Lisette Oropesa, Marisa Martinez, And More! | Episode 707 | Art RocksPublic Broadcasting!

Lisette Oropesa, Marisa Martinez, And More! | Episode 707 | Art RocksPublic Broadcasting!


WHO CHARMING AND AMAZING, AUDIENCES WORLDWIDE. OPERA IS A VERY SPECIAL ART FORM BECAUSE IT COMBINES EVERYTHING. YOU HAVE SINGING, YOU HAVE DRAMA. A MINNESOTA MAKER CREATES JEWELRY TO CONNECT WITH HER INDIGENOUS CULTURAL HERITAGE. LOVING LIFE THROUGH CREATIVITY. AND A PHOTOGRAPHER FINDING NEW WAYS TO GET TO GRIPS WITH THE WORLD AROUND HIM. THAT’S ALL ABOUT TO HAPPEN ON “ART ROCKS.” ♪♪ ♪♪ ♪♪ ♪♪ “ART ROCKS” IS MADE POSSIBLE BY THE FOUNDATION FOR EXCELLENCE IN LOUISIANA PUBLIC BROADCASTING AND BY VIEWERS LIKE YOU. HELLO, I’M JAMES FOX SMITH, PUBLISHER OF “COUNTRY ROADS MAGAZINE,” THANKING YOU FOR JOINING US FOR “ART ROCKS.” LOUISIANA NATIVE LISETTE OROPESA THRILLS AUDIENCES IN SOME OF THE PREMIER OPERA HOUSES AROUND THE GLOBE, IN NEW YORK CITY, TO LONDON, TO ARGENTINA AND BEYOND. DURING A RECENT PERFORMANCE BACK IN HER HOMETOWN OF BATON ROUGE, THE HIGHLY REGARDED LYRIC COLORATURA TALKED ABOUT HOW SHE HONED THAT TALENT. THERE’S THIS ELEMENT IN THE NIGHT, IN THE DARKNESS OF LOOKING UP IN WONDER AND I THINK THAT’S A VERY MAGICAL TIME. OPERA IS A VERY SPECIAL ART FORM BECAUSE IT COMBINES EVERYTHING. I MEAN YOU HAVE SINGING, DRAMA, THEATER, YOU HAVE ORCHESTRA, YOU HAVE COSTUMES, AND YOU HAVE A TREMENDOUS SENSE OF FANTASY AND OF A WORLD THAT PEOPLE COME INTO A THEATER TO EXPERIENCE. AND I FEEL LIKE THAT’S REALLY SPECIAL. I GREW UP SINGING; MY MOTHER WAS A VERY GIFTED SINGER. ALL MY SISTERS SING, MY AUNTS ALL SING, SO I’M VERY FORTUNATE I’VE HAD A VERY MUSICAL UPBRINGING. LISETTE’S MOTHER WAS MY STUDENT AND PROBABLY WHEN SHE WAS 6 OR 8 LISETTE WAS HANGING AROUND AT SOME REHEARSALS, REBECCA, HER MOTHER BROUGHT LESETTE TO SING FOR ME WHEN SHE WAS IN HIGH SCHOOL. I REMEMBER THAT SO WELL, IT WAS IN THIS ROOM AND SHE SANG A LITTLE BIT FOR ME AND I SAID I WOULD LOVE TO WORK WITH YOU WHEN YOU COME TO SCHOOL THIS FALL. HE TOOK ME UNDER HIS WING AS A STUDENT AS AN UNDERGRADUATE AT LSU AND HAS GUIDED ME EVER SINCE. AFTER LSU, I DID THE MET COMPETITION, THE LAST YEAR OF MY UNDERGRAD. AND I WON FIRST PLACE AND I WAS INVITED IMMEDIATELY TO COME INTO THE METS YOUNG ARTISTS PROGRAM ESSENTIALLY YOU MOVE TO NEW YORK CITY AND YOU BEGIN STUDYING AS A YOUNG ARTIST AT THE MET, WHICH YOU’RE THERE EVERY SINGLE DAY. AND YOU’RE THERE FOR THREE YEARS DOING ONLY THAT AND THAT’S EXACTLY WHAT I DID. SHE HAS A BEAUTIFUL VOICE, SHE’S VERY INTELLIGENT, SHE’S A VERY DILIGENT, HARD WORKER, SHE HAS A REALLY GIVING STAGE PRESENCE TO WHERE, WHEN I SEE HER PERFORM ON STAGE I BELIEVE EVERYTHING THAT SHE SAYS. I NEVER THINK SHE’S THINKING ABOUT SINGING, I ALWAYS FEEL LIKE SHE’S VERY INVOLVED IN THE