WEBVTT 00:03.999 --> 00:05.166 THIS SPECIAL PRESENTATION WAS 00:05.166 --> 00:06.999 PRODUCED IN HIGH DEFINITION BY 00:06.999 --> 00:08.583 WEDU -- TAMPA, ST. PETERSBURG, 00:08.583 --> 00:10.917 SARASOTA. 00:10.917 --> 00:12.625 > MAJOR FUNDING FOR 00:12.625 --> 00:14.208 "WEDU ARTS PLUS" IS PROVIDED 00:14.208 --> 00:16.166 THROUGH THE GREATER CINCINNATI 00:16.166 --> 00:18.125 FOUNDATION BY AN ARTS-LOVING 00:18.125 --> 00:19.999 DONOR WHO ENCOURAGES OTHERS TO 00:19.999 --> 00:22.458 SUPPORT YOUR PBS STATION, WEDU. 00:22.458 --> 00:23.999 FUNDING IS ALSO PROVIDED BY THE 00:23.999 --> 00:25.999 S. L. GIMBEL FOUNDATION. 00:27.625 --> 00:29.041 > IN THIS EDITION OF 00:29.041 --> 00:31.041 "WEDU ARTS PLUS," PAINTER 00:31.041 --> 00:33.041 SAMUEL BAK REFLECTS ON SEVEN 00:33.041 --> 00:34.999 DECADES AS AN ARTIST AND 00:34.999 --> 00:37.500 HOLOCAUST SURVIVOR. 00:37.500 --> 00:40.000 I SURVIVED BECAUSE ACTUALLY 00:40.000 --> 00:42.375 TEN MIRACLES HAPPENED TO ME. 00:42.375 --> 00:44.041 IF HAD ONLY NINE MIRACLES 00:44.041 --> 00:45.583 HAPPENED TO ME, I WOULDN'T HAVE 00:45.583 --> 00:47.333 BEEN SITTING HERE TODAY. 00:47.333 --> 00:49.917 A SYMPHONY'S NEW DIRECTION. 00:49.917 --> 00:51.417 FOR ME IT'S NOT ENOUGH TO 00:51.417 --> 00:53.000 PLAY JUST NOTES. 00:53.000 --> 00:54.583 WE HAVE MUCH BIGGER 00:54.583 --> 00:56.125 RESPONSIBILITIES, THE NEED TO 00:56.125 --> 00:57.583 CREATE DRAMA, TO CREATE 00:57.583 --> 00:58.709 SOMETHING SPECIAL IN THE 00:58.709 --> 00:59.750 CONCERT. 00:59.750 --> 01:00.999 GO INSIDE AN EXHIBIT 01:00.999 --> 01:02.208 FEATURING DIFFERENT GENRES OF 01:02.208 --> 01:04.041 TOY ART. 01:04.041 --> 01:05.417 PEOPLE LOVE OUR COLLECTION 01:05.417 --> 01:06.792 BECAUSE IT'S SO APPROACHABLE. 01:06.792 --> 01:08.208 YOU HAVE TINY THINGS, WHICH ARE 01:08.208 --> 01:09.250 THE MINIATURES, THEN YOU HAVE 01:09.250 --> 01:10.500 TOYS, WHICH ARE THINGS THAT YOU 01:10.500 --> 01:11.875 PLAYED WITH AS A KID. 01:11.875 --> 01:13.166 AND AN ARTIST WHOSE ETCHED 01:13.166 --> 01:16.208 SURFACES ARE MAKING A MARK. 01:16.208 --> 01:18.999 I LIKE TO PAINT CERTAIN AREAS 01:18.999 --> 01:20.458 THAT ARE ALREADY STANDING OUT 01:20.458 --> 01:22.500 FROM THE PHOTOGRAPH AND CREATE 01:22.500 --> 01:24.125 DEPTH WITH THAT. 01:24.125 --> 01:25.875 IT'S ALL COMING UP NEXT ON 01:25.875 --> 01:27.750 "WEDU ARTS PLUS." 01:28.792 --> 01:41.583 [ MUSIC ] 01:43.999 --> 01:45.125 HELLO. 01:45.125 --> 01:46.458 I'M DALIA COLON AND THIS IS 01:46.458 --> 01:48.834 "WEDU ARTS PLUS." 01:48.834 --> 01:50.959 SAMUEL BAK HAS LED AN INCREDIBLE 01:50.959 --> 01:52.834 LIFE, FROM NARROWLY SURVIVING 01:52.834 --> 01:54.125 THE HOLOCAUST TO BECOMING A 01:54.125 --> 01:56.542 WORLD-RENOWNED ARTIST. 01:56.542 --> 01:58.291 NOW AT AGE 82, THE PROLIFIC 01:58.291 --> 02:00.375 PAINTER DISCUSSES HIS NEW 02:00.375 --> 02:01.959 RETROSPECTIVE AT THE FLORIDA 02:01.959 --> 02:03.999 HOLOCAUST MUSEUM AND SHARES WHY, 02:03.999 --> 02:06.041 AFTER EVERYTHING HE'S WITNESSED, 02:06.041 --> 02:07.999 HE'S STILL AN OPTIMIST. 02:10.834 --> 02:11.999 > HEAR HIS MESSAGE IN YOUR 02:11.999 --> 02:13.999 WORK THAT INSPIRES HOPE. 02:13.999 --> 02:15.500 AND THAT IS WHY YOU ARE THE 02:15.500 --> 02:18.208 RECIPIENT OF THIS YEAR'S 2016 02:18.208 --> 02:20.166 HUMANITARIAN AWARD. 02:20.166 --> 02:22.709 SO IF YOU COULD COME UP, PLEASE. 02:22.709 --> 02:26.333 [ APPLAUSE ] 02:27.625 --> 02:28.834 TO BE ABLE TO DO SOMETHING 02:28.834 --> 02:29.999 THAT MEANS SO MUCH TO OTHER 02:29.999 --> 02:31.125 PEOPLE, TELLS ME THAT I'M A 02:31.125 --> 02:34.792 VERY, VERY LUCKY DEVIL. 02:34.792 --> 02:37.999 WHAT CAN I SAY? 02:37.999 --> 02:40.709 MY NAME IS SAMUEL BAK. 02:40.709 --> 02:43.041 I AM A PAINTER WHO HAS BEEN 02:43.041 --> 02:48.583 DOING PAINTING SINCE AGE THREE, 02:48.583 --> 02:52.999 WHICH MEANS 83 YEARS. 02:52.999 --> 02:55.834 WE ARE HERE AT THE HOLOCAUST 02:55.834 --> 02:58.959 MUSEUM IN ST. PETERSBURG, WHICH 02:58.959 --> 03:01.917 IS FLORIDA'S STATE HOLOCAUST 03:01.917 --> 03:03.917 MUSEUM. 03:03.917 --> 03:05.333 AND THIS IS MY FIFTH EXHIBITION 03:05.333 --> 03:06.792 IN THIS MUSEUM. 03:06.792 --> 03:08.625 SO, COMING OVER HERE, IT'S 03:08.625 --> 03:10.750 ALMOST LIKE COMING BACK TO 03:10.750 --> 03:11.999 FAMILY. 03:14.250 --> 03:15.999 THE COMPONENT OF THE 03:15.999 --> 03:17.417 HOLOCAUST IS ONE OF THE 03:17.417 --> 03:18.999 COMPONENTS IN MY PAINTINGS. 03:18.999 --> 03:22.041 BUT MY PAINTINGS ARE NOT ABOUT 03:22.041 --> 03:24.417 THE HOLOCAUST SPECIFICALLY. 