Broad & High: Clay Artists Full Episode

Broad & High: Clay Artists Full Episode


>>PRODUCTION OF “BROAD & HIGH” IS FUNDED IN PART BY THE GREATER COLUMBUS ARTS COUNCIL, SUPPORTING ARTS, ADVANCE IN CULTURE AND CONNECTING THE COMMUNITY TO CULTURAL EVENTS,>>PRODUCTION OF “BROAD & HIGH” IS FUNDED IN PART BY THE GREATER COLUMBUS ARTS COUNCIL, SUPPORTING ARTS, ADVANCE IN CULTURE AND CONNECTING THE COMMUNITY TO CULTURAL EVENTS, ARTISTS & CLASSES AT COLUMBUSMAKESART.COM. AND BY THE OHIO ARTS COUNCIL, A STATE AGENCY THAT FUNDS AND SUPPORTS QUALITY ARTS EXPERIENCES. [email protected][email protected]! THIS TIME ON “BROAD & HIGH” — JOIN US FOR SOME AMAZING WORK BY CLAY ARTISTS WORKING IN DRAMATICALLY DIFFERENT METHODS.>>MY HEART AND SOUL, EVERYTHING I HAVE GOES INTO THAT PIECE OF POTTERY.>>I’M MAKING THINGS THAT IMITATE THE THINGS THAT WE HAVE TOO MANY OF.>>SO YOU CAN SEE THE BOTTOM IS LIKE A BOTTLE.>>THIS AND MORE, RIGHT NOW, ON “BROAD & HIGH.” [email protected][email protected]! [email protected][email protected]!>>WELCOME TO “BROAD & HIGH”, I’M YOUR HOST KATE MANECKE. OUR FIRST STORY TONIGHT WAS SELECTED BEST DOCUMENTARY IN THE 2013 “CANTON FILM FESTIVAL.” IT CHRONICLES THE PROCESS OF A CANTON POTTER WHO WORKS IN A TRADITIONAL JAPANESE METHOD OF FIRING POTTERY KNOWN AS RAKU. IT’S A TECHNIQUE OF QUICKLY HEATING AND COOLING POTTERY DURING THE APPLICATION OF GLAZES, OR IN THIS CASE, HORSEHAIR. OUR FRIENDS AT “SUMO FILMS” IN CANTON BRING US THIS PROFILE. [email protected][email protected]! [email protected][email protected]!>>I REMEMBER THE FIRST TIME WHEN I WAS A LITTLE KID IN KINDERGARTEN. WE SAW A MOVIE ON POTTERY AND I COULD NOT WAIT TO TRY THAT. AND I LOVED THE IDEA OF TAKING SOMETHING AS HUMBLE AS CLAY AND TURNING IT INTO A WORK OF ART. I WANTED TO MAKE BEAUTIFUL, ONE OF A KIND PIECES. I THINK IT COULD BE ELEVATED TO THE LEVEL OF ART AND IT HAS TO DO WITH THE ARTIST TOUCHED THE ARTISTS INSPIRATION THE FEELING, AND HOW MUCH OF YOURSELF YOU PUT INTO THAT PIECE. EVERY PIECE IS UNIQUE AND ONE OF A KIND AND IT’S THAT WAY INTENTIONALLY. AND IT EVOKES AN EMOTION INSIDE YOU. YOU WANT TO BE THRILLED BY IT AND JUST THINK, WOW THAT’S STUNNING OR THAT IS JUST SO SUBTLE IN ITS BEAUTY THAT I REALLY LIKE IT. YOU JUST WANT TO SIT THERE AND LOOK AT IT. YOU WANT TO PUT IT OUT BY ITSELF AND LET IT STAND FOR ITS OWN MERIT. WHERE AS A FUNCTIONAL PIECE OF POTTERY — A LOT OF THAT — WHEN YOU’RE NOT USING IT, IT’S ON A SHELF. YOU PUT IT IN A CUPBOARD WHEN YOU’RE DONE WITH IT. IT COULD BE BEAUTIFUL AND