DRAMA. WHEN I WATCH THEATER NOW OR EVEN WHEN I WATCH FILMS, I TRY TO SEE WHAT I CAN LEARN FROM THE ACTORS THAT MOVE ME. WHAT IS THAT ACTOR DOING THAT I’M REACTING TO? HOW IS THAT ACTOR RELATING TO ME AS AN AUDIENCE MEMBER, THEN I TRY MY BEST TO BRING THAT ON STAGE. THE DIFFERENCE WITH OPERA IS THAT WE HAVE TO SING THAT. WE DON’T GET TO SPEAK IT. WE DON’T GET THE LIBERTY OF CHOOSING HOW FAST AND WHEN TO SAY OUR LINES. I THINK THAT A LOT OF TIMES, THE BEST THING TO DO IS TO JUST TRUST THAT THE MUSIC SPEAKS FOR ITSELF. YOU DON’T HAVE TO ADD ANY EXTRA INGREDIENTS BECAUSE IT’S ALL THERE BUT YOU ALSO HAVE TO BE OPEN AND HONEST AND THAT’S SCARY ON STAGE. ONE OF MY FAVORITE DUETS IS GUNOS FROM GUNOS ROMEO AND JULIET AND THERE’S A DUET, A LOVE DUET IN THE FINAL ACT THAT’S A BEAUTIFUL PIECE AND I THOUGHT IT WOULD BE PERFECT FOR THE TWO OF US. I DIDN’T KNOW THAT PIECE BEFORE BUT I’D NEVER PERFORMED IT, SO IT’S A FIRST TIME DUET AND IT’S A ROLE THAT I’VE DREAMT OF SINGING FOR A LONG TIME AND I HAVEN’T HAD THE CHANCE TO DO IT YET SO TO GET THE CHANCE TO SING THE GORGEOUS LOVE DUET FROM ROMEO IS A BLESSING BUT TO DO IT WITH PAUL GROVES IS REALLY NICE. I’M REALLY LUCKY THAT WE’RE DOING THE LA TRAVITA DUET WITH BRANDON BECAUSE LA TRAVITA IS A VERY SPECIAL OPERA TO ME. MY MOM SANG IT WHEN I WAS YOUNGER AND SO I ALWAYS HAVE THIS VERY, VERY DEEP CONNECTION TO LA TRAVITA BECAUSE OF MY MOM. I REMEMBER HEARING LISETTE SING FOR THE FIRST TIME AND JUST BEING ABSOLUTELY BLOWN AWAY, NOT ONLY BY HER SINGING BUT BY HER ABILITY TO CAPTURE A CHARACTER. IT’S INSPIRING TO BE ON STAGE WITH HER. IF SHE’S NOT THE BEST STORYTELLER IN OPERA, SHE’S CERTAINLY ABSOLUTELY ONE OF THE BEST. SHE JUST GIVES ABSOLUTELY DYNAMIC AND GRIPPING PERFORMANCES. I THINK THAT THE ARIA THAT I’M DOING FROM I MASNADIERI VERDI’S I MASNADIERI, THAT ARIA RIGHT NOW AT THIS POINT IN MY LIFE IS VERY SIGNIFICANT BECAUSE I’M GOING TO BE DOING THAT ROLE AT MY DEBUT AT LA SCALA THIS COMING SEASON, IN JUST A FEW MONTHS. LA SCALA IS THE CROWN JEWEL OF THE OPERATIC WORLD AND THAT’S THE ROLE THAT I’M GOING TO BE DOING SO I FEEL IN A LOT OF WAYS A SENSE OF NEEDING TO HONOR THIS PIECE AND NEEDING TO HONOR THIS ROLE BECAUSE I’M GETTING THIS CHANCE TO DO IT FOR THE FIRST TIME IN MILAN. TO GET AN INVITATION TO EVEN SING THERE EVER AS AN AMERICAN IS A HUGE DEAL SO I FEEL VERY, VERY GRATEFUL. SHE IS ONE OF THE FINEST SINGERS THAT WE HAVE, SHE HAS A BEAUTIFUL VOICE, BEAUTIFUL SOUND AND SHE EXPRESSIVE, A MARVELOUS ACTOR AND SHE’S JUST EVERYTHING THAT AN OPERA SINGER SHOULD BE I THINK. I THINK THESE TWO KIND OF WONDERFUL HOMEGROWN SINGERS HERE FROM LSU WITH THE STUDENTS OF THE LSU ORCHESTRA PLUS OTHER STUDENTS THAT WERE SINGING ROLES IN THE PERFORMANCE AS WELL. I MEAN FOR THEM TO HAVE AN OPPORTUNITY WITH THESE TWO ALUMS