Colores

FULL EPISODE

Nina Elder

Discovering hope… Nina Elder shares a poetic perspective on change and natural cycles.

AIRED: October 03, 2020 | 0:26:48
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TRANSCRIPT

FREDERICK HAMMERSLEY FOUNDATION...

...AND VIEWERS LIKE YOU

DISCOVERING HOPE, NINA ELDER SHARES A POETIC

PERSPECTIVE ON CHANGE AND NATURAL CYCLES.

LAMENTATIONS.

TINA FREEMAN JUXTAPOSES LOUISIANA'S DISAPPEARING

COAST LINE WITH THE MELTING OF POLAR ICE.

WITH A DOSE OF NOSTALGIA AND A LOVE FOR DESIGN KEN

HINES CREATES NEON SIGNS IN RENO NEVADA.

FIVE DISTINCT PERSONALITIES,

ONE BAND AND THE EVOLVING SONG.

IT'S ALL AHEAD ON COLORES!

IT MIGHT BE BEAUTIFUL.

I AM HERE WITH ARTIST AND RESEARCHER.

NINA ELDER.

WELCOME NINA.

HI!

HEY.

HOW ARE YOU?

HOW ARE YOU?

HAHAHA.

I'M GOOD!

I'M JUST OUTSIDE OF MY YARD RIGHT NOW,

REALLY ENJOYING THE BIRDSONG AND THE SMELL OF,

AFTER THIS INCREDIBLE RAINSTORM JUST PASSED.

MAGICAL.

IT LOOKS LOVELY.

IT'S GREAT.

SO, I KNOW YOU'RE STARTING A NEW BODY OF WORK AND I

WANTED TO KNOW HOW NATURAL CYCLES,

YOU'RE IN A PERFECT SETTING FOR THIS QUESTION.

HOW DID NATURAL CYCLES PLAY INTO THIS NEW WORK YOUR UH,

WELL I'VE BEEN REALLY CURIOUS ABOUT THIS IDEA OF

HOPE AND I HANG OUT A LOT WITH SCIENTISTS AND THEY

WOULD PROBABLY NOT USE THE WORD HOPE VERY OFTEN BUT

I'VE BEEN CURIOUS CAUSE HOPE IS ONE OF THOSE

THINGS THAT'S DIFFERENT TO EVERY SINGLE PERSON AND

IT'S LIKE UM, ONE PERSON MIGHT HOPE THAT THEY JUST

SURVIVE TODAY, ANOTHER PERSON MIGHT HOPE THAT

THEY WIN THE LOTTERY, ANOTHER PERSON MIGHT HOPE

THAT THE WORLD JUST GETS BETTER AND BETTER.

ANOTHER PERSON MIGHT JUST HOPE THAT EVERYTHING STAYS

THE SAME AND THOSE ARE ALL VERY VALID FORMS OF HOPE SO,

I'VE BEEN REALLY THINKING ABOUT LIKE WHAT

THE LARGEST FORM OF HOPE MIGHT BE AND WHAT IT MIGHT

MEAN AND SOMETHING I KEEP SEEING IS LIKE,

I CAN POINT RIGHT THERE TO THE HORIZON AND SAY

"THE SUN IS GOING TO RISE, RIGHT THERE TOMORROW MORNING."

AND THAT THERE'S THIS STRANGE LARGER THAN HUMAN

FORM OF HOPE THAT'S ATTACHED TO THAT,

SO IT'S IT'S THE MOVEMENT OF PLANETS IT'S THE

CONSISTENCY OF LIFE THAT GIVES ME THIS KIND OF

SENSE THAT THINGS CONTINUE AND THAT NATURE IS LARGER

THAN US AND I FIND THAT INSPIRING AND HOPEFUL FOR SURE.

AND HOW ARE YOU, HOW ARE YOU PUTTING YOUR HANDS ON AN IDEA

LIKE THAT, ON, HOW ARE YOU CREATING WORK FROM THAT CONCEPT?

WELL IT'S FUNNY THAT YOU SAY HOW ARE YOU PUTTING

YOUR HANDS ON, BECAUSE I HAVE THIS INCREDIBLE,

REALLY INSPIRING OBJECT THAT I'VE BEEN WORKING

WITH FOR SEVERAL MONTHS.

WHAT IS THAT?