FUNCTIONAL OR SOMETHING COULD BE ITS FUNCTION IS ITS BEAUTY. I TRY OT TAKE THEM ONE STEP FARTHER. EVERYTHING COUNTS. ALL THE LINE QUALITY, THE PROPORTIONS, AND FOR ME THE FORM IS THE ABSOLUTE MOST IMPORTANT PART OF THE PIECE, BECAUSE IF THE FORM IS WEAK THE SURFACE TREATMENT WILL BECOME MORE IMPORTANT THAN A PIECE OF POTTERY. AND THEN IT’S ALL ABOUT SURFACE AND NOT ABOUT THE POT ITSELF. MY HEART AND SOUL, EVERYTHING I HAVE GOES INTO THAT PIECE OF POTTERY. FORM THE TIME I THROW THE BALL OF CLAY ON THERE, THE SHAPE WHICH I’M FORMING. I’M THINKING ABOUT THE PURE ESTHETICS OF THE SHAPE. HOW TALL IS IT GOING TO BE, WHAT ARE THE PROPORTIONS OF THE SHOULDER, OF THE FOOT, OF THE NECK. HOW DOES IT FLARE? HOW MUCH IS IT FLARE? THE ANGLE OF THE FLARE. AND THEN WHEN I’M TRIMMING IT, WHAT DO I HAVE TO DO TO MAKE SURE THIS FORM IS JUST AN ESTHETICALLY PERFECT FORM AND EVEN THOUGH — IT’D BE DIFFERENT FROM EVERY SINGLE OTHER ONE. IT’S A VARIATION ON A THEME, BUT EVERYTHING IS ALWAYS UNIQUE AND MAKE IT AS THE ABSOLUTE BEST AS I CAN POSSIBLY MAKE IT. THE MORE DELICATE IT IS THE MORE DANGEROUS IT IS. AND BY DANGEROUS IT MEANS, YOU COULD BE CAREFUL, YOU HAVE TO BE VERY CAREFUL WITH THIS YOU COULD BREAK IT. AND THAT’S PART OF THE ALLURE OF THE PIECES. YOU’RE GOING TO DO SOMETHING THAT’S GOING TO BE DIFFERENT, THAT’S LIKE OKAY, I CAN TAKE THAT A LITTLE BIT FARTHER, AND I WILL CONTINUE TO WORK ON AN ITEM UNTIL I GET BORED WITH IT AND THEN WHEN I DO GET BORED WITH A CERTAIN STYLE OR TECHNIQUE THAT’S WHEN I’M GOING TO START EXPERIMENTING MORE COMING UP WITH SOMETHING DIFFERENT. AND RIGHT NOW I’M ALSO TAKING A TRADITIONAL FORM AND PUSHING IT BY MAKING THE BASE NARROWER, THE NECK LONGER AND THINNER. AND TRYING TO TAKE IT TO AN EXTREME THAT PEOPLE NEVER DID BEFORE, BECAUSE A PIECE ALSO HAD TO9 MAINTAIN ITS FUNCTION. WELL WHEN IT’S FUNCTION IS BEAUTY I COULD JUST TAKE IT AS FAR AS I FEEL FIT. AND THE THING THAT ATTRACTED ME TO RAKU WAS YOU TOOK IT OUT AND THERE WAS SO MUCH MORE SERENDIPITY. YOU HAD NO CONTROL OVER HOW THINGS WERE GOING TO END UP. YOU COULD PLAY WITH THE AMOUNT OF REDUCTION OR SMOKE OR CARBON, OR FLAMES. AND HOW YOU WOULD BURP THE PIECE TO GET MORE AIR INTO IT. RAKU IS GENERALLY CONSIDERED VERY PRIMITIVE WAY OF FIRING AND VERY PRIMITIVE LOOK. WHILE I WANTED TO PROVE YOU COULD TAKE THAT PRIMITIVE LOOK AND MAKE IT SOMETHING ELEGANT AND BEAUTIFULLY UNDERSTATED, AND JUST ELEVATED TO A WORK OF FINE ART. [email protected][email protected]! [email protected][email protected]!