TO COME BACK AND THEN INTERACT WITH THEM, YOU KNOW THAT’S A REAL GIVING BACK I HAVEN’T ACTUALLY SUNG AT LSU SINCE I WAS A STUDENT, SO IT’S NICE TO HAVE A CHANCE TO COME BACK. AND I’M VISITING AND I’M A GUEST ON CAMPUS BUT I ALSO FEEL LIKE I’M AT HOME BECAUSE IT’S WHERE I WENT TO SCHOOL. IT’S WHERE I GRADUATED FROM. EVERYTHING THAT HAS EVER HAPPENED IN MY LIFE HAS POINTED IN THIS DIRECTION HAS GIVEN ME AN ADVANTAGE OF SOME KIND AND THAT’S WHATEVER YOU WANT TO CALL IT. I LIKE TO CALL IT A BLESSING YOU KNOW BUT I’M JUST GLAD THAT IN SOME POINT IN MY LIFE, I WAS ABLE TO TAKE ALL THOSE BLESSINGS AND THOSE GIFTS AND WORK ON MAKING THEM BETTER, SO THAT I COULD HAVE AN OPPORTUNITY AT ALL TO SING FOR A LIVING. I’M VERY, VERY, VERY LUCKY AND HAPPY. ♪♪ ♪♪ ACCOMPLISHED ARTISTS FROM THIS STATE AND ALL AROUND THE COUNTRY ARE SHOWCASING WORK IN MUSEUMS AND GALLERIES NEAR YOU. HERE ARE SOME OF OUR PICKS FOR NOTABLE EXHIBITS COMING SOON TO A MUSEUM OR GALLERY IN YOUR COMMUNITY. ♪♪ ♪♪ ♪♪ ♪♪ FOR MORE ABOUT THESE AND LOTS MORE EVENTS IN THE ARTS, SUBSCRIBE TO ARTS MONTHLY, THE FREE E-NEWSLETTER FROM THE EDITORS AT LPB AND “COUNTRY ROADS MAGAZINE.” WHAT’S MORE, THE “ART ROCKS” WEBSITE FEATURES EVERY EPISODE OF THIS PROGRAM SO TO SEE OR SHARE ANY EPISODE AGAIN, LOG ON TO WWW.LPB.ORG AND NAVIGATE TO “ART ROCKS.” WHETHER SHE’S WORKING WITH PAINTBRUSHES, GLASS, STRING, BEAD, OR METAL, EVERY PIECE THAT PASSES THROUGH MARISA MARTINEZ’S HANDS REFLECTS HER MISSION OF CONNECTING HEARTS THROUGH THE TELLING OF STORIES. FOR INSPIRATION, THE MINNESOTA ARTIST RELIES ON HER SPIRITUALITY, AND HER ANCESTRAL ROOTS AMONG THE TOLTECA AND MAYA PEOPLE OF MEXICO. HERE’S HER STORY. ♪♪ ♪♪ [HAMMERING] YOU HAVE CHOICES IN LIFE. AND I REALLY BELIEVE THAT WE ALL HAVE A CHOICE BUT WE DON’T ALL HAVE ANGELS. AND FOR ME, I’VE HAD ANGELS IN MY LIFE. I THINK THAT I DID HAVE A CHOICE AND I COULD HAVE GONE A DIFFERENT DIRECTION. BUT THOSE PEOPLE REALLY IMPACTED MY LIFE AND MY WORLD AND HELP ME AND SUPPORTED ME AND ENCOURAGED ME TO BE WHERE I AM TODAY. I WAS TRAINED AS A FINE ARTIST. SO I COME AT JEWELRY DESIGN FROM A LITTLE BIT OF A DIFFERENT PERSPECTIVE IN THE SENSE THAT I TEND TO DESIGN FROM A PLACE OF COLOR AND COMPOSITION. PAINTING FOR ME WAS ALMOST LIKE WRITING A BOOK ABOUT MY LIFE BECAUSE THE THINGS I WANTED TO PAINT I WAS SO INTENT ON TELLING MY STORY THROUGH MY PAINTINGS. AND THAT’S NOT THE KIND OF PAINTINGS THAT SOMEBODY WANTS TO BUY AND HANG ON THEIR WALL. WITH JEWELRY, FOR ME IT’S NOT COMPLETE UNTIL SOMEBODY ELSE HAS IT AND IS WEARING IT. AND SO I STILL GET TO PUT MYSELF INTO THE PIECE BUT I’M HAPPIER WHEN IT’S ON SOMEBODY ELSE. AND TO ME, IT’S FINISHED. THE MILAGRO SERIES IS THE SERIES I WORK ON WITH THE GLASS SO THIS IS DOING FLAME WORK AND THEN INCORPORATES GLASS RODS. I USE A