03:24.417 --> 03:26.625 OF COURSE, HERE AT THE MUSEUM, 03:26.625 --> 03:31.542 MY ART IS SHOWN AS ART OF A 03:31.542 --> 03:33.959 YOUNG BOY WHO SURVIVED THE 03:33.959 --> 03:37.583 HOLOCAUST, WHO HAD VERY, VERY, 03:37.583 --> 03:39.166 VERY LITTLE CHANCE TO SURVIVE 03:39.166 --> 03:40.792 BECAUSE I SURVIVED FROM A JEWISH 03:40.792 --> 03:43.999 COMMUNITY WHERE ONLY ONE OF 03:43.999 --> 03:47.709 EVERY 40 REMAINED ALIVE. 03:47.709 --> 03:50.166 I WAS BORN IN VILNIUS, WHICH 03:50.166 --> 03:51.999 TODAY IS THE CAPITAL OF 03:51.999 --> 03:53.750 LITHUANIA. 03:53.750 --> 03:57.125 WHEN I WAS BORN THERE, SINCE THE 03:57.125 --> 03:59.000 BORDERS OF EUROPE HAVE MOVED 03:59.000 --> 04:02.542 QUITE A LOT, IT WAS POLAND. 04:02.542 --> 04:03.999 MY LIFE WAS VERY COMFORTABLE FOR 04:03.999 --> 04:05.999 A CHILD, ALMOST PARADISE. 04:05.999 --> 04:08.125 THEN THE GERMANS ARRIVED. 04:08.125 --> 04:09.333 MY FATHER WAS SENT TO A LABOR 04:09.333 --> 04:13.000 CAMP. 04:13.000 --> 04:14.458 I AND MY MOTHER WERE THROWN INTO 04:14.458 --> 04:17.125 THE GHETTO. 04:17.125 --> 04:19.041 AND WE SOMEHOW MANAGED TO 04:19.041 --> 04:20.125 ESCAPE, WE MANAGED TO FIND A 04:20.125 --> 04:22.083 PLACE IN A CONVENT. 04:25.458 --> 04:27.417 I SURVIVED BECAUSE ACTUALLY 04:27.417 --> 04:29.999 TEN MIRACLES HAPPENED TO ME. 04:29.999 --> 04:31.542 IF HAD ONLY NINE MIRACLES 04:31.542 --> 04:32.834 HAPPENED TO ME, I WOULDN'T HAVE 04:32.834 --> 04:34.875 BEEN SITTING HERE TODAY. 04:36.000 --> 04:39.999 [ MUSIC ] 04:41.166 --> 04:42.375 MY FATHER WAS KILLED JUST A 04:42.375 --> 04:43.417 FEW DAYS BEFORE WE WERE 04:43.417 --> 04:44.458 LIBERATED. 04:44.458 --> 04:45.834 MY MOTHER MARRIED ANOTHER 04:45.834 --> 04:46.999 SURVIVOR, WHO LOST HIS WIFE AND 04:46.999 --> 04:49.291 HIS DAUGHTERS. 04:49.291 --> 04:51.041 AND WE WERE SURROUNDED BY THESE 04:51.041 --> 04:52.834 FAMILIES THAT WERE NOT FAMILIES, 04:52.834 --> 04:54.667 LIVING CONSTANTLY WITH THE 04:54.667 --> 04:55.999 GHOSTS OF THE ONES WHO HAVE LEFT 04:55.999 --> 04:59.709 US. 04:59.709 --> 05:00.999 AND THIS BECAME THE KIND OF 05:00.999 --> 05:03.999 SUBJECT MATTER OF MY ART. 05:05.667 --> 05:16.834 [ MUSIC ] 05:17.999 --> 05:19.250 THE FIRST PART OF THIS 05:19.250 --> 05:20.500 EXHIBITION SHOWS PAINTINGS THAT 05:20.500 --> 05:22.875 I DID IN THE REFUGEE CAMP IN 05:22.875 --> 05:26.999 GERMANY IN '45. 05:26.999 --> 05:30.583 SO I WAS 12 OR 13. 05:30.583 --> 05:32.750 AND THEN THERE ARE SOME 05:32.750 --> 05:35.458 PAINTINGS THAT WERE EXHIBITED 05:35.458 --> 05:36.917 WHEN I WAS A VERY SUCCESSFUL 05:36.917 --> 05:39.250 PAINTER WHO LIVED IN ROME. 05:39.250 --> 05:40.750 THEY'RE IN A MUCH MORE ABSTRACT 05:40.750 --> 05:42.583 LANGUAGE. 05:46.792 --> 05:51.125 I BEING YOUNG TRIED TO COME 05:51.125 --> 05:54.041 TO TERMS WITH THE VERY DARK 05:54.041 --> 05:58.250 MEMORIES AND MY PAINTING BECAME 05:58.250 --> 06:00.999 MORE AND MORE ABSTRACT AND 06:00.999 --> 06:03.125 DARKER AND DARKER, AND IT WAS 06:03.125 --> 06:04.999 ONLY AT A CERTAIN POINT WHERE I 06:04.999 --> 06:07.250 FELT THAT I WAS GOING INTO A 06:07.250 --> 06:10.166 KIND OF A TUNNEL THAT WAS VERY 06:10.166 --> 06:13.000 DIFFICULT ALSO FOR ME TO BEAR. 06:13.000 --> 06:15.792 I THOUGHT, WELL, WHY NOT EXTRACT 06:15.792 --> 06:18.999 MYSELF AND GO INTO THE WORLD OF 06:18.999 --> 06:22.625 COLOR, OF A STYLE WHICH IS 06:22.625 --> 06:24.875 ALMOST LIKE THE ILLUSTRATION OF 06:24.875 --> 06:26.917 CHILDREN BOOKS AND LET ME 06:26.917 --> 06:28.083 ATTRACT THE VIEWERS TO MY 06:28.083 --> 06:29.917 PAINTINGS. 06:29.917 --> 06:32.041 AND ONCE I GOT, ONCE I GOT THEM 06:32.041 --> 06:33.999 INTO MY PAINTING, THEN SHOW THEM 06:33.999 --> 06:35.667 THE WORLD IS BROKEN. 06:39.999 --> 06:41.999 THERE IS NO POSSIBILITY OF 06:41.999 --> 06:45.834 FACING TRAGEDY WITHOUT HUMOR. 06:45.834 --> 06:48.000 THE WAY THERE IS NO POSSIBILITY 06:48.000 --> 06:50.625 OF DESCRIBING LIGHT WITHOUT 06:50.625 --> 06:54.583 USING SHADOW. 06:54.583 --> 06:56.999 SO, THERE IS A CERTAIN WHIMSICAL 06:56.999 --> 06:59.709 ELEMENT IN MY PAINTINGS. 07:03.999 --> 07:05.667 THINGS HAPPEN TO ME THAT I 07:05.667 --> 07:07.041 DID NOT CHOOSE. 07:07.041 --> 07:08.999 I MEAN, I WAS BORN IN A CERTAIN 07:08.999 --> 07:10.500 TIME, IN A CERTAIN PLACE, THE 07:10.500 --> 07:11.999 WAR HAPPENED. 07:11.999 --> 07:14.333 I LOST MY GRANDPARENTS. 07:14.333 --> 07:15.834 I LOST MY FATHER. 07:15.834 --> 07:17.583 I SAW PEOPLE BEING KILLED. 07:17.583 --> 07:19.959 I SAW BODIES ALL AROUND. 