I AM NOT QUITE SURE, I FOUND IT DEEP IN THE

FOREST AND IT'S THE STRONGEST THING I'VE EVER SEEN.

IT JUST, IT'S THICK AND IT HAS LEATHER AND IT'S

STITCHED TOGETHER AND SOMEONE OBVIOUSLY TRUSTED

IT AND PUT SO MUCH WEIGHT INTO THIS THING AND THEN

IT BROKE AND I THINK WHAT'S SO AMAZING ABOUT

THAT IS THOUGH, EVEN THOUGH IT WAS BROKEN

BROKEN AND IT WAS DONE DOING WHAT IT WAS SUPPOSED

TO DO AND IT HAD FAILED, WHEN I FOUND IT I JUST

FOUND IT SO PURELY BEAUTIFUL AND I THINK

THAT'S SOMETHING THAT ART CAN DO, IT CAN ASK THESE

QUESTIONS ABOUT WHAT IS HOPE?

WHAT IS BEAUTY?

WHAT IS LARGER THAN HUMANITY?

AND THIS STRAP HAS BECOME THIS BIG SYMBOL FOR ME SO

AS YOU CAN SEE BEHIND ME, DO YOU MIND IF WE WALK

AROUND MY STUDIO A LITTLE BIT?

I WOULD LOVE TO WALK AROUND YOUR STUDIO!

THIS IS A HUGE TREAT TO BE ABLE TO SEE IN HERE!

WHAT ARE WE LOOKING AT?

WE'RE LOOKING AT THESE DRAWINGS THAT I'VE MADE OF THAT STRAP.

WOW.

THE FRAYED TEXTURE OF THIS THING THAT WAS ONCE SO

STRONG AND IS NOW JUST KIND OF THIS BEAUTIFUL

DOCUMENT OF ALL OF THE FAITH AND ALL OF THE

WEIGHT THAT IT ONCE HAD.

AND THEY'RE DRAWN USING WILDFIRE CHARCOAL THAT

I GATHERED IN THE FOREST.

SO UM, YOU ASK ABOUT NATURAL CYCLES AND I'M

REALLY THINKING ABOUT ALMOST THE CYCLES OF LIFE

AND DEATH AND THE CYCLES OF LARGER RHYTHMS, OF

COSMIC RHYTHMS, OF THE RHYTHMS OF WHAT WE USE

EVERY DAY AND HOW HOW I AS AN ARTIST CAN REFLECT ON

THE CHANGE ISN'T ALWAYS BAD, OR CHANGE MIGHT BE REALLY

SCARY, BUT IT MIGHT RESULT IN SOMETHING REALLY BEAUTIFUL.

HMM.

WHAT IS IT THAT'S MOTIVATING YOU TO KEEP

GOING FORWARD WITH YOUR WORK?

OR WHAT IS IT THAT'S INSPIRING CURIOSITY FOR

THIS KIND OF APPROACH.

MHM.

WELL IN THE PAST I'VE MADE A LOT OF WORK ABOUT

EXTINCTION AND DEVASTATION AND PIT MINES AND

CLEAR-CUT FORESTS AND IT'S BEEN REALLY HEAVY,

AND I THINK IT'S BEEN IMPORTANT TO LOOK AT THOSE THINGS.

BUT NOW ESPECIALLY IN THIS TIME OF THE COVID VIRUS

AND THAT SO MANY PEOPLE ARE FEELING ISOLATION AND

SO MANY PEOPLE ARE FEELING SO MUCH INSECURITY ABOUT

THE FUTURE, I'M I'M DEEPLY AWARE OF THIS THING, THIS

PHENOMENA THAT EVERYTHING IS GOING TO CHANGE BUT IT

MIGHT BE BEAUTIFUL AND IF WE APPROACH THOSE CHANGES

WITH CURIOSITY THERE'S SUCH A POTENTIAL TO LEARN MORE

FROM THEM AND SO I THINK WITH MY, TO ANSWER YOUR QUESTION,

WHAT'S DRIVING ME IS THIS SENSE OF GRATITUDE.

I FEEL SO THANKFUL TO BE ABLE TO OBSERVE CHANGE

WHILE IT'S HAPPENING AND TO BE ABLE TO RESPOND TO

IT THROUGH MY ART AND SHARE IT WITH PEOPLE.