TORCH TO HEAT UP THE GLASS AND IT’S MUCH LIKE GLASSBLOWING BUT VERY SMALL SCALE. IT’S A HUGE CRAFT IN MEXICO FOR ONE SO I REALLY WAS ATTRACTED TO THAT, AND THEN ALSO THE COLORS. TO ME THE GLASS IS LIKE WORKING WITH PAINT. WHEN YOU MELT THE GLASS THAT KIND OF TURNS THE CONSISTENCY OF HONEY SO YOU’RE PAINTING WITH THE GLASS. I DON’T LIKE PERFECTION SO I DON’T LIKE THINGS TO BE PERFECT. AND SO MY BEADS KIND OF TEND TO BE PLAYFUL. YOU CAN TELL THAT THEY HAVE MY ARTIST MARK ON THEM. “MILAGRO” ACTUALLY MEANS “MIRACLE.” BUT I CHOSE THE MILAGRO NAME FOR THAT SERIES BECAUSE THEY KIND OF THINK THAT THE PROCESS OF THE GLASS GOING FROM A SOLID TO NON-SOLID BACK TO A SOLID, THE WHOLE PROCESS OF IT IS KIND OF A LITTLE MIRACLE IN AND OF ITSELF. WHEN I FIRST STARTED MAKING THE PIECES I WOULD INCLUDE A LITTLE HANDMADE MILAGRO. EVERY CULTURE HAS THEM. BUT IN MEXICO THEY’RE CALLED MILAGROS AND THEY’RE LITTLE CHARMS THAT REPRESENT A PRAYER OR WISH OR THEY’RE GIVEN IN THANKS. AND I WANTED TO BRING THAT LITTLE PIECE INTO MY WORK AND KIND OF HAVE IT BE A LITTLE LIKE A TRADEMARK. ♪♪ ♪♪ MY FAMILY ARE MIGRANT WORKERS SO I WAS BORN HERE IN THE UNITED STATES, BUT MY FAMILY IS FROM MEXICO. THE FIRST HALF OF MY LIFE I WAS RAISED IN A MEXICAN CULTURE AND MOSTLY BY MY GRANDMOTHER WHO WAS AN AMAZING WOMAN AND TAUGHT ME SO MUCH ABOUT LIFE AND HAS AN INFLUENCE STILL TODAY IN MY LIFE. BUT THEN FROM THE TIME I WAS 8 UNTIL I GRADUATED I ENDED UP BECOMING A FOSTER CHILD AND THAT THAT HAD A HUGE IMPACT ON MY LIFE AS WELL. ♪♪ ♪♪ ART WAS SOMETHING THAT I DIDN’T THINK THAT I COULD MAKE A LIVING OR YOU KNOW BE SUCCESSFUL DOING ART. AND IT WASN’T UNTIL MY SOPHOMORE YEAR IN COLLEGE THAT I DECIDED THAT I’LL STUDY ART AND NOW MAYBE I’LL BECOME A TEACHER. IT ALLOWS ME FLEXIBILITY WITH MY TWO CHILDREN. I HAVE TWO LITTLE BOYS AND I NEED TO HAVE A LOT OF FLEXIBILITY TO BE THE MOM THAT I WANT TO BE TO THEM AND SO HAVING MY OWN BUSINESS AND BEING A TEACHER ALLOWS ME THAT FLEXIBILITY. SEVEN YEARS AGO MY VERY CLOSE FRIEND LEANNE, KIND OF LIKE AN ADOPTED MOTHER NOW, I CALL HER “MADRINA” WHICH MEANS “GODMOTHER.” SHE GAVE ME THIS AMAZING GIFT OF THIS LITTLE BAG OF TOOLS AND BEADS AND SOME SILVER AND THEN A CARD THAT CAME ALONG WITH THE GIFT, SAYING THAT SHE WANTED TO TEACH ME WHAT SHE KNEW. I THOUGHT OF IT AS “OKAY THIS IS GOING TO BE SOMETHING SPECIAL I CAN JUST DO FOR MYSELF.” KIND OF WHAT I DO FOR MY STUDENTS NOW, BUT I NEVER IMAGINED THAT IT WOULD BE THIS GIFT THAT WOULD CHANGE MY LIFE. IT WOULD COMPLETELY CHANGE MY LIFE. BUT IT WASN’T ONLY FROM HER. SHE WAS PART OF THIS AMAZING WOMEN’S GROUP. THEY’RE ALL ARTISTS AND THEY ALL JUST KIND OF TOOK ME UNDER THEIR WING AND THEY REALLY INSTILLED IN ME THIS IDEA OF EMPOWERMENT AND THAT I COULD REALLY THAT I COULD DO SOMETHING WITH THIS GIFT. I