07:19.959 --> 07:21.999 I MEAN, SO, I HAD MY SHARE OF 07:21.999 --> 07:23.500 DIFFICULTIES. 07:23.500 --> 07:25.125 AND THEN I TRIED TO HAVE A 07:25.125 --> 07:27.417 WONDERFUL LIFE, LIKE EVERYONE 07:27.417 --> 07:29.208 TRIES TO HAVE A WONDERFUL LIFE, 07:29.208 --> 07:30.999 WITH UPS AND DOWNS. 07:30.999 --> 07:32.875 BUT I HAVE THREE GREAT 07:32.875 --> 07:34.959 DAUGHTERS. 07:34.959 --> 07:37.792 I HAVE FOUR WONDERFUL GRANDSONS. 07:37.792 --> 07:42.083 ONE IS FRENCH, TWO ARE AFRICAN. 07:42.083 --> 07:44.792 I MEAN, I HAVE THE BEST, THE 07:44.792 --> 07:47.333 BEST A MAN COULD HAVE BECAUSE I 07:47.333 --> 07:48.999 CAN SEE THE FUTURE OF THE WORLD, 07:48.999 --> 07:50.208 YOU KNOW, WHERE ALL THE HUMAN 07:50.208 --> 07:52.625 COLORS INTERMINGLE AND SO ON, 07:52.625 --> 07:54.834 AND I AM PART OF IT. 07:54.834 --> 07:56.417 FANTASTIC. 07:57.250 --> 08:04.709 [ MUSIC ] 08:05.583 --> 08:06.375 WILL IT REPAIR THE WORLD? 08:06.375 --> 08:07.291 I DON'T KNOW. 08:07.291 --> 08:08.458 I HOPE. 08:08.458 --> 08:09.999 I ALWAYS PUT IN MOST OF THE 08:09.999 --> 08:11.667 PAINTINGS SOME LIGHT ON THE 08:11.667 --> 08:14.208 HORIZON, JUST TO SAY ALL HOPE IS 08:14.208 --> 08:15.999 NOT LOST. 08:16.959 --> 08:21.999 [ MUSIC ] 08:23.834 --> 08:25.709 SAMUEL BAK, "A RETROSPECTIVE 08:25.709 --> 08:27.792 OF SEVEN DECADES" IS ON DISPLAY 08:27.792 --> 08:29.250 AT THE FLORIDA HOLOCAUST MUSEUM 08:29.250 --> 08:30.583 THROUGH JULY 10TH. 08:30.583 --> 08:31.959 FOR MORE INFORMATION, VISIT: 08:37.291 --> 08:39.750 > THE REIGN OF ANDRIS NELSONS 08:39.750 --> 08:41.041 AT THE BOSTON SYMPHONY ORCHESTRA 08:41.041 --> 08:42.999 IS NOW UNDERWAY AS THE YOUNG 08:42.999 --> 08:44.166 CONDUCTOR PRESIDED OVER A 08:44.166 --> 08:46.166 CONCERT BUILT VERY MUCH AROUND 08:46.166 --> 08:47.667 HIS IDENTITY. 08:47.667 --> 08:48.875 JARED BOWEN SPOKE WITH NELSONS 08:48.875 --> 08:51.000 ABOUT THE CONCERT AND HIS PLANS 08:51.000 --> 08:53.333 FOR THE WORLD-CLASS ORCHESTRA. 08:55.583 --> 09:00.208 [ MUSIC ] 09:01.208 --> 09:02.291 THIS WAS HOW ANDRIS NELSONS 09:02.291 --> 09:03.458 INTRODUCED HIMSELF IN HIS 09:03.458 --> 09:04.999 INAUGURAL CONCERT AS THE BOSTON 09:04.999 --> 09:06.083 SYMPHONY ORCHESTRA'S NEW MUSIC 09:06.083 --> 09:08.125 DIRECTOR. 09:08.125 --> 09:09.959 IT WAS WAGNER'S OVERTURE TO 09:09.959 --> 09:11.959 TANNHAÄUSER, THE PIECE HE FIRST 09:11.959 --> 09:13.375 HEARD AS A FIVE-YEAR-OLD IN HIS 09:13.375 --> 09:14.834 NATIVE LATVIA THAT WOULD INSPIRE 09:14.834 --> 09:16.959 HIS MUSICAL LIFE. 09:17.999 --> 09:20.542 [ MUSIC ] 09:21.834 --> 09:22.999 IT WAS A GALA CONCERT WITH 09:22.999 --> 09:24.667 PERFORMANCES BY NELSONS' FRIEND, 09:24.667 --> 09:26.333 TENOR JONAS KAUFMANN, AN 09:26.333 --> 09:27.583 UNDENIABLE ROCK STAR IN THE 09:27.583 --> 09:29.250 OPERA WORLD. 09:30.792 --> 09:50.000 [ MUSIC ] 09:50.999 --> 09:52.125 ALSO APPEARING WAS RENOWNED 09:52.125 --> 09:54.000 SOPRANO KRISTINE OPOLAIS, WHO 09:54.000 --> 09:56.959 ALSO HAPPENS TO BE MRS. NELSONS. 09:57.999 --> 10:13.999 [ MUSIC ] 10:14.917 --> 10:15.999 AND THIS IS HOW THE CONDUCTOR 10:15.999 --> 10:17.500 ENDED THE EVENING, WITH 10:17.500 --> 10:18.875 RESPIGHI'S ROUSING AND SHOWY 10:18.875 --> 10:20.750 PINES OF ROME, FLOODING THE HALL 10:20.750 --> 10:22.875 WITH ITS BOMBASTIC ENERGY AND A 10:22.875 --> 10:24.834 SIGNAL THAT A MUCH DIFFERENT ERA 10:24.834 --> 10:26.917 HAS BEGUN. 10:27.999 --> 10:40.291 [ MUSIC ] 10:43.125 --> 10:44.667 THE FINAL NOTES PLAYED, THE 10:44.667 --> 10:46.875 HOOPLA SUBSIDED, NOW NELSONS 10:46.875 --> 10:48.250 MUST GET TO WORK, HE TOLD ME 10:48.250 --> 10:50.083 EARLIER THIS FALL, FROM HIS ROOM 10:50.083 --> 10:52.208 NEAR THE SYMPHONY HALL STAGE. 10:52.208 --> 10:53.999 NOW IT'S, YOU KNOW -- 10:53.999 --> 10:56.208 [ SIGHS ] 10:56.208 --> 10:57.999 I CAN BREATHE, BUT I ENJOY AND 10:57.999 --> 11:01.999 WE START, WE START WORKING. 11:01.999 --> 11:03.875 SPEND TIME WATCHING NELSONS 11:03.875 --> 11:05.999 FROM HIS GIANT SMILE IN CONCERT 11:05.999 --> 11:07.875 TO HIS IMPASSIONED RESPONSES IN 11:07.875 --> 11:10.250 REHEARSAL AND YOU QUICKLY 11:10.250 --> 11:11.875 UNDERSTAND THIS IS A MAN ROOTED 11:11.875 --> 11:13.709 IN EMOTION. 11:13.709 --> 11:15.208 EVEN AS A MUSICIAN OR 11:15.208 --> 11:16.875 CONDUCTING, YOU SIMPLY JUST 11:16.875 --> 11:18.041 CAN'T, YOU WANT TO CRY AND YOU 11:18.041 --> 11:19.792 SIMPLY HAVE THE TEARS, BUT WHEN 11:19.792 --> 11:23.291 YOU SEE, YOU KNOW, THIS 11:23.291 --> 11:24.417 BEAUTIFUL MUSIC, AND THEN YOU 11:24.417 --> 11:25.875 HEAR THIS BEAUTIFUL MUSIC. 