>>IF YOU’RE INTERESTED IN LEARNING MORE ABOUT POTTERY OR CERAMICS, EXPLORE THE CLASSES OFFERED AT THE CULTURAL ARTS CENTER IN DOWNTOWN COLUMBUS. LEARN TO THROW ON A POTTER’S WHEEL, OR JUST MAKE SOME PINCH POTS. THERE ARE EVEN WORKSHOPS THAT CAN HELP YOU LEARN MORE ABOUT THE RAKU FIRING PROCESS. VISIT THEM ONLINE TO LEARN MORE. [email protected]!!![email protected]! THIS NEXT STORY TAKES A LOOK AT THE TRADITION OF PUEBLO POTTERY. THE MOST DISTINGUISHING PART OF PUEBLO POTTERY IS THE COILS. THE PIECES ARE NEVER THROWN ON A WHEEL, THEY ARE SHAPED AND MOLDED ENTIRELY BY HAND USING LONG COILS OF CLAY. ALBUQUERQUE ARTIST JAMI PORTER LARA USES THIS ANCIENT METHOD TO CREATE ITEMS INSPIRED BY THE MOST UBIQUITOUS VESSEL OF OUR MODERN TIME, THE PLASTIC BOTTLE. CHECK IT OUT. [email protected][email protected]! WHAT I’M DOING BY USING THIS ANCIENT METHOD OF PUEBLO STYLE CERAMICS IS CONNECTING MYSELF TO THIS PLACE. AND WHAT I AM DOING BY USING THE ICONOGRAPHY OF THE PLASTIC BOTTLE IS TO CONNECT MYSELF TO THIS PLACE IN TIME. [email protected][email protected]! WELL, SOMETHING THAT INTERESTED ME ABOUT THIS PROJECT — WHICH I SOMETIMES ABOUT AS A REVERSE ARCHEOLOGY, WHERE I’M USING THE TOOLS OF THE PAST TO DIG INTO THE PRESENT AND FUTURE — IS THAT IT COLLAPSES THE DISTANCE BETWEEN WHAT WE SEE AS AN ARTIFACT AND HOW WE REGARD CONTEMPORARY TRASH. AND I’M REALLY INTERESTED IN ASKING QUESTION ABOUT WHAT’S TRASH AND WHAT’S ARTIFACT. SO A COUPLE OF YEARS AGO I WAS TRAVELING WITH A GROUP OF ARTISTS DOWN NEAR THE U.S./MEXICO BOARDER, IN AN AREA WHERE PEOPLE WILL STILL MIGRATING THROUGH. AND I WAS JUST EXPLORING, WALKING AROUND. WALKING UP AND DOWN ARROYOS IN THE REGION OF THE BOARDER FENCE. AND IT’S POSSIBLE TO FIND ALL KINDS OF THINGS THAT HAVE BEEN LEFT BEHIND BY PEOPLE PASSING THROUGH. AND THE MAIN THING THAT I FOUND WERE PLASTIC TWO LITTER BOTTLES THAT MIGRANTS HAD USED TO CARRY WATER, AND THEN DISCARDED WHEN THEY WERE DONE. I STARTED TO THINK ABOUT THE CONTINUITY OF THE CULTURE THAT HAD INHABITED THAT AREA. AND SO, IN THAT SAME REGION, WHERE I WAS FINDING PLASTIC BOTTLES, IT WAS ALSO POSSIBLE TO FIND POT SHARDS AND RUINS AND THINGS THAT WE CONSIDER TO BE ARTIFACTS. AND SO IT WAS IN THAT CONTEXT THAT I JUST STARTED TO THINK ABOUT THE PLASTIC BOTTLE AS A CONTEMPORARY ARTIFACT. [email protected][email protected]! IN MEXICO ONE OF THE THINGS THAT WE WERE THERE TO DO WAS TO LEARN HOW TO MAKE PUEBLO-STYLE CERAMICS FROM THE GALLEGOS’S FAMILY. SO WE WERE IN A LITTLE TOWN OF MATA ORTIZ WHERE THESE VERY ACCOMPLISHED