THINK TRADITIONALLY IF YOU WOULD ASK MOST PEOPLE IS JEWELRY AN ART OR A CRAFT? THEY WOULD SAY IT’S A CRAFT. IN OUR CULTURE, YOU PUT THINGS THAT ARE VERY IMPORTANT ON THESE AND I SAID WHAT IF I CREATED A LIMITED EDITION SERIES OF JEWELRY AND I MADE ITS OWN LITTLE SHRINE FOR IT, ITS OWN LITTLE OPHRENDA AND IT WOULD ACT AS AN ACTUAL PIECE OF FINE ART? INCORPORATING THE BACKGROUND THAT I HAVE INTO MY PIECE, I DO THE SAME WAY I WOULD A PAINTING OR A SCULPTURE AND I THINK ABOUT THE SAME WAY SO TO ME, IT IS AN ART. ♪♪ ♪♪ SOUTHBOUND FROM MINNESOTA, IN OKLAHOMA CITY, IS WHERE YOU’LL FIND MULTI-MEDIA ARTIST SUZANNE WALLACE MEARS. SHE’S A WITTY WOMAN WHOSE VIVACIOUS LOVE OF LIFE IS REFLECTED IN HER CONTEMPORARY GLASS SCULPTURE, PAINTING, AND CERAMICS. TREATS. COME. OH, YES. OH, YES, WOULD YOU LIKE A TREAT? WOULD YOU LIKE A TREAT? OH, WHAT A GOOD BOY. MY NAME IS SUZANNE WALLACE MEARS AND I AM A MULTI-MEDIA ARTIST. I WAS BORN BEING HAPPY. I WAS BORN BEING OPTIMISTIC AND I WAS BORN LUCKY THAT I GET UP EARLY IN THE MORNING AND I’M JUST ON. ARE YOU DRUNK? I LOVE A LOT OF VARIETY IN MY LIFE. I DON’T LIKE TO DO JUST ONE BASIC THING ALL THE TIME, SO IT’S EASY FOR ME. WORKING IS EASY. I PUT IN BETWEEN 6 AND 12 HOURS A DAY AND I WORK 7 DAYS A WEEK. I WORK EVERY DAY. SUZANNE WALLACE MEARS HAS A PROBLEM MAYBE FOCUSING. I DON’T KNOW. THEY CALL ME CAPTAIN CHAOS, ONE OF MY CHILDREN, MY SON CALLS ME CAPTAIN CHAOS AND THAT’S BECAUSE I JUST — I’M JUST INTO ALL THINGS AND I NEVER SIT DOWN. I NEVER REST. I’M JUST BUSY ALL THE TIME. A MULTI-MEDIA ARTIST IS AN ARTIST WHO WORKS IN MORE THAN ONE MEDIUM. MOST ARTISTS CHOOSE TO WORK IN ONLY ONE MEDIUM LIKE AN OIL PAINTER OR THEY WORK IN CLAY OR THEY’RE A GLASSBLOWER. I CHOOSE TO WORK IN AS MANY DIFFERENT MEDIUMS AS I CAN AND THE REASON THAT I DO THAT IS BECAUSE I FEEL THAT IT’S AN INSPIRATIONAL THING. I DON’T WANT TO GET TIED UP. I DON’T WANT TO GET BORED. PAINTING, I WORK IN TWO DIFFERENT MEDIUMS WITH THE PAINT, ACRYLIC OR OIL. IF IT’S ACRYLIC PAINT, WHICH IS WATER BASED, THAT, I WORK IN THAT WITH MY ABSTRACT COMPOSITIONS AND THE REASON IS, ACRYLIC PAINT SETS UP VERY RAPIDLY. THE OIL I WORK WITH FOR LANDSCAPE PAINTING AND I HAVE A WHOLE DIFFERENT TECHNIQUE WORKING WITH THE OIL AND THIS WILL SOUND ABSOLUTELY CRAZY, BUT I PAINT WITH MY HANDS. CLAY, I’M JUST WORKING ON A LOT OF TRIBAL MASKS RIGHT NOW AND I’VE DISCOVERED RAKU CLAY. RAKU FIRING AND I GUESS THAT’S ANOTHER ONE HERE. IT’S JUST TOO MUCH FUN. I THINK MY GLASS IS VERY UNIQUE. I HAVEN’T SEEN ANY WORK LIKE IT IN ANY GALLERY THAT I’VE BEEN IN FROM SANTA FE OR CHICAGO OR SAN FRANCISCO OR — I HAVEN’T SEEN ANYTHING LIKE IT. I HAVE AN AWFUL TIME TRYING TO DESCRIBE WHAT IT IS THAT I DO. I HAVE A TERRIBLE TIME TRYING TO DESCRIBE GLASS, THE PROCESS OF GLASS. I HAVE PEOPLE