11:25.875 --> 11:27.959 IT'S HOW HE CREATES, HOW HE 11:27.959 --> 11:30.208 RESPONDS AND HOW HE WORKS AS HE 11:30.208 --> 11:31.959 SETTLES IN WITH THE ORCHESTRA, 11:31.959 --> 11:33.375 WHICH HAS BEEN ABSENT A DIRECTOR 11:33.375 --> 11:34.667 FOR THE LAST THREE AND A HALF 11:34.667 --> 11:36.125 YEARS. 11:36.125 --> 11:37.250 IT'S A LONG PERIOD WHEN WE 11:37.250 --> 11:38.999 GET CLOSER AND CLOSER 11:38.999 --> 11:41.875 EMOTIONALLY AND HUMANLY, AND AS 11:41.875 --> 11:45.250 SOON AS YOU GET CLOSE, YOU CAN 11:45.250 --> 11:47.375 PERFORM ANYTHING AND YOU CAN 11:47.375 --> 11:48.875 IMPROVISE OR YOU -- BECAUSE YOU 11:48.875 --> 11:50.041 TRUST EACH OTHER. 11:50.041 --> 11:54.083 SO YOU ARE CONSTANT PULSE, 11:54.083 --> 11:56.375 ONE, TWO, THREE. 11:56.375 --> 11:57.999 FOR ME, IT'S NOT ENOUGH TO 11:57.999 --> 11:59.583 PLAY JUST A NOTE. 11:59.583 --> 12:01.000 WE HAVE MUCH BIGGER 12:01.000 --> 12:02.959 RESPONSIBILITY, THE ABILITY TO 12:02.959 --> 12:05.250 CREATE, TO CREATE THE STORY, TO 12:05.250 --> 12:06.625 CREATE THE DRAMA, TO CREATE 12:06.625 --> 12:09.750 SOMETHING SPECIAL IN THE 12:09.750 --> 12:11.417 CONCERT. 12:11.417 --> 12:13.417 WORLD RENOWNED AND ONLY 35, 12:13.417 --> 12:14.999 NELSONS MAY HAVE AN EVEN LARGER 12:14.999 --> 12:16.542 RESPONSIBILITY. 12:16.542 --> 12:18.166 OBSERVERS SAY HE COULD BE THE 12:18.166 --> 12:20.125 GREAT HOPE OF LURING YOUNGER 12:20.125 --> 12:21.999 AUDIENCES TO CLASSICAL MUSIC. 12:21.999 --> 12:23.875 DO YOU FEEL THAT THAT'S, THAT 12:23.875 --> 12:25.625 IS PART OF YOUR RESPONSIBILITY 12:25.625 --> 12:27.208 IN PART BECAUSE OF YOUR AGE? 12:27.208 --> 12:29.999 WELL, I NORMALLY DON'T THINK 12:29.999 --> 12:32.041 VERY MUCH ABOUT AGE, BUT OF 12:32.041 --> 12:33.917 COURSE I AM AWARE THAT I'M A 12:33.917 --> 12:35.834 YOUNG CONDUCTOR. 12:35.834 --> 12:39.999 AND OF COURSE I WANT TO GET MORE 12:39.999 --> 12:42.291 AND MORE EXPERIENCE AND -- BUT I 12:42.291 --> 12:46.458 DON'T WANT TO LOSE THE, IF I MAY 12:46.458 --> 12:49.875 SAY, THE CHILDNESS, IN A GOOD 12:49.875 --> 12:52.999 WAY, YOU KNOW, THIS CURIOSITY. 12:52.999 --> 12:54.875 NELSONS, AS HIS OPENING NIGHT 12:54.875 --> 12:56.750 DEMONSTRATED, ADORES THE 12:56.750 --> 12:58.333 CLASSICS, LEAVING CRITICS 12:58.333 --> 12:59.667 WONDERING WHAT SPACE HE'LL CARVE 12:59.667 --> 13:01.375 OUT FOR CONTEMPORARY WORKS. 13:01.375 --> 13:02.709 IT SOUNDS LIKE YOUR HEART IS 13:02.709 --> 13:04.083 MORE WITH TRADITION. 13:04.083 --> 13:05.792 WELL, NO, I MEAN MY HEART IS 13:05.792 --> 13:10.083 WITH -- MY HEART IS WITH, WITH 13:10.083 --> 13:12.166 COMBINING THESE THINGS AND NOT 13:12.166 --> 13:15.208 DIVIDING, OH, THAT IS 13:15.208 --> 13:16.917 OLD-FASHIONED MUSIC, THAT IS A 13:16.917 --> 13:18.000 CONTEMPORARY MUSIC. 13:18.000 --> 13:20.500 FOR ME I WOULD SAY, IT'S 13:20.500 --> 13:22.999 IMPORTANT THAT ANY COMPOSER, IN 13:22.999 --> 13:26.750 ANY CENTURY WANTS TO EXPRESS 13:26.750 --> 13:27.959 THE -- THERE IS A REASON WHY HE 13:27.959 --> 13:29.125 HAS COMPOSED A PIECE AND THE 13:29.125 --> 13:30.999 REASON COMES FROM THE HEART. 13:30.999 --> 13:32.834 MUCH IT SEEMS AS NELSONS 13:32.834 --> 13:34.041 HIMSELF. 13:34.999 --> 13:41.375 [ MUSIC ] 13:42.458 --> 13:44.333 > TO LEARN MORE, VISIT: 13:47.458 --> 13:49.792 > THE TOYTISSERIE EXHIBIT IN 13:49.792 --> 13:51.333 THE NATIONAL MUSEUM OF TOYS AND 13:51.333 --> 13:54.250 MINIATURES LOCATED IN KANSAS 13:54.250 --> 13:55.542 CITY, MISSOURI, FEATURES 13:55.542 --> 13:56.875 NUMEROUS NEW, OLD AND VINTAGE 13:56.875 --> 13:57.999 TOYS. 13:57.999 --> 13:59.417 THE MUSEUM FEATURES ONE OF THE 13:59.417 --> 14:00.999 NATION'S LARGEST ANTIQUE TOY 14:00.999 --> 14:02.750 COLLECTIONS ON PUBLIC DISPLAY. 14:02.750 --> 14:03.999 TAKE A LOOK. 14:05.208 --> 14:09.667 [ MUSIC ] 14:10.625 --> 14:11.959 WE COLLECTED ALL THE TOYS 14:11.959 --> 14:12.999 FROM THE COMMUNITY, WHICH WE 14:12.999 --> 14:14.458 THOUGHT WOULD BE A GREAT WAY TO 14:14.458 --> 14:15.999 HAVE THE COMMUNITY PROVIDE AN 14:15.999 --> 14:18.542 INTERACTIVE ELEMENT IN THE 14:18.542 --> 14:19.375 MUSEUM'S KIND OF RENOVATION 14:19.375 --> 14:20.750 PROCESS. 14:20.750 --> 14:21.999 WE BASICALLY ASKED FOR TOYS THAT 14:21.999 --> 14:22.999 WOULD FIT INTO THE PALM OF YOUR 14:22.999 --> 14:23.999 HAND. 14:23.999 --> 14:25.917 AT THE END, WE ENDED UP WITH TEN 14:25.917 --> 14:28.999 55-GALLON BARRELS FULL OF TOYS. 14:28.999 --> 14:31.709 SO, WE COLLECTED ALL THESE TOYS, 14:31.709 --> 14:33.291 CLEANED THEM, SORTED THEM, AND 14:33.291 --> 14:34.917 THEN SARAH WENT THROUGH AND 14:34.917 --> 14:38.083 STARTED TO CREATE SCENES. 