EXPERT POTTERS TAUGHT US THEIR METHOD, WHICH MIRRORS THE METHOD IN WHICH CERAMICS HAVE BEEN IN THE DESERT IN THIS PART OF THE WORLD FOR ALMOST 2,000 YEARS. [email protected][email protected]! IT WAS OUT OF THE COMBINATION OF THOSE EXPERIENCES THAT I — THIS IMAGE OF THE FORM OF THE PLASTIC MADE IN TO A CERAMIC PIECE, IN THIS STYLE THAT I HAD JUST LEARNED, CAME TO ME. [email protected][email protected]! THERE’S A GREAT DEAL THAT’S BEAUTIFUL ABOUT THE COMPONENTS OF A PLASTIC BOTTLE. THE BOTTOM IS A PENTAGRAM, AND THE TOP IS A SPIRAL. AND BOTH OF THOSE ARE FORMS THAT WE HAVE SEEN REPRESENTED THROUGHOUT HUMAN HISTORY. PART OF MY INTEREST HERE IS IN LOOKING DIFFERENTLY AT THE PLASTIC BOTTLE SO THAT WE MIGHT BE ABLE TO SEE THE HUMAN CREATIVITY THAT GOES INTO IT AS OPPOSED TO SIMPLY REGARDING IT AS WASTE. ONE OF THE THINGS THAT I’M THINKING ABOUT IS HOW THE THINGS THAT WE MAKE ARE REMAKING US AS A SPECIES. AND SO IF YOU THINK ABOUT HUMANS MADE PLASTIC. THE CHEMICALS FROM PLASTIC ARE IN THE ENVIRONMENT, AND NOW THEY ARE IN OUR BODIES. AND OUR BODIES ARE CHANGING AS A RESULT. WE’RE ACTUALLY TRANSFORMING AS A SPECIES, IN THAT WE HAVE ONE EXAMPLE OF HOW THOSE LINES THAT WE BELIEVE DIVIDE US FROM NATURE OR FROM TECHNOLOGY, THOSE DON’T REALLY EXIST. THERE ISN’T A LINE BETWEEN WHAT IS HUMAN AND WHAT IS NATURAL AND WHAT IS TECHNOLOGICAL. SO YOU CAN SEE THE BOTTOM IS LIKE THE BOTTLE. I’M GONNA HAVE TO WORK ON THAT A LOT MORE. SO I SPENT A LOT OF TIME OUTDOORS IN PLACES THAT WE CALL WILDERNESS. PEOPLE WHO SPEND MUCH TIME OUTDOORS ARE FAMILIAR WITH THE “LEAVE NO TRACE” EPIC. AND IT’S SOMETHING THAT I’VE BEEN THINKING A LOT ABOUT LATELY, BECAUSE I THINK IT SAYS A LOT ABOUT HOW WE REGARD OURSELVES IN RELATION TO NATURE. I THINK THAT IT’S INTERESTING THAT IN THE WAY THAT WE HAVE CONSTRUCTED NATURE, WE HAVE WRITTEN OURSELVES OUT OF THE STORY. AND AS AN ARTIST, I BRISTLE AT THE MANDATE OF “LEAVE NO TRACE”, BECAUSE, I THINK, NUMBER ONE WHAT IT SAYS IS THAT THE ONLY TRACE I COULD LEAVE IS DESTRUCTIVE. AND NUMBER TWO, IT COMPLETELY ELIMINATES THE POSSIBILITY THAT MY EXISTENCE OR PRESENCE ON THIS PLANET CAN’T POSSIBLY BE CREATIVE OR A CONTRIBUTION. IT’S ALMOST AS IF THE BEST WE CAN BE AS HUMANS IS TO DO NO HARM. AND AS AN ARTIST I FEEL LIKE I WANT TO DO ONE BETTER. WHICH IS THAT I WANT TO CREATE SOMETHING THAT THE EARTH NEEDS. [email protected][email protected]! THERE’S A WAY IN WHICH THIS PROJECT, FOR ME, IS ABOUT GRAPPLING WHAT IT MEANS TO BE AN ARTIST WHO MAKES THINGS IN A CULTURE OF TOO MANY