ALL THE TIME THAT ARE ASKING, HOW DO YOU DO THIS? WELL, BECAUSE MAYBE I’M — WHEN THEY SAY HOW DO YOU DO THIS? I’M LOOKING AT 12 YEARS OF INTENSE WORK TO GET TO THIS POINT WHERE I’M ABLE TO CREATE THESE PIECES AND I’M GOING TO TAKE THAT 12 YEARS AND I’M GOING TO TRY TO BONE IT DOWN INTO ABOUT FOUR SENTENCES THAT MAKE SENSE. BASICALLY IT’S FLAT — I WORK WITH FLAT GLASS, COLORED FLAT GLASS, AND IT’S CUT INTO SECTIONS OR PIECES AND LAID FLAT LIKE A DAGWOOD SANDWICH WOULD BE AND IT’S FIRED FLAT. IT’S FIRED IN THE KILN UP TO ABOUT 1500 DEGREES. AND THEN IT MELTS ALL TOGETHER INTO ONE PIECE AND THEN YOU TAKE THAT ONE PIECE, YOU TAKE THAT PIECE, THAT FLAT PIECE AND YOU PUT IT ON TOP OF A MOLD AND THE MOLD COULD BE SOMETHING THAT I MAKE, WHICH I MAKE A LOT OF MY OWN — MOST OF MY OWN MOLDS AND IT COULD BE AN UNDULATING FORM OR WHATEVER I CHOOSE FOR IT TO BE. YOU PUT THAT FLAT GLASS ON TOP OF THAT OR YOU PUT IT ON TOP OF A BOWL MOLD AND THEN YOU HEAT THAT KILN BACK UP AGAIN AND THE GLASS SOFTENS AND IT TAKES ON THE FORM THAT’S UNDERNEATH OF IT. I’VE ALWAYS BEEN INTERESTED IN TRIBAL WORK AND IT’S JUST A THEME THAT I LOVE AND SO I HAD THAT THEME AND I CARRY IT THROUGH, WHETHER IT’S PAINTING OR CLAY OR GLASS. I JUST, IT’S ALWAYS THERE. I’VE GOT A LOT OF MONEY INVESTED AND IN CREATING THESE PIECES AND THAT IS ONE OF THE REASONS WHY IT COSTS SO MUCH MONEY. IT COMES TO ME FROM A SUPPLIER IN DENVER, COLORADO, AND IT BECOMES THE COLOR THAT YOU’RE GOING TO USE. IT DOESN’T CHANGE COLOR IN THE FIRING. THIS PROBABLY WAS $120. SO YOU’VE GOT YOUR SHEET GLASS, BUT THEN YOU’VE GOT ALL OF YOUR EMBELLISHMENTS THAT GO ALONG WITH PUTTING A PIECE TOGETHER AND THAT MEANS THAT YOU’VE GOT COPPER, MESH COPPER. YOU’VE GOT ALL OF THESE OVER HERE. THESE ARE ALL DIFFERENT KINDS, DIFFERENT COLORS OF FRIT. NOW YOU SEE HOW THIS REFLECTS DIFFERENT COLORS DEPENDING ON HOW I HOLD IT? IT COULD BE GREEN TO GOLD? THIS IS CALLED DICHROIC GLASS. IT RUNS ANYWHERE FROM $157 TO $500 A SHEET, FOR THIS! RAKU, WE DO IT OUTSIDE AND I DON’T DO THE ACTUAL FIRING. THERE’S A GENTLEMAN HERE WHO’S REALLY AN EXPERT AT IT AND HE DOES THE FIRING, BUT YOU HAVE CEMENT BLOCKS ON THE GROUND. YOU HAVE A FLAT SHELF ON TOP OF IT. YOU PUT YOUR PIECES, GLAZED PIECES ON TOP OF THAT. A LID COMES DOWN OVER IT. A GARBAGE CAN LID GOES ON TOP OF IT. PROPANE HEATS IT UP AND IT GOES TO 1800 DEGREES IN 15 MINUTES. THEN YOU TAKE THE LID OFF AND THE PIECES ARE GLOWING. THEY’RE RED, GLOWING HOT AND YOU PICK THEM UP WITH STEEL TONGS AND YOU IMMEDIATELY PUT THEM IN A GARBAGE CAN FULL OF WOODCHIPS AND NEWSPAPER AND IT ALL LIGHTS ON FIRE AND SMOKE IS COMING OUT ALL OVER EVERYWHERE AND YOU PUT THE LID BACK DOWN THERE AND IT SITS IN THERE FOR ABOUT 20 MINUTES AND THAT’S WHERE YOU GET ALL THE BLACK SOOT, BLACK THAT PENETRATES