THE EMOTIONS YOU'RE PUTTING INTO YOUR WORK, DO

YOU FEEL LIKE IT'S HAVING AN IM- WILL HAVE A BROADER

OR GREATER IMPACT THAN IT MIGHT HAVE BEFORE?

I HOPE SO!

UM THERE'S NO- TO PREDICT THAT BUT I DO- I THINK

THERE'S SO MUCH FEAR ABOUT CHANGE AND AS AN ARTIST

AND AS A RESEARCHER I'VE BEEN THINKING ABOUT CHANGE

MY ENTIRE LIFE AND BECAUSE I'VE MADE THIS TURN

TOWARDS SORT OF MORE POETIC OR SYMBOLIC OBJECTS

RATHER THAN THE PIT MINE OR THE CLEAR CUT, I THINK

THAT ALL KINDS OF PEOPLE MAYBE CAN CONNECT WITH

THAT AND SEE, UM.

AND SEE THAT WE LIVE IN CYCLES OF DEVASTATION AND

USE AND REUSE AND THAT THAT IS NATURAL, SO I DO HOPE

IT IT IT BRINGS MORE ENERGY TO THE CONVERSATION FOR THE FUTURE.

I CAN'T WAIT TO SEE THE, THE WORK WHEN IT

FLOURISHES INTO ITS FULL, INTO ITS FULL SELF.

THANK YOU!

THANK YOU.

IT'S REALLY A PLEASURE TO SHARE IT WITH YOU!

SO THANK YOU FOR INVITING US IN!

YAY!

YAY!

HAHAHA.

THANK YOU, NINA.

BYE.

RISING COASTAL WATERS.

TINA FREEMAN LAMENTATIONS IS AN EXHIBIT OF LANDSCAPE

PHOTOGRAPHS TAKEN BOTH HERE IN SOUTH LOUISIANA

AND ON BOTH POLAR ENDS OF THE GLOBE IN THE ARCTIC

AND ANTARCTIC REGIONS AND IN THE EXHIBITION YOU'LL

SEE EACH OF THE WORKS IS ACTUALLY A PAIR OF IMAGES,

ONE FROM HERE AND ONE FROM ONE OF THOSE PLACES.

AND THE IDEA IS THAT THE EXHIBITION TELLS A SERIES

OF STORIES ABOUT GLOBAL SEA LEVEL RISE AND THE

RELATIONSHIP BETWEEN REGIONS THAT ARE REALLY

FAR AWAY IN THE ARCTIC AND THE ANTARCTIC AND WHAT'S

HAPPENING HERE IN OUR BACK YARDS AS FLOODING

INCREASES AND AS WE LOSE SOME OF THE COASTAL

PROTECTION IN THE FORM OF OUR WETLANDS.

THE IMAGES ARE IN PAIRS OR IN THE ART HISTORY WORLD

WHAT WE WOULD CALL A DIPTYCH, AND A DIPTYCH IS JUST

A PAIR OF PICTURES THAT BELONG TOGETHER IN SOME WAY.

THE QUESTION THAT WE POSE TO THE VIEWERS WHENEVER

ANYBODY COMES THROUGH THE EXHIBITION I ALWAYS

SUGGEST THAT IF THEY WALK THROUGH WITH ONLY ONE

QUESTION ON THEIR MIND IT SHOULD BE, AS THEY'RE

STANDING IN FRONT OF EACH OF THESE PAIRS,

"WHY ARE THESE 2 IMAGES TOGETHER."

AND I THINK EVERYBODY WILL COME UP WITH THEIR OWN

ANSWER, BUT THAT'S AN IMPORTANT PART OF THIS PROJECT.

IN SOME CASES TINA HAS PAIRED THESE IMAGES

BECAUSE THEY ARE FORMALLY SIMILAR IT LOOKS ALMOST AS

IF FOR EXAMPLE THAT A HOLE IN THE ICE IN ONE PICTURE

COULD BE FILLED WITH A LITTLE PATCH OF WETLANDS

IN THE OTHER AS IF THEY'RE KIND OF A NEGATIVE AND

POSITIVE TOGETHER.

AND THEN IN OTHER CASES THERE IS A LITTLE BIT MORE

OF A KIND OF CONCEPTUAL RELATIONSHIP.