THINGS. AND I’M MAKING THINGS THAT IMITATE THE THINGS THAT WE HAVE TO MANY OF. SO IT’S THIS WAY OF PLACING MYSELF IN THE CENTER OF THIS PREDICAMENT. AND I DON’T KNOW THAT IT’S THE SOLUTION, BUT I’M REALLY INTERESTED IN THE COMPLEXITY OF BEING RIGHT THERE IN THE MIDDLE OF IT. [email protected][email protected]! I THINK THAT IT’S ESSENTIAL FOR US TO BE ABLE TO UNDERSTAND OURSELVES AS CREATIVE AND CONNECTED BEINGS IN ORDER TO HAVE THE COURAGE TO TAKE ON THE HUGE TASK WE HAVE AHEAD OF OURSELVES IN DEALING WITH THE ENVIRONMENTAL CRISIS THAT WE ARE FACING. IF WE KEEP TELLING A STORY OF APOCALYPSE WHERE HUMANS ARE NOTHING BUT AMBULATORY POLLUTANTS, AND IF THE STORY OF NATURE IS JUST ONE OF DECLINE WHERE BEFORE HUMANS ARRIVED ON THE SCENE IT WAS THE GARDEN OF EDEN AND WE HAVE BASICALLY FALLEN FROM NATURE NEVER TO RETURN, I’M NOT SURE HOW WE PULL OUT OF THIS NOSE DIVE, I THINK WE NEED A DIFFERENT STORY. AND SO THAT’S, THAT’S WHAT I’M TRYING TO CREATE FOR MYSELF HERE AT LEAST IS THE POSSIBILITY THAT WHAT I CAN IMAGE OR WHAT I CAN CREATE FORMS A KIND OF CONNECTION THAT IS IMPORTANT AND NECESSARY FOR THE WORLD. [email protected][email protected]!>>THE DAYTON ARTISTS IN THIS NEXT SEGMENT MIGHT HAVE YOU DOING A DOUBLE TAKE. THEY’RE IDENTICAL-TWIN BROTHERS WHO WORK TOGETHER TO CREATE ART THAT DEPICTS THE STRUGGLES OF THE WORKING CLASS. THEIR SCULPTURES PAY HOMAGE TO THE BLUE-COLLAR FACTORY WORKERS WHO DEFINED THEIR YOUTH AND THEIR HOMETOWN. [email protected][email protected]!>>THE TWIN THING. A LOT OF PEOPLE THINK THAT IT’S A GIMMICK, UM, BUT IT HAS BEEN A COMPLETE LIFESTYLE THAT MY TWIN BROTHER AND I HAVE EMBRACED.>>MY MOM AND DAD WOULD DRESS US ALIKE EARLY ON, AND WE JUST NEVER GAVE IT UP, SO I PUT THE BLAME ON MOM AND DAD. INSTEAD OF HAVING TWO SEPARATE YEARBOOK PICTURES, WE HAVE ONE CELL WITH TWO PEOPLE IN IT. SO WHEN YOU SAY “I” IT’S CONNECTED TO “WE.”>>WE OFTEN THINK ABOUT OURSELVES AS BEING ONE PERSON IN TWO DIFFERENT BODIES. BUT WE’RE ALSO TWO CAPABLE INDIVIDUALS THAT LIVE SEPARATE LIVES, BUT WHEN WE COME TOGETHER, WE BRING SOMETHING SPECIAL TO THE TABLE. EVER SINCE WE WERE SMALL CHILDREN, WE WERE INVOLVED WITH ART MAKING. MY FATHER HAD A LOT OF BUILDING MATERIALS AND THINGS OF THAT NATURE. MY MOTHER WAS AN UPHOLSTERY WORKER, SO WE HAD ACCESS TO MATERIALS.>>OUR FORMAL ART STUDIES ACTUALLY STARTED IN HIGH SCHOOL. WE’VE ALWAYS HAD A LOVE FOR THE VISUAL ARTS, BUT IT WASN’T UNTIL WE GOT INTO UNDERGRAD AT BALL STATE UNIVERSITY WHERE WE KIND OF HAVE OUR LOVE FASCINATION WITH THREE-DIMENSIONAL FORMS DEALING WITH SCULPTURE AND CERAMICS.>>OUR PARENTS WERE REALLY SUPPORTIVE ABOUT US GOING INTO THE ART WORLD. THE WRITING WAS ON THE WALL IN OUR HOMETOWN, WHERE WE WERE EXPECTED TO EITHER SUPPORT THE FACTORY OR WORK IN THE FACTORY. WE KNEW THOSE DAYS WERE NUMBERED.>>GREW UP IN NEW CASTLE, INDIANA. IT WAS A BIG CHRYSLER FACTORY TOWN. THE HIGH SCHOOL WAS NAMED AFTER THE FACTORY.>>AND THE FACTORY SUPPORTED THE ENTIRE TOWN. IT WAS SO CLOSE TO OUR HOME THAT YOU COULD HEAR THE FACTORY BELL. YOU CAN HEAR THE SHIFT CHANGES. AND IT WAS WEIRD BECAUSE EVERYBODY BELIEVED IN ITS PRODUCTS. EVERYBODY DROVE A CHRYSLER PRODUCT.>>THE LATE ‘70S, EARLY ‘80S, THAT’S WHEN YOU CAN ACTUALLY REALLY SEE THE DEMISE, AND LITTLE BY LITTLE THEY START SCRAPING THE FACTORY AWAY, UNTIL IT’S NO LONGER IN EXISTENCE. THOUSANDS OF PEOPLE WERE AFFECTED BY THAT.>>AND IT’S SAD GOING BACK TO THAT TOWN. BECAUSE AT ONE TIME IT WAS THRIVING, AND IF YOUR DAD WORKED IN THE PLANT, YOU HAD AN OPPORTUNITY TO WORK IN THE PLANT. AND YOU COULD HAVE A, YOU KNOW, A SUSTAINABLE LIFE. BUT THOSE DAYS WERE LONG GONE. IN FACT, KYLE AND I WERE KIND OF THAT LAST OF THAT GENERATION TO ACTUALLY BENEFIT FROM THAT.>>EVERY DAY, FACTORIES ARE BEING SHUT DOWN. THE GLORY DAYS OF WORKING IN THE FACTORY ARE GONE. SO, KELLY AND I, WE LIKE TO PRODUCE ART WORK THAT REPRESENTS THE BLUE COLLAR WORKER. YOU KNOW, PEOPLE THAT WORK IN THE STEEL MILLS AND WORK IN TEXTILE MILLS, THE PRODUCERS OF THINGS. BLUE-COLLAR WORK, THE PEOPLE WHO CREATE THINGS, THEY’RE VERY>>WE’RE REPRESENTING THOSE COMMON PEOPLE THAT ARE OFTEN LEFT OUT OF THE EQUATION — FACTORY WORKERS, BLUE-COLLAR WORKERS, COAL MINERS. YOU RARELY SEE ART ABOUT THOSE PEOPLE WHO PERFORM THESE TASKS. OUR BELIEF IS, THAT IF WE’RE GONNA MAKE SOMETHING, IT HAS TO BE AUTHENTIC. TYPICALLY, WE GO TO THE SOURCE. WE WOULD DO DIRECT INTERVIEWS. WE WANT TO GET THOSE VOICES AND THAT, THAT INFORMATION.>>WE GO TO UNION HALLS, TAKE PHOTOGRAPHS, AND DO SKETCHES. AND WE RETRIEVE FOUND OBJECTS.>>THE FOUND OBJECTS COME FROM FACTORIES THAT ARE NO LONGER RUNNING. CORRUGATED SHEET METAL PANELS, RANDOM GEARS, OLD OIL CANS, GLOVES — JUST ANYTHING THAT’S LEFT BEHIND. THAT’S REALLY IMPORTANT FOR US TO KIND OF ARCHIVE THIS SENSE OF HISTORY.>>IT GIVES A TRUE SENSE OF PLACE AND TIME; OTHERWISE YOU’RE JUST MAKING FIGURINES WITH NO CONTEXT. WE BRING ALL THAT BACK TO THE STUDIO, AND WE START ARRANGING AND THINKING ABOUT COMPOSITION.