ALL THE CLAY THAT ISN’T GLAZED AND THAT’S DONE. SO THAT’S WHAT I’M WORKING ON RIGHT NOW FOR THE CLAY. I JUST THINK THAT’S A LOT OF FUN. PEOPLE ARE SO HAPPY WITH MY WORK. IT JUST MAKES THEM SMILE, MAKES THEM FEEL GOOD. WELL, THAT’S MY MESSAGE. MY MESSAGE IS ALL ABOUT THAT I WANT YOU TO FEEL GOOD. I WANT YOU TO BE HAPPY WHEN YOU HAVE A PIECE OF MY ART WORK. I THINK YOU SHOULD LIVE EVERY DAY. I THINK YOU SHOULDN’T EVER JUST SIT DOWN AND SEE, THAT’S ME. NOW, THAT’S ME, I LIKE TO REALLY STAY BUSY. I LIKE TO BE DOING THINGS. THAT’S MY PHILOSOPHY FOR THE BEST LIFE YOU CAN HAVE, JUST DO IT ALL. JUST DO AS MUCH AS YOU CAN. DO IT EVERY DAY. YOU NEVER KNOW WHEN YOU WONT BE ABLE TO DO IT AND YOU WONT BE HEALTHY ENOUGH, OR YOU SO I’M JUST INTERESTED IN EVERYTHING YEAH. CLOSER TO HOME, IN HOUSTON, TEXAS, PHOTOGRAPHER PETER MOLICK HAS MADE A NAME WITH HIS STRIKING IMAGES OF HIS HOME CITY’S SKYLINE. NOW THE ARCHITECTURAL PHOTOGRAPHER IS GIVING HIS PERSPECTIVE WINGS, TURNING TO DRONE TECHNOLOGY TO CAPTURE THE SPACE CITY FROM STRIKINGLY DIFFERENT VIEWPOINTS. MY PROCESS IS VERY SIMPLE AND I TRY TO BE SORT OF AS STEALTHY AS POSSIBLE AND SORT OF QUICK AS POSSIBLE. YOU KNOW, REMAINING SAFE. I DON’T LIKE RUSHING. BUT I LIKE TO SORT REMAIN SORT OF UNSEEN AND NOT HAVE PEOPLE BOTHER ME AND TALK TO ME ABOUT IT JUST BECAUSE IT’S SORT OF A CONTROVERSIAL SUBJECT. WHEN YOU’RE ON THE GROUND I DON’T THINK YOU REALLY THINK ABOUT YOUR SURROUNDINGS A LOT, ESPECIALLY IN DOWNTOWN HOUSTON WHERE A LOT OF PEOPLE ARE STILL SORT OF UNFAMILIAR WITH IT. I THINK THEY SORT OF HAVE BLINDERS ON WHEN THEY’RE WALKING AROUND IN THE STREET, SO IT SORT OF GIVES THIS DIFFERENT, JUST A DIFFERENT CONTEXT. ♪♪ ♪♪ HOUSTON CROSSINGS IS A PROJECT THAT I STARTED A FEW MONTHS AGO THAT IS SHOOTING INTERSECTIONS FROM ABOVE IN A SORT OF GRID-LIKE WAY, THAT THEY ALL SORT OF ALIGN AND IT CREATES THIS SORT OF ABSTRACT VIEW OF THE CITY. ♪♪ ♪♪ WHEN I FIRST GOT THE DRONE I JUST HAD THIS — THIS IMAGE OF FLYING UP FROM AN INTERSECTION AND SEEING SORT OF THE CITY GROW OUT OF THAT IMAGE. AND AS I STARTED TRYING TO DO THAT, I REALIZED HOW MUCH I — HOW MUCH I LIKE TO SEE ESPECIALLY WITH THIS WIDE ANGLE LENS, THE BUILDING SORT OF SPLAY OUT FROM AN INTERSECTION, AND YOU SEE IT, A VERY FAMILIAR SIGHT FROM A TOTALLY DIFFERENT VANTAGE POINT. TEXAS AND CRAWFORD SPECIFICALLY YOU SEE THIS CONSTRUCTION PROJECT THAT’S HAPPENING ACROSS THE STREET THAT HAS THESE — THESE COLUMNS POURED, THESE CONCRETE COLUMNS, AND NOTHING ELSE, SO YOU GET THIS INTERESTING SORT OF SPLAYING OF THAT GRID. YOU GET A GLIMPSE OF THE STADIUM BUT YOU DON’T REALLY SEE MUCH OF THE STADIUM. AND IT JUST SHEDS A DIFFERENT LIGHT ON THE LIFE OF THE CITY, I THINK. I STUDIED ARCHITECTURE HERE AT U OF H. AND I HAVE BEEN PRACTICING ARCHITECTURE FOR 7 OR 8 YEARS