FOR EXAMPLE IN THE ROOM WE'RE IN RIGHT NOW THERE'S

A GREAT PAIR OF PICTURES BOTH SHOT FROM AIRPLANES

ONE IN ICELAND AND ONE IN SOUTH LOUISIANA.

AND IN EACH OF THOSE YOU SEE SOMETHING MOVING

THROUGH SOMETHING ELSE, IN ICELAND IT'S WATER CARVING

ITS WAY THROUGH SAND AND SILK, AND IN LOUISIANA

IT'S SAND AND SILK CARVING ITS WAY THROUGH WATER AS

THE MISSISSIPPI RIVER DEPOSITS IT AT THE END OF ITS JOURNEY.

SO THERE ARE A LOT OF RELATIONSHIPS TO KIND OF

TEASE OUT AND SOME OF THEM ARE OBVIOUS AND OTHERS ARE NOT.

TINA FREEMAN HAS SAID THAT THE GOAL OF THE EXHIBIT IS

FIRST AND FOREMOST TO DEMONSTRATE THE BEAUTY OF

THE LOUISIANA WETLANDS.

SHE IS BORN AND RAISED IN SOUTH LOUISIANA AND GREW

UP GOING OUT ON BOATS INTO THE WETLANDS AND THE BAYOU

REGIONS AND SHE REALLY WANTS PEOPLE TO SEE THESE

BEAUTIFUL IMAGES OF THE WETLANDS AND THEN ALSO AT

THE SAME TIME SEE SOMETHING THAT IS

THREATENING THEIR EXISTENCE NEXT TO IT.

AS THESE POLAR ICES MELT AND ADD WATER AND VOLUME

TO THE OCEANS OF COURSE SEA LEVEL IS RISING AND AS

WE KNOW HERE STORMS HAVE BEEN INCREASING AT AN

INTENSITY AND REACHING FURTHER INLAND PARTLY

BECAUSE WE'VE LOST THE BUFFER OF THE COASTAL

WETLANDS SO AS THEY'RE DISAPPEARING, TINA WANTED

TO PRODUCE THIS LAMENTATION FOR THE LOSS

OF THESE LOUISIANA WETLANDS.

IN ADDITION TO BEING A VISUAL PHOTOGRAPHER, TINA

IS VERY INVESTED IN THE INFORMATION THAT THESE

PHOTOGRAPHS CAN PROVIDE.

AND AT THE BEGINNING OF THE EXHIBIT YOU SEE 2 CHARTS.

ONE FROM 1934 AND ONE FROM 2018 AND THEY SHOW THE

RELATIVE LOSS OF THE COASTAL WETLANDS AND THEN

NEXT TO THAT YOU SEE A LIST OF PLACE NAMES THAT

HAVE BEEN REMOVED FROM THOSE CHARTS AND IN FACT

THE LAST TIME THAT THEY DID THAT PROJECT WAS IN

2011 THEY HAVEN'T LOOKED BACK AT THE CHARTS TO SEE

WHAT OTHER NAMES MIGHT HAVE NEEDED TO BE REMOVED SINCE THEN.

BUT IF YOU LOOK CLOSELY AT THE PLACE NAMES ALMOST ALL

OF THEM ARE BODIES OF WATER, PONDS OR BAYS OR

BAYOUS AND OF COURSE FOR SOMETHING TO BE A BODY OF

WATER IT HAS TO HAVE LAND SURROUNDING IT IDENTIFYING

IT AS A BODY OF WATER AND A LOT OF THAT LAND IS WHAT

HAS DISAPPEARED OVER THE YEARS.

SO THERE IS IN THE TITLE LAMENTATIONS AN

IMPLICATION THAT SOMETHING IS LOST OR BEING LOST AND

YOU SEE THAT RIGHT AT THE BEGINNING OF THE EXHIBIT.

IN ONE OF THE PAIRS OF IMAGES YOU SEE FOR THOSE

OF US HERE IN SOUTH LOUISIANA SOMETHING VERY

RECOGNIZABLE BIG LIQUID CONTAINMENT STORAGE UNITS

AND NEXT TO IT IS A FORM THAT LOOKS SIMILAR BUT IS

OLD AND RUSTED A GROUP OF TANKS THAT ARE ACTUALLY

FROM A PLACE CALLED DECEPTION ISLAND IN ANTARCTICA.