>>WE DO ALL THE FABRICATION OR THE SCULPTING OF THE FORM. THE FIGURES ARE NOT REALLY REPRESENTATIONS OF SPECIFIC PEOPLE, BUT THE FIGURES REPRESENT ALL PEOPLE. AND THEY HELP NARRATE THE STORIES. WE DO ALL THE CLAY PROCESS AND THEN THAT GOES OFF TO DRY AND THEN WE’LL MOVE TO THE NEXT STEP WHICH WILL BE THE PAINTING PHASE. AND THEN WE GO INTO THE ACTUAL BACKDROP OR FACADE PHASE. SO, THAT’S TYPICALLY OUR PROCESS. WE’RE HOVERING OVER AN 18-INCH FIGURE. IT’S LIKE WE’RE TOO BIG TO BE WORKING ON THESE SMALL FIGURES. KYLE AND I LIKE TO THINK ABOUT IT AS KIND OF LIKE AN OCTOPUS WITH MANY DIFFERENT HANDS. IT’S A NEAT PROCESS. A LOT OF PEOPLE WHO DON’T TRADITIONALLY COLLABORATE WOULD PROBABLY FREAK OUT. AND I THINK A LOT OF THAT COMES FROM OUR EXPERIENCE WORKING IN THE PLANT AND HAVING THAT OPPORTUNITY TO WORK THE ASSEMBLY LINES.>>WE KIND OF KEPT THAT WHOLE IDEA OF WORKING ON MULTIPLE PIECES, YOU KNOW. AND YOU HAVE TO HAVE THIS SUBCONSCIOUS “OKAY” OF LETTING GO AND HAVING ANOTHER PERSON WORK ON YOUR WORK AND BE OKAY WITH IT. YOU’RE PUTTING THAT TRUST. SO, KELLY AND I, WE HAVE THAT KIND OF UM, WE HAVE THAT TRUST. WHERE I CAN WORK ON SOMETHING AND THEN SHIFT IT OVER TO KELLY AND HE CAN WORK ON SOMETHING AND WE COME FULL CIRCLE UNTIL THE WORK IS COMPLETED. SO THERE’S NEVER ONE AUTHORSHIP.>>IT’S NOT A KYLE PIECE. IT’S NOT A KELLY PIECE. IT’S A KELLY AND KYLE PIECE. WE ARE JUST ONE PERSON. WE LOVE THAT EXPERIENCE.>>WE THINK ABOUT WHEN WE WORKED IN THE FACTORY. WE WORKED ON AN ASSEMBLY LINE WHERE EACH AREA WAS DESIGNATED AS A CELL. SO, WHAT PEOPLE THINK IS SMALL AS FAR AS THEIR STUDIO, WE ARE VERY COMFORTABLE WITH, BECAUSE KELLY AND I, WE WORKED IN THESE LITTLE TIGHT, LITTLE SMALL NICHES IN THE FACTORY. IT IS SMALL. IT’S VERY INTIMATE.>>BUT IT’S THE SAFE SPACE FOR KYLE AND I TO GO TO THINK. IT’S A SPACE THAT WE CAN GO TO TO BE CREATIVE. IT’S LIKE A SANCTUARY. IT’S LIKE — IT’S OUR CHURCH. I MEAN IT’S — THAT’S — THAT’S WHERE GOD SPEAKS TO US. MY INSPIRATION COMES FROM MY FAMILY, MY PARENTS, AND I’M DEEPLY APPRECIATIVE OF OUR, OF OUR STRONG WORKING CLASS UPBRINGING. BUT I’M TROUBLED BY IT AT THE SAME TIME. IT OFTEN TIMES HAUNTS ME TO THINK ABOUT HOW PEOPLE, WORKING PEOPLE STRUGGLE SO HARD AND, AND, AND OFTEN TIMES THEY’RE NOT REPRESENTED. SO, THAT’S THE REASON WHY THAT I’M REALLY MOTIVATED BY OUR WORK. [email protected][email protected]!>>FINALLY TONIGHT, WE HEAD OUT TO BLACKLICK FOR A STUDIO VISIT WITH JASON WOLFF. HE’S A CCAD GRAD WHO SPECIALIZES IN HAND-CRAFTED, FUNCTIONAL WORKS OF POTTERY. TAKE A LOOK. [email protected][email protected]! [email protected][email protected]!