NOW. BUT I STARTED DOING ARCHITECTURAL PHOTOGRAPHY HERE ABOUT 2 OR 3 YEARS AGO AND I’VE REALLY JUST DEVELOPED A LOVE FOR THAT. DOCUMENTING OTHER PEOPLE’S SPACES ESSENTIALLY, FINISHED SPACES, AND SEEING WHAT OTHER PEOPLE ARE DOING AROUND THE CITY. I THINK THE GREAT THING ABOUT DRONES IS YOU’RE ABLE TO FLY LOWER AND INTO TO TIGHTER SPACES THAN YOU NORMALLY WOULD BE ABLE TO. THE OTHER THING THAT I THINK IS REALLY GREAT IS YOU HAVE COMPLETE CONTROL OVER YOUR EXACT POSITIONING AND YOU CAN, YOU CAN BE VERY DELIBERATE ABOUT, YOU KNOW, SYMMETRIES AND AXES AND, WHICH IS SOMETHING I DO IN THE HOUSTON CROSSINGS THING. I’M VERY SPECIFIC ABOUT MAKING IT VERY SYMMETRICAL AND SO THEY ALL ALIGN REALLY WELL. THE DRONE IS A PRETTY SIMPLE TECHNOLOGY REALLY, THIS IS QUAD-COPTER, AND, YOU KNOW, AS THEY GET BIGGER, THEY HAVE MORE ROTORS, WHICH SPIN IN DIFFERENT DIRECTIONS TO SORT OF CONTROL THE DIRECTION OR ELEVATION. THE CAMERA MECHANISM IS CALLED A GIMBAL WHICH IS TO STABILIZE, FOOTAGE. ALL OF THE CAMERA SETTINGS AND EVERYTHING ARE CONTROLLED FROM A MOBILE APP, EITHER ON YOUR PHONE OR ON A TABLET OR SOMETHING. IT’S CONNECTED TO GPS SATELLITES WHICH, SO WHEN I TAKE MY HANDS OFF THE CONTROLLER IT WILL HOVER THERE SO I CAN REALLY FOCUS ON THE SHOT. MOST OF MY SUBJECT MATTER HAS BEEN DOWNTOWN. IT WAS AN EXTENSION OF MY CITY SCAPE PHOTOGRAPHY. ARTISTICALLY, I THINK IT OFFERS VANTAGE POINTS THAT YOU COULDN’T GET BEFORE. IT’S ENABLING FILMMAKERS TO GET SHOTS THAT ARE LOW FLYING, SMOOTH PANNING SHOTS AND THESE AMAZING ARTISTIC SHOTS THAT WOULDN’T HAVE BEEN ABLE TO BE DONE BEFORE EARLIER PERIOD, BUT IT WOULD HAVE BEEN WITH HELICOPTERS. SO I THINK IT’S REALLY ALLOWING PEOPLE LIKE ME THAT WOULDN’T BE ABLE TO DO THIS THE OPPORTUNITY TO SEE THINGS FROM A LIGHT THAT THEY MIGHT NOT HAVE BEEN ABLE TO BEFORE. ♪♪ ♪♪ ♪♪ ♪♪ AND THAT’LL DO IT FOR ANOTHER EDITION OF “ART ROCKS.” BUT AS YOU KNOW, YOU CAN ALWAYS FIND, WATCH, AND SHARE EPISODES OF THE SHOW AT LPB.ORG/ARTROCKS AND IF YOU WANT TO KNOW MORE ABOUT THE CULTURE THAT SURROUNDS YOU, “COUNTRY ROADS MAGAZINE” MAKES A GREAT RESOURCE FOR FINDING OUT WHAT’S GOING ON IN THE ARTS ALL ACROSS THE STATE. SO UNTIL NEXT WEEK, I’VE BEEN JAMES FOX-SMITH AND THANKS TO YOU FOR WATCHING. ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪

2 thoughts on “Lisette Oropesa, Marisa Martinez, And More! | Episode 707 | Art RocksPublic Broadcasting!

  1. Thank you dear Lisette. Great interview. ๐ŸŽผ๐ŸŽน๐ŸŽป๐Ÿ—ฃ๐ŸŽต๐ŸŽถ๐Ÿ‘๐Ÿ‘๐Ÿ‘

  2. Great interview! Great Masnadieri, which I had the pleasure and privilege of seeing live at La Scala. And magnรญfica Manon at the Met, enjoyed in ecstasy to a full movie theater in Madrid, Spain! What a joy, to have such a singer at this time in history!!

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