14:38.083 --> 14:40.375 THIS TOYTISSERIE IS IN THE 14:40.375 --> 14:44.041 ENTRANCE OF THE MUSEUM. 14:44.041 --> 14:45.792 WE'LL GREET ALL THE VISITORS 14:45.792 --> 14:47.583 WHEN THEY FIRST ARRIVE. 14:47.583 --> 14:48.999 AND HOPEFULLY WILL ATTRACT THEIR 14:48.999 --> 14:50.875 ATTENTION TO SCAMPER UPSTAIRS 14:50.875 --> 14:52.625 AND SEE THE REST OF THE 14:52.625 --> 14:53.875 EXHIBITS, THE TOYS. 14:54.875 --> 14:56.417 [ MUSIC ] 14:57.542 --> 14:59.083 IF YOU LOOK ON THE 14:59.083 --> 15:00.250 TOYTISSERIE, YOU'LL SEE TOYS 15:00.250 --> 15:01.458 FROM ALL OVER. 15:01.458 --> 15:02.792 THEY'RE DONATED FROM PEOPLE 15:02.792 --> 15:04.999 AROUND KANSAS CITY, AND WE HAVE 15:04.999 --> 15:07.458 KIND OF TRIED TO GET A NICE 15:07.458 --> 15:08.834 ACCUMULATION OF TOYS TO 15:08.834 --> 15:10.583 REPRESENT DIFFERENT GENRES OF 15:10.583 --> 15:12.083 TOYS AND DIFFERENT ERAS. 15:13.083 --> 15:16.458 [ MUSIC ] 15:17.834 --> 15:19.250 THE CONCEPT IS BASED ON A 15:19.250 --> 15:21.625 GIANT BARBER'S POLE, YOU SEE 15:21.625 --> 15:23.625 OUTSIDE OLD-FASHIONED BARBER 15:23.625 --> 15:24.625 SHOPS THAT TURN AROUND, AROUND 15:24.625 --> 15:25.834 AND AROUND. 15:25.834 --> 15:27.834 AND THAT IS THE CONCEPT BEHIND 15:27.834 --> 15:29.999 THIS HUGE, JUST OVER A HUNDRED 15:29.999 --> 15:34.709 FOOT METAL HELIX. 15:34.709 --> 15:36.041 I THINK WHAT'S INTERESTING TO 15:36.041 --> 15:37.999 ME ABOUT THE TOYTISSERIE IS IT'S 15:37.999 --> 15:39.125 A LITTLE BIT OF A MICROCOSM OF 15:39.125 --> 15:40.125 THE EXPERIENCE HERE IN THE 15:40.125 --> 15:41.375 MUSEUM. 15:41.375 --> 15:42.542 PEOPLE LOVE OUR COLLECTION 15:42.542 --> 15:43.583 BECAUSE IT'S SO APPROACHABLE. 15:43.583 --> 15:44.917 YOU HAVE TINY THINGS, WHICH ARE 15:44.917 --> 15:45.959 THE MINIATURES, AND THEN YOU 15:45.959 --> 15:46.834 HAVE TOYS, WHICH ARE THINGS YOU 15:46.834 --> 15:48.999 PLAYED WITH AS A KID. 15:48.999 --> 15:50.083 SO, ANYBODY CAN COME IN AND FIND 15:50.083 --> 15:50.999 SOMETHING THAT THEY CONNECT 15:50.999 --> 15:52.625 WITH. 15:52.625 --> 15:53.999 I LIKE THE WAY THAT CHILDREN, 15:53.999 --> 15:56.500 THEY CREATE THEIR OWN WORLDS. 15:56.500 --> 15:58.583 I REMEMBER AS A CHILD IN MY 15:58.583 --> 16:00.583 BEDROOM, I HAD ROWS OF SHELVES 16:00.583 --> 16:02.500 AND I USED TO LIKE ARRANGING 16:02.500 --> 16:04.458 LITTLE GROUPINGS OF OBJECTS. 16:04.458 --> 16:06.458 AND I LOVED ARRANGING THEM AND 16:06.458 --> 16:08.250 YEAH, CREATING SCENES, SO I WAS 16:08.250 --> 16:10.291 IN PREPARATION FOR THIS JOB 16:10.291 --> 16:14.166 MANY, MANY YEARS AGO. 16:14.166 --> 16:16.083 THE PROCESS IS, YOU CHOOSE 16:16.083 --> 16:18.709 THE TOY AND THEN DRILL IN AND 16:18.709 --> 16:20.917 ATTACH A MAGNET. 16:20.917 --> 16:23.834 SO, VERY LABORIOUS. 16:23.834 --> 16:26.750 ONE HAS TO PAY ATTENTION 100% 16:26.750 --> 16:29.250 WHEN WORKING WITH EACH OBJECT. 16:29.250 --> 16:30.959 THERE ARE SEVERAL DIFFERENT 16:30.959 --> 16:31.999 MATERIALS WE'RE DEALING WITH 16:31.999 --> 16:33.750 HERE, THERE'S WOOD, THERE'S 16:33.750 --> 16:34.917 PLASTIC, THERE'S CERAMICS, 16:34.917 --> 16:36.291 THERE'S PAPER AND CARD. 16:36.291 --> 16:39.500 ALSO, THERE'S DIFFERENT AGES OF 16:39.500 --> 16:40.750 THE TOYS THAT WE'RE ATTACHING. 16:40.750 --> 16:41.999 SOME ARE OLD VINTAGE AND SOME 16:41.999 --> 16:43.083 ARE NEW. 16:43.083 --> 16:45.999 I THINK THIS IS THE MOST 16:45.999 --> 16:47.166 TIME-CONSUMING THING I'VE EVER 16:47.166 --> 16:48.750 WORKED ON. 16:49.750 --> 16:53.625 [ MUSIC ] 16:54.834 --> 16:55.999 TOY MANUFACTURERS WEREN'T 16:55.999 --> 16:57.041 REALLY DESIGNING TOYS FOR US TO 16:57.041 --> 16:58.166 PUT THEM UP ON THIS TWISTING 16:58.166 --> 16:59.625 SCULPTURE. 16:59.625 --> 17:01.999 THE INCONSISTENCIES IN MATERIALS 17:01.999 --> 17:03.333 AND KNOWING WHAT TOOL TO USE IS 17:03.333 --> 17:05.417 PROBABLY THE BIGGEST OBSTACLE. 17:05.417 --> 17:06.709 BUT IT'S DEFINITELY SOMETHING 17:06.709 --> 17:08.834 THAT WE HAVE OVERCOME AND OVER 17:08.834 --> 17:10.999 TIME THROUGH THE PROJECT, WE 17:10.999 --> 17:13.542 HAVE KIND OF DEVELOPED A RHYTHM 17:13.542 --> 17:15.999 WHERE WE COULD SAY, OH, THIS 17:15.999 --> 17:18.999 THING IS A SQUISHY TOY ANIMAL, 17:18.999 --> 17:20.083 WE SHOULD PROBABLY SHOULDN'T USE 17:20.083 --> 17:21.834 THE DRILL ON THIS. 17:22.542 --> 17:29.291 [ MUSIC ] 17:30.250 --> 17:31.500 AT FIRST I WAS DAUNTED BY THE 17:31.500 --> 17:32.542 SCALE OF IT. 17:32.542 --> 17:33.333 I MEAN, THIS IS LIKE A GIANT 17:33.333 --> 17:34.500 MURAL. 17:34.500 --> 17:35.417 I HAVE NEVER WORKED ON SOMETHING 17:35.417 --> 17:36.542 OF THIS SCALE. 17:36.542 --> 17:39.125 YES, I DO REMEMBER THE FIRST 17:39.125 --> 17:41.375 MORNING I WALKED IN AND WAS JUST 17:41.375 --> 17:42.999 SURROUNDED BY ALL THESE 17:42.999 --> 17:45.333 CARDBOARD BOXES AND ME. 17:45.333 --> 17:48.125 I JUST TOOK A DEEP BREATH, 17:48.125 --> 17:50.125 WENT, OKAY, LET'S JUST START 17:50.125 --> 17:51.999 WITH THIS BOX. 17:52.999 --> 17:58.333 [ MUSIC ] 17:59.417 --> 18:00.625 I THINK PROBABLY IN JUST 18:00.625 --> 18:01.999 ABOUT EVERY SCENE, THERE'S SOME 18:01.999 --> 18:04.000 LITTLE TINY DETAILS THAT I LOVE 18:04.000 --> 18:05.500 AND I THINK MAYBE THERE'S QUITE 18:05.500 --> 18:07.125 A FEW LITTLE TINY DETAILS THAT 18:07.125 --> 18:08.792 PEOPLE WON'T NOTICE, OR MAYBE 18:08.792 --> 18:10.375 WILL NOTICE IN TIME. 18:10.375 --> 18:12.625 I MEAN, LIKE IN THE CASTLE 18:12.625 --> 18:14.166 SCENE, JUST BEHIND THE 18:14.166 --> 18:15.999 STEGOSAURUS, THERE'S A LITTLE 18:15.999 --> 18:16.999 MOUSE HOLE BECAUSE EVERY CASTLE 18:16.999 --> 18:19.125 HAS A LITTLE MOUSE DOOR. 18:19.125 --> 18:20.542 YOU KNOW, NOT COMPLETE WITHOUT A 18:20.542 --> 18:21.625 MOUSE DOOR AND A LITTLE MOUSE 18:21.625 --> 18:22.917 POKING HIS NOSE OUT, WHICH 18:22.917 --> 18:24.083 WITHIN THE THOUSANDS OF TOYS, 18:24.083 --> 18:26.417 THAT'S KIND OF A CRAZY DETAIL. 18:26.417 --> 18:30.999 AND THAT'S I GUESS ME. 18:30.999 --> 18:32.291 A LOT OF THE TOYS WE'RE 18:32.291 --> 18:34.125 TRYING TO HAVE DIRECTIONAL 18:34.125 --> 18:35.999 MOVEMENT, SO ONE TOY WILL BE 18:35.999 --> 18:37.999 MOVING A CERTAIN DIRECTION TO 18:37.999 --> 18:39.208 KIND OF HELP WITH THE FLOW OF 18:39.208 --> 18:40.709 THE SCULPTURE. 18:40.709 --> 18:41.999 THERE'S AN INTERACTION OF TOYS 18:41.999 --> 18:43.583 WANTING TO CHECK OUT OTHER 18:43.583 --> 18:44.999 SCENES, AND SO THAT'S KIND OF A 18:44.999 --> 18:46.125 LOT OF FUN. 18:46.999 --> 18:49.208 [ MUSIC ] 18:50.166 --> 18:51.417 IT COULD ALWAYS HAVE MORE, 18:51.417 --> 18:52.959 BUT ALSO IT COULD MAYBE HAVE 18:52.959 --> 18:54.375 LESS ON THERE AS WELL. 18:54.375 --> 18:56.041 SO, IT'S A FINE BALANCE OF 18:56.041 --> 18:58.166 KNOWING WHEN TO STOP. 18:58.166 --> 19:00.750 THAT'S THE HARD THING IS, YEAH, 19:00.750 --> 19:03.417 KNOWING WHEN TO JUST STEP BACK. 19:03.417 --> 19:04.917 I AM GOING TO HAVE TO JUST MAKE 19:04.917 --> 19:06.667 MYSELF GO STOP, OKAY, THAT'S IT. 19:06.667 --> 19:08.333 YOU JUST PULL UP THE DRAWBRIDGE 19:08.333 --> 19:10.834 AND STEP AWAY FROM THE 19:10.834 --> 19:11.999 TOYTISSERIE, SIR. 19:11.999 --> 19:13.667 YOU CAN LET GO. 19:15.166 --> 19:20.583 [ MUSIC ] 19:21.959 --> 19:23.875 THIS HAS BEEN A REALLY COOL 19:23.875 --> 19:25.333 OPPORTUNITY TO KIND OF PULL BACK 19:25.333 --> 19:27.333 THESE MEMORIES, THESE TOYS. 19:27.333 --> 19:29.583 WE'RE DRILLING HOLES IN THESE 19:29.583 --> 19:32.999 MEMORIES, BUT WE'RE ALSO BEING 19:32.999 --> 19:34.959 ABLE TO PLAY AGAIN AS AN ADULT, 19:34.959 --> 19:36.542 WHICH IS A REALLY COOL THING. 19:37.458 --> 19:41.333 [ MUSIC ] 19:42.333 --> 19:43.417 THE TOYTISSERIE JUST KIND OF 19:43.417 --> 19:44.500 ENCAPSULATES WHAT WE HOPE IS THE 19:44.500 --> 19:45.375 EXPERIENCE. 19:45.375 --> 19:46.417 YOU SEE STUFF ON IT, YOU START 19:46.417 --> 19:47.999 TO REMEMBER. 19:47.999 --> 19:50.000 IT DRAWS YOU UPSTAIRS AND, YOU 19:50.000 --> 19:52.583 KNOW, YOU GET TO START TO HAVE A 19:52.583 --> 19:54.959 REAL -- I GUESS YOU GET TO 19:54.959 --> 19:56.375 REENGAGE YOUR CHILD-LIKE SENSE 19:56.375 --> 19:57.999 OF WONDER, WHICH IS SOMETHING 19:57.999 --> 20:00.834 THAT WE'RE ALL ABOUT HERE. 20:00.834 --> 20:02.667 IT'S BEEN REALLY FUN. 20:02.667 --> 20:04.250 AND TO LET ME REVISIT MY 20:04.250 --> 20:06.750 CHILDHOOD, SO, I HOPE -- I HOPE 20:06.750 --> 20:09.375 PEOPLE ENJOY IT AS MUCH AS I 20:09.375 --> 20:10.959 HAVE. 20:11.834 --> 20:18.041 [ MUSIC ] 20:21.999 --> 20:23.625 > TO SEE MORE, VISIT: 20:27.792 --> 20:29.917 > ETCHED PHOTOGRAPHY, THAT'S 20:29.917 --> 20:31.875 HOW DENVER, COLORADO'S LISA 20:31.875 --> 20:33.166 GARNESS MALLORY CATEGORIZES HER 20:33.166 --> 20:34.417 WORK. 20:34.417 --> 20:35.750 WHILE A TRADITIONAL ETCHING 20:35.750 --> 20:37.959 WOULD REQUIRE A METAL PLATE, 20:37.959 --> 20:39.291 GARNESS MALLORY USES A NEEDLE TO 20:39.291 --> 20:40.500 DIG INTO THE SURFACE OF HER 20:40.500 --> 20:41.917 PHOTOGRAPHS. 20:41.917 --> 20:43.417 WE CAUGHT UP WITH HER AT ONE OF 20:43.417 --> 20:44.999 HER FAVORITE PLACES TO BEGIN 20:44.999 --> 20:46.750 THAT PROCESS, DENVER BOTANIC 20:46.750 --> 20:48.250 GARDENS. 20:49.999 --> 20:50.999 OH, MY GOSH, LOOK. 20:50.999 --> 20:52.291 WOW! 20:52.291 --> 20:53.291 THAT'S EXCITING. 20:53.291 --> 20:55.417 BECAUSE I LIKE THESE. 20:55.417 --> 20:57.834 WHEN I STARTED THIS PROCESS, 20:57.834 --> 20:59.000 I WOULD CALL IT AN ANSWER TO 20:59.000 --> 21:00.667 PRAYERS. 21:00.667 --> 21:02.875 ONE NIGHT IT JUST CAME TO ME, I 21:02.875 --> 21:04.999 WONDER WHAT WOULD HAPPEN IF I 21:04.999 --> 21:07.166 WOULD USE NEEDLES TO START 21:07.166 --> 21:09.125 ETCHING OFF THE EMOTION OF MY 21:09.125 --> 21:11.959 DIGITAL PHOTOGRAPHY? 21:11.959 --> 21:14.125 I DISCOVERED THAT I COULD 21:14.125 --> 21:16.999 ENHANCE LINES AND TEXTURES AS 21:16.999 --> 21:19.999 WELL AS CREATE DEPTH AND LIGHT. 21:19.999 --> 21:21.542 WHEN YOU FIRST LOOK AT IT, THE 21:21.542 --> 21:23.999 NAKED EYE CAN'T SEE ALL THE 21:23.999 --> 21:26.166 DETAILS UNTIL I USE A MACRO 21:26.166 --> 21:27.750 LENS. 21:27.750 --> 21:29.834 AND THEN THE DETAIL IS WHAT I 21:29.834 --> 21:32.000 CONCENTRATE ON ETCHING. 21:32.000 --> 21:34.500 I CALL MY ART FORM ETCHED 21:34.500 --> 21:37.041 PHOTOGRAPHY, BUT IT'S BASICALLY 21:37.041 --> 21:38.750 ALTERING AND ENHANCING MY 21:38.750 --> 21:42.000 PHOTOGRAPH. 21:42.000 --> 21:44.500 IT ALTERS THE IMAGE BY THE WHITE 21:44.500 --> 21:45.875 MARKS THAT I'M MAKING. 21:45.875 --> 21:48.250 EVERY WHITE MARK ON MY 21:48.250 --> 21:50.999 PHOTOGRAPH IS MY CREATIVE MARK. 21:51.999 --> 21:54.750 [ MUSIC ] 21:55.999 --> 21:56.917 MY WORK HAS BEEN CALLED 21:56.917 --> 21:58.125 FEMININE YET EDGY. 21:58.125 --> 21:59.291 MY MAIN LOVE IS NATURE. 21:59.291 --> 22:00.709 I'LL NEVER DIVERT FROM THAT, 22:00.709 --> 22:02.333 ESPECIALLY FLORALS AND 22:02.333 --> 22:05.999 BUTTERFLIES AND DEER. 22:05.999 --> 22:07.458 I SEEM TO HAVE A WAY WITH 22:07.458 --> 22:09.083 ANIMALS. 22:09.083 --> 22:11.500 I ACTUALLY WOULD GET EXTREMELY 22:11.500 --> 22:13.542 CLOSE TO MY SUBJECTS, YOU KNOW, 22:13.542 --> 22:16.083 DEER, ELK, AND IT'S INTERESTING 22:16.083 --> 22:18.250 HOW THEY SEEM TO UNDERSTAND THAT 22:18.250 --> 22:20.875 I WASN'T GOING TO HURT THEM. 22:20.875 --> 22:23.999 I FEEL A CONNECTION SPIRITUALLY. 22:23.999 --> 22:25.083 I DON'T KNOW HOW ELSE TO EXPLAIN 22:25.083 --> 22:26.458 THAT. 22:26.458 --> 22:27.542 AND I JUST THINK IT'S A 22:27.542 --> 22:29.500 GOD-GIVEN GIFT. 22:30.375 --> 22:32.999 [ MUSIC ] 22:33.959 --> 22:34.999 THE REASON THE ORCHIDS ARE MY 22:34.999 --> 22:36.083 FAVORITE FLOWER IS BECAUSE 22:36.083 --> 22:37.999 SOMETIMES THEY TAKE ON THE LOOK 22:37.999 --> 22:39.625 OF -- THIS ONE LOOKS LIKE A 22:39.625 --> 22:41.500 LITTLE CHILD SITTING ON THE EDGE 22:41.500 --> 22:44.083 OF THE LEAF WITH THEIR LEGS 22:44.083 --> 22:46.625 HANGING OVER. 22:46.625 --> 22:48.999 AND ORCHIDS TO ME ARE LIKE THE 22:48.999 --> 22:50.999 EPITOME OF FEMINITY, THE WAY 22:50.999 --> 22:53.500 THAT THEY'RE SHAPED, THEIR 22:53.500 --> 22:55.333 LACINESS, THE LINES AND THE 22:55.333 --> 22:58.125 TEXTURES, AND I LOVE MACRO 22:58.125 --> 23:01.125 BECAUSE I CAN PUT THE CAMERA IN 23:01.125 --> 23:02.999 THE MIDDLE OF THE FLOWER AND GET 23:02.999 --> 23:06.208 EVERY LITTLE DETAIL. 23:06.208 --> 23:07.500 SOME PEOPLE THINK YOU HAVE TO 23:07.500 --> 23:08.999 HAVE A VERY EXPENSIVE CAMERA IN 23:08.999 --> 23:10.542 ORDER TO BE ABLE TO CALL 23:10.542 --> 23:12.250 YOURSELF A PROFESSIONAL. 23:12.250 --> 23:13.999 AND I DON'T AGREE WITH THAT. 23:13.999 --> 23:16.667 THIS CAMERA HAS DONE WELL FOR ME 23:16.667 --> 23:19.417 AS FAR AS MY MACRO SHOTS. 23:19.417 --> 23:22.125 SINCE MY ETCHING INVOLVES TAKING 23:22.125 --> 23:24.834 AWAY COLOR IN ORDER TO ENHANCE 23:24.834 --> 23:26.792 THE FLOWER, THEN I TRY TO GET A 23:26.792 --> 23:29.792 DARKER SHOT. 23:29.792 --> 23:31.959 THE DARKER THE BETTER. 23:34.166 --> 23:35.458 I SURVIVED TWO 23:35.458 --> 23:36.667 LIFE-THREATENING ILLNESSES IN 23:36.667 --> 23:38.999 2010. 23:38.999 --> 23:41.792 AND ACCORDING TO MY PHYSICIAN, 23:41.792 --> 23:44.375 IT'S A MIRACLE THAT I'M ALIVE. 23:44.375 --> 23:46.999 HALF THE REASON I FOUGHT TO LIVE 23:46.999 --> 23:48.000 WAS TO CONTINUE MY ARTIST'S 23:48.000 --> 23:50.291 JOURNEY. 23:50.291 --> 23:51.792 I DISCOVERED BECAUSE I HAD A 23:51.792 --> 23:53.542 SLIGHT BRAIN INJURY, THAT I HAD 23:53.542 --> 23:54.750 FORGOTTEN HOW TO DO MY ETCHING 23:54.750 --> 23:55.999 TECHNIQUE. 23:55.999 --> 23:57.999 SO I USED THE WORK THAT I HAD 23:57.999 --> 23:59.375 DONE PRIOR TO MY ILLNESS TO 23:59.375 --> 24:02.250 RELEARN. 24:02.250 --> 24:03.875 DURING THE YEAR THAT I WAS 24:03.875 --> 24:06.208 RECOVERING, MY WORK WAS JURIED 24:06.208 --> 24:07.417 INTO MY FIRST TWO INTERNATIONAL 24:07.417 --> 24:10.000 SHOWS. 24:10.000 --> 24:12.875 SO, AS I WAS RELEARNING MY 24:12.875 --> 24:14.208 PROCESS, I WAS ALSO EVOLVING THE 24:14.208 --> 24:15.999 PROCESS. 24:17.834 --> 24:20.083 I LIKE TO TAKE CERTAIN AREAS 24:20.083 --> 24:21.999 THAT ARE ALREADY STANDING OUT 24:21.999 --> 24:24.250 FROM THE PHOTOGRAPH AND CREATE 24:24.250 --> 24:27.291 DEPTH WITH THAT. 24:27.291 --> 24:29.500 SO I HAVE TO BE VERY COGNIZANT 24:29.500 --> 24:31.333 OF THAT BECAUSE IF I ETCHED 24:31.333 --> 24:32.542 EVERYTHING THE SAME, IT WOULD 24:32.542 --> 24:35.083 COME OUT FLAT. 24:35.083 --> 24:38.000 I KNOW IT SOUNDS MAYBE A LITTLE 24:38.000 --> 24:40.333 STRANGE TO SAY THAT I LOOK AT MY 24:40.333 --> 24:44.125 WORK LIKE A CHILD IN A WAY. 24:44.125 --> 24:45.999 BUT AS I'M WORKING ON EACH 24:45.999 --> 24:47.917 PIECE, I GET VERY EMOTIONALLY 24:47.917 --> 24:51.000 ATTACHED TO EACH ONE BECAUSE I 24:51.000 --> 24:54.750 KNOW THAT I'M DEVELOPING IT AND 24:54.750 --> 24:55.999 EACH MARK THAT I MAKE MIGHT BE 24:55.999 --> 24:57.417 SOME NEW MARK. 24:57.417 --> 24:59.083 BUT, YOU KNOW, MY GOAL IS TO 24:59.083 --> 25:00.542 HAVE EACH PIECE GO TO A FOREVER 25:00.542 --> 25:02.166 HOME. 25:04.959 --> 25:07.959 OH, THIS IS PERFECT. 25:07.959 --> 25:09.667 ANOTHER EFFECT THAT I LOVE, IF I 25:09.667 --> 25:12.291 CAN GET IT ON FLOWERS, ANY 25:12.291 --> 25:15.583 BREED, IS WATER, BECAUSE I'LL 25:15.583 --> 25:19.999 ETCH AROUND EACH WATER DROP. 25:19.999 --> 25:23.750 ALTHOUGH I CLASSIFY MYSELF AS A 25:23.750 --> 25:26.083 FINE ART PHOTOGRAPHY ARTIST, I'M 25:26.083 --> 25:29.875 CONSIDERED A PIONEER IN BOTH THE 25:29.875 --> 25:31.291 FINE ART AND FINE ART 25:31.291 --> 25:34.208 PHOTOGRAPHY MEDIUMS. 25:34.208 --> 25:36.667 AND WHEN I SAW MY LARGE PIECES 25:36.667 --> 25:39.500 HANGING ON THE WALL OF CARIBOU 25:39.500 --> 25:40.917 ART GALLERY, IT WAS BREATHTAKING 25:40.917 --> 25:42.959 FOR ME. 25:42.959 --> 25:44.875 THAT'S THE FIRST TIME THAT I HAD 25:44.875 --> 25:46.500 EVER HAD MY WORK ENLARGED THAT 25:46.500 --> 25:48.083 SIZE. 25:48.083 --> 25:49.333 IT WAS DEFINITELY A MILESTONE IN 25:49.333 --> 25:51.625 MY CAREER. 25:51.625 --> 25:53.458 WHEN YOU HAVE THAT WITHIN 25:53.458 --> 25:55.291 YOURSELF, IT'S A DRIVE. 25:55.291 --> 25:57.875 IT'S A PASSION. 25:57.875 --> 25:58.959 AND YOU DON'T WANT TO GIVE THAT 25:58.959 --> 26:00.333 UP. 26:00.333 --> 26:01.999 EVERY ARTIST, THAT'S PART OF 26:01.999 --> 26:05.166 THEM AS A PERSON. 26:05.166 --> 26:07.542 ART CAN BRING YOU THROUGH THE 26:07.542 --> 26:10.542 ILLNESS BECAUSE IT GIVES YOU 26:10.542 --> 26:12.208 MOMENTS YOU DON'T EVEN THINK 26:12.208 --> 26:14.041 ABOUT YOUR SUFFERING. 26:14.041 --> 26:16.999 I MEAN IT GIVES YOU A WANT TO 26:16.999 --> 26:19.792 LIVE SO THAT YOU CAN CONTINUE 26:19.792 --> 26:20.999 WHAT YOU DO FOR FUTURE 26:20.999 --> 26:23.917 GENERATIONS TO ENJOY. 26:23.917 --> 26:25.417 THAT'S HOW I AM, LIKE, OH, YES. 26:25.417 --> 26:27.333 [ LAUGHTER ] 26:27.333 --> 26:28.291 OKAY, I GOT REALLY EXCITED ABOUT 26:28.291 --> 26:29.625 THAT. 26:30.709 --> 26:32.166 > TO FIND OUT MORE, VISIT: 26:36.166 --> 26:37.417 > AND THAT WRAPS IT UP 26:37.417 --> 26:38.500 FOR THIS EDITION OF 26:38.500 --> 26:40.625 "WEDU ARTS PLUS." 26:40.625 --> 26:43.999 FOR MORE ARTS AND CULTURE, VISIT 26:43.999 --> 26:45.792 WEDU.ORG/ARTSPLUS, WHERE YOU'LL 26:45.792 --> 26:47.166 FIND FEATURE VIDEOS, LOCAL 26:47.166 --> 26:48.625 EVENTS AND ARTS AND CULTURE 26:48.625 --> 26:49.875 PARTNERS. 26:49.875 --> 26:50.959 UNTIL NEXT TIME, 26:50.959 --> 26:51.834 I'M DALIA COLON. 26:51.834 --> 26:53.291 THANKS FOR WATCHING. 26:54.500 --> 27:14.999 [ MUSIC ] 27:16.125 --> 27:17.125 MAJOR FUNDING FOR 27:17.125 --> 27:18.417 "WEDU ARTS PLUS" 27:18.417 --> 27:20.041 IS PROVIDED THROUGH THE 27:20.041 --> 27:21.208 GREATER CINCINNATI FOUNDATION BY 27:21.208 --> 27:22.542 AN ARTS-LOVING DONOR WHO 27:22.542 --> 27:23.999 ENCOURAGES OTHERS TO SUPPORT 27:23.999 --> 27:26.458 YOUR PBS STATION, WEDU. 27:26.458 --> 27:29.999 FUNDING IS ALSO PROVIDED BY THE 27:29.999 --> 27:30.625 S. L. GIMBEL FOUNDATION.