>>I STARTED MAKING POTTERY ABOUT 25 YEARS AGO. WELL MY PARENTS ORIGINALLY SIGNED ME UP FOR ART CLASSES, AND THEN I TOOK A CERAMICS CLASS. AND I KIND OF FELL IN LOVE, AND HAVE BEEN MAKING POTS EVER SINCE. [email protected][email protected]! I ACTUALLY REALLY LIKE MAKING FUNCTIONAL POTTERY. MAYBE IT’S THE CRAFTSMAN IN ME. I LIKE TO CREATE SOMETHING, THEN ABLE TO USE IT. [email protected][email protected]! WE ARE IN MY HOME STUDIO IN MY BASEMENT. AND WE’RE TEACHING CLASSES HERE NOW. THIS IS WHERE I DO THE BULK OF MY PRODUCTION. [email protected][email protected]! [email protected][email protected]! AND THERE YOU GO. THE CUP IS FINISHED. IT’S A TWO-STEP PROCESS. SO THE FIRST FIRING IS CALLED THE BISK FIRING. AFTER THAT WE’RE GOING TO DO THE GLAZE FIRING. OUR GLAZES WE MAKE OURSELVES. WE MAKE IT IN-HOUSE FROM RECIPES THAT WE’VE BEEN WORKING ON FOR YEARS. THE BISK WARE IS WHAT I’M GLAZING RIGHT NOW. THIS STUFF IS LIKE A SPONGE. SO IT’S ACTUALLY ABSORBING THE WATER THAT’S IN THE GLAZE. AND WHAT’S LEFT IS THAT CHEMICAL COATING. [email protected][email protected]! I MEAN, WE MAKE, ACTUALLY, ABOUT 30 DIFFERENT PRODUCTS. WE’RE THINKING ABOUT THINGS THAT WE HAVE A NEED FOR. STUFF THAT WE LIKE TO USE IN OUR OWN KITCHEN. YOU KNOW, THERE’S LOTS OF THINGS THAT I COULD MAKE, BUT IT DOESN’T MEAN I REALLY WANT CREATE THEM. [email protected][email protected]!>>THAT’S OUR SHOW. TO SEE ALL OF OUR STORIES, VISIT WOSU.ORG. AND, AS ALWAYS, BE SURE TO FIND US ON FACEBOOK, TWITTER AND INSTAGRAM. TODAY WE’RE LEAVING YOU WITH THE AMERICAN ROCK SOUNDS OF THE REDVINES. THANKS FOR WATCHING. WE’LL SEE YOU BACK HERE NEXT WEEK ON BROAD & HIGH. [email protected]! ASLEEP ON THE COUCH [email protected]! [email protected]! CAN’T EVEN GET UP [email protected]! [email protected]! TO TURN OUT THE LIGHTS [email protected]! [email protected]! MIGHT CALL ME CRAZY [email protected]! [email protected]! MAKES PERFECT SENSE TO ME [email protected]! [email protected]! GOING OUT OF MY HEAD [email protected]! [email protected]! SHE’S A WILD SPIRIT [email protected]! [email protected]! OUT THERE RUNNING FREE [email protected]! [email protected]! THOSE DAYS ARE OVER [email protected]!>>ANNOUNCER: PRODUCTION OF “BROAD & HIGH” IS FUNDED IN PART BY THE GREATER COLUMBUS ARTS COUNCIL, SUPPORTING ARTS, ADVANCING AND CONNECTING THE COMMUNITY TO CULTURAL EVENTS, ARTISTS & CLASSES AT COLUMBUSMAKESART.COM. AND BY THE OHIO ARTS COUNCIL, A STATE AGENCY THAT FUNDS AND SUPPORTS QUALITY ARTS

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