AND ONE OF THE OTHER LINKS BETWEEN THESE AREAS

SEPARATED BY THOUSANDS OF MILES THAT WE MIGHT NOT

EXPECT IS THE OIL INDUSTRY SO OBVIOUSLY IN SOUTH

LOUISIANA THOSE ARE OIL TANKS BUT ON DECEPTION

ISLAND THOSE TANKS WERE DESIGNED TO HOLD WHALE BLUBBER,

WHICH OF COURSE AMONGST OTHER THINGS WAS RENDERED INTO OIL.

IN ANOTHER PAIR, WHICH I THINK IS ONE OF THE MOST

POWERFUL, IT'S ONE OF THE LARGEST IN THE SHOW, ON

THE LEFT YOU SEE THIS INCREDIBLE ICE CAVE THAT'S

IN ICELAND AND ON THE RIGHT HAND SIDE YOU SEE AN

OLD ABANDONED PUMPING STATION NEAR MORGAN CITY

IN LOUISIANA AND ON THE LEFT THEIR FORMS ARE

SIMILAR, WHICH IS WHY THEY'RE PAIRED TOGETHER

THERE'S ALMOST THIS NAUTILUS SHELF SPIRALING

OUT IN BOTH OF THE PICTURES BUT ON THE LEFT

THAT GLACIAL ICE CAVE IS ACTUALLY ENORMOUS IF YOU

LOOK IN THE LOWER LEFT CORNER YOU CAN ACTUALLY

SEE A FAIRLY LARGE 4/5 PERSON RAFT THAT IS VERY

SMALL IN THE PICTURE SO WE'RE LOOKING AT AN ICE

CAVE THAT IS 20 IF NOT MORE FEET HIGH LOOKING OUT

AND ON THE RIGHT IS THIS ABANDONED PUMPING STATION,

WHICH DEMONSTRATES HOW LONG WE'VE BEEN AWARE IN

LOUISIANA OF THE PROBLEM OF CONTROLLING WATER AND

ALSO HOW LONG WE'VE TRIED TO CONTROL IT.

THAT PUMPING STATION DATES TO AROUND THE TURN OF THE

CENTURY IN 1900 AND SO IT'S NOW LEFT THERE.

IT'S NOT IN USE, BUT IT WAS ONCE A WAY THAT WE

TRIED TO CONTROL THAT WATER AND THEN IN YET

ANOTHER PAIR THERE IS A GLACIAL LANDSCAPE ON THE

LEFT WITH THE BONES OF A MUSK OX VISIBLE IN THE

FOREGROUND AND IT'S AN ENORMOUS SKELETON.

IT ALMOST MAKES ICELAND LOOK LIKE A PREHISTORIC

LANDSCAPE AS IF THOSE WERE THE BONES OF A DINOSAUR OR

SOME EXTINCT SPECIES.

BUT I THINK THE SYMBOLISM THERE IS IMPORTANT

EXTINCTION AND THE POSSIBILITY OF THE LOSS OF

THIS ICE IN GLACIAL REGIONS.

AND NEXT TO IT YOU HAVE AN OLD ABANDONED GAS PIPE

LINE CANAL WITH A FALLEN TREE THAT, AS IT'S ON ITS

SIDE WITH ITS BRANCHES SPLAYED OUT SORT OF ECHOES

THE FORM OF THE RIB CAGE OF THE MUSK OX NEXT TO IT

SO BOTH OF THEM BECOME SKELETAL PRESENCES AS IF

THEY ARE REPRESENTING THE SPECTER OF LOSS OF DEATH.

THERE IS SOME HEAVY SYMBOLISM IN THE SHOW.

WHILE THE WORK IS BEAUTIFUL THERE IS A

REALLY POWERFUL MESSAGE TO THE SHOW THAT A LOT OF

PEOPLE HAVE BEEN HIT WITH WHEN THEY COME IN HERE.

THE WORLD IS NOT THAT LARGE AND THAT THINGS ARE

INTERCONNECTED AND THAT WHAT HAPPENS IN ONE PLACE

AFFECTS PEOPLE IN ANOTHER PLACE AND YES THE WORLD IS

CHANGING IN BOTH OF THESE LOCATIONS THE POLAR ENDS

OR US HERE IN COