECAUSE 598 00:22:36,083 --> 00:22:37,999 SOMETIMES THEY TAKE ON THE LOOK 599 00:22:37,999 --> 00:22:39,625 OF -- THIS ONE LOOKS LIKE A 600 00:22:39,625 --> 00:22:41,500 LITTLE CHILD SITTING ON THE EDGE 601 00:22:41,500 --> 00:22:44,083 OF THE LEAF WITH THEIR LEGS 602 00:22:44,083 --> 00:22:46,625 HANGING OVER. 603 00:22:46,625 --> 00:22:48,999 AND ORCHIDS TO ME ARE LIKE THE 604 00:22:48,999 --> 00:22:50,999 EPITOME OF FEMINITY, THE WAY 605 00:22:50,999 --> 00:22:53,500 THAT THEY'RE SHAPED, THEIR 606 00:22:53,500 --> 00:22:55,333 LACINESS, THE LINES AND THE 607 00:22:55,333 --> 00:22:58,125 TEXTURES, AND I LOVE MACRO 608 00:22:58,125 --> 00:23:01,125 BECAUSE I CAN PUT THE CAMERA IN 609 00:23:01,125 --> 00:23:02,999 THE MIDDLE OF THE FLOWER AND GET 610 00:23:02,999 --> 00:23:06,208 EVERY LITTLE DETAIL. 611 00:23:06,208 --> 00:23:07,500 SOME PEOPLE THINK YOU HAVE TO 612 00:23:07,500 --> 00:23:08,999 HAVE A VERY EXPENSIVE CAMERA IN 613 00:23:08,999 --> 00:23:10,542 ORDER TO BE ABLE TO CALL 614 00:23:10,542 --> 00:23:12,250 YOURSELF A PROFESSIONAL. 615 00:23:12,250 --> 00:23:13,999 AND I DON'T AGREE WITH THAT. 616 00:23:13,999 --> 00:23:16,667 THIS CAMERA HAS DONE WELL FOR ME 617 00:23:16,667 --> 00:23:19,417 AS FAR AS MY MACRO SHOTS. 618 00:23:19,417 --> 00:23:22,125 SINCE MY ETCHING INVOLVES TAKING 619 00:23:22,125 --> 00:23:24,834 AWAY COLOR IN ORDER TO ENHANCE 620 00:23:24,834 --> 00:23:26,792 THE FLOWER, THEN I TRY TO GET A 621 00:23:26,792 --> 00:23:29,792 DARKER SHOT. 622 00:23:29,792 --> 00:23:31,959 THE DARKER THE BETTER. 623 00:23:34,166 --> 00:23:35,458 I SURVIVED TWO 624 00:23:35,458 --> 00:23:36,667 LIFE-THREATENING ILLNESSES IN 625 00:23:36,667 --> 00:23:38,999 2010. 626 00:23:38,999 --> 00:23:41,792 AND ACCORDING TO MY PHYSICIAN, 627 00:23:41,792 --> 00:23:44,375 IT'S A MIRACLE THAT I'M ALIVE. 628 00:23:44,375 --> 00:23:46,999 HALF THE REASON I FOUGHT TO LIVE 629 00:23:46,999 --> 00:23:48,000 WAS TO CONTINUE MY ARTIST'S 630 00:23:48,000 --> 00:23:50,291 JOURNEY. 631 00:23:50,291 --> 00:23:51,792 I DISCOVERED BECAUSE I HAD A 632 00:23:51,792 --> 00:23:53,542 SLIGHT BRAIN INJURY, THAT I HAD 633 00:23:53,542 --> 00:23:54,750 FORGOTTEN HOW TO DO MY ETCHING 634 00:23:54,750 --> 00:23:55,999 TECHNIQUE. 635 00:23:55,999 --> 00:23:57,999 SO I USED THE WORK THAT I HAD 636 00:23:57,999 --> 00:23:59,375 DONE PRIOR TO MY ILLNESS TO 637 00:23:59,375 --> 00:24:02,250 RELEARN. 638 00:24:02,250 --> 00:24:03,875 DURING THE YEAR THAT I WAS 639 00:24:03,875 --> 00:24:06,208 RECOVERING, MY WORK WAS JURIED 640 00:24:06,208 --> 00:24:07,417 INTO MY FIRST TWO INTERNATIONAL 641 00:24:07,417 --> 00:24:10,000 SHOWS. 642 00:24:10,000 --> 00:24:12,875 SO, AS I WAS RELEARNING MY 643 00:24:12,875 --> 00:24:14,208 PROCESS, I WAS ALSO EVOLVING THE 644 00:24:14,208 --> 00:24:15,999 PROCESS. 645 00:24:17,834 --> 00:24:20,083 I LIKE TO TAKE CERTAIN AREAS 646 00:24:20,083 --> 00:24:21,999 THAT ARE ALREADY STANDING OUT 647 00:24:21,999 --> 00:24:24,250 FROM THE PHOTOGRAPH AND CREATE 648 00:24:24,250 --> 00:24:27,291 DEPTH WITH THAT. 649 00:24:27,291 --> 00:24:29,500 SO I HAVE TO BE VERY COGNIZANT 650 00:24:29,500 --> 00:24:31,333 OF THAT BECAUSE IF I ETCHED 651 00:24:31,333 --> 00:24:32,542 EVERYTHING THE SAME, IT WOULD 652 00:24:32,542 --> 00:24:35,083 COME OUT FLAT. 653 00:24:35,083 --> 00:24:38,000 I KNOW IT SOUNDS MAYBE A LITTLE 654 00:24:38,000 --> 00:24:40,333 STRANGE TO SAY THAT I LOOK AT MY 655 00:24:40,333 --> 00:24:44,125 WORK LIKE A CHILD IN A WAY. 656 00:24:44,125 --> 00:24:45,999 BUT AS I'M WORKING ON EACH 657 00:24:45,999 --> 00:24:47,917 PIECE, I GET VERY EMOTIONALLY 658 00:24:47,917 --> 00:24:51,000 ATTACHED TO EACH ONE BECAUSE I 659 00:24:51,000 --> 00:24:54,750 KNOW THAT I'M DEVELOPING IT AND 660 00:24:54,750 --> 00:24:55,999 EACH MARK THAT I MAKE MIGHT BE 661 00:24:55,999 --> 00:24:57,417 SOME NEW MARK. 662 00:24:57,417 --> 00:24:59,083 BUT, YOU KNOW, MY GOAL IS TO 663 00:24:59,083 --> 00:25:00,542 HAVE EACH PIECE GO TO A FOREVER 664 00:25:00,542 --> 00:25:02,166 HOME. 665 00:25:04,959 --> 00:25:07,959 OH, THIS IS PERFECT. 666 00:25:07,959 --> 00:25:09,667 ANOTHER EFFECT THAT I LOVE, IF I 667 00:25:09,667 --> 00:25:12,291 CAN GET IT ON FLOWERS, ANY 668 00:25:12,291 --> 00:25:15,583 BREED, IS WATER, BECAUSE I'LL 669 00:25:15,583 --> 00:25:19,999 ETCH AROUND EACH WATER DROP. 670 00:25:19,999 --> 00:25:23,750 ALTHOUGH I CLASSIFY MYSELF AS A 671 00:25:23,750 --> 00:25:26,083 FINE ART PHOTOGRAPHY ARTIST, I'M 672 00:25:26,083 --> 00:25:29,875 CONSIDERED A PIONEER IN BOTH THE 673 00:25:29,875 --> 00:25:31,291 FINE ART AND FINE ART 674 00:25:31,291 --> 00:25:34,208 PHOTOGRAPHY MEDIUMS. 675 00:25:34,208 --> 00:25:36,667 AND WHEN I SAW MY LARGE PIECES 676 00:25:36,667 --> 00:25:39,500 HANGING ON THE WALL OF CARIBOU 677 00:25:39,500 --> 00:25:40,917 ART GALLERY, IT WAS BREATHTAKING 678 00:25:40,917 --> 00:25:42,959 FOR ME. 679 00:25:42,959 --> 00:25:44,875 THAT'S THE FIRST TIME THAT I HAD 680 00:25:44,875 --> 00:25:46,500 EVER HAD MY WORK ENLARGED THAT 681 00:25:46,500 --> 00:25:48,083 SIZE. 682 00:25:48,083 --> 00:25:49,333 IT WAS DEFINITELY A MILESTONE IN 683 00:25:49,333 --> 00:25:51,625 MY CAREER. 684 00:25:51,625 --> 00:25:53,458 WHEN YOU HAVE THAT WITHIN 685 00:25:53,458 --> 00:25:55,291 YOURSELF, IT'S A DRIVE. 686 00:25:55,291 --> 00:25:57,875 IT'S A PASSION. 687 00:25:57,875 --> 00:25:58,959 AND YOU DON'T WANT TO GIVE THAT 688 00:25:58,959 --> 00:26:00,333 UP. 689 00:26:00,333 --> 00:26:01,999 EVERY ARTIST, THAT'S PART OF 690 00:26:01,999 --> 00:26:05,166 THEM AS A PERSON. 691 00:26:05,166 --> 00:26:07,542 ART CAN BRING YOU THROUGH THE 692 00:26:07,542 --> 00:26:10,542 ILLNESS BECAUSE IT GIVES YOU 693 00:26:10,542 --> 00:26:12,208 MOMENTS YOU DON'T EVEN THINK 694 00:26:12,208 --> 00:26:14,041 ABOUT YOUR SUFFERING. 695 00:26:14,041 --> 00:26:16,999 I MEAN IT GIVES YOU A WANT TO 696 00:26:16,999 --> 00:26:19,792 LIVE SO THAT YOU CAN CONTINUE 697 00:26:19,792 --> 00:26:20,999 WHAT YOU DO FOR FUTURE 698 00:26:20,999 --> 00:26:23,917 GENERATIONS TO ENJOY. 699 00:26:23,917 --> 00:26:25,417 THAT'S HOW I AM, LIKE, OH, YES. 700 00:26:25,417 --> 00:26:27,333 [ LAUGHTER ] 701 00:26:27,333 --> 00:26:28,291 OKAY, I GOT REALLY EXCITED ABOUT 702 00:26:28,291 --> 00:26:29,625 THAT. 703 00:26:30,709 --> 00:26:32,166 > TO FIND OUT MORE, VISIT: 704 00:26:36,166 --> 00:26:37,417 > AND THAT WRAPS IT UP 705 00:26:37,417 --> 00:26:38,500 FOR THIS EDITION OF 706 00:26:38,500 --> 00:26:40,625 "WEDU ARTS PLUS." 707 00:26:40,625 --> 00:26:43,999 FOR MORE ARTS AND CULTURE, VISIT 708 00:26:43,999 --> 00:26:45,792 WEDU.ORG/ARTSPLUS, WHERE YOU'LL 709 00:26:45,792 --> 00:26:47,166 FIND FEATURE VIDEOS, LOCAL 710 00:26:47,166 --> 00:26:48,625 EVENTS AND ARTS AND CULTURE 711 00:26:48,625 --> 00:26:49,875 PARTNERS. 712 00:26:49,875 --> 00:26:50,959 UNTIL NEXT TIME, 713 00:26:50,959 --> 00:26:51,834 I'M DALIA COLON. 714 00:26:51,834 --> 00:26:53,291 THANKS FOR WATCHING. 715 00:26:54,500 --> 00:27:14,999 [ MUSIC ] 716 00:27:16,125 --> 00:27:17,125 MAJOR FUNDING FOR 717 00:27:17,125 --> 00:27:18,417 "WEDU ARTS PLUS" 718 00:27:18,417 --> 00:27:20,041 IS PROVIDED THROUGH THE 719 00:27:20,041 --> 00:27:21,208 GREATER CINCINNATI FOUNDATION BY 720 00:27:21,208 --> 00:27:22,542 AN ARTS-LOVING DONOR WHO 721 00:27:22,542 --> 00:27:23,999 ENCOURAGES OTHERS TO SUPPORT 722 00:27:23,999 --> 00:27:26,458 YOUR PBS STATION, WEDU. 723 00:27:26,458 --> 00:27:29,999 FUNDING IS ALSO PROVIDED BY THE 724 00:27:29,999 --> 00:27:30,625 S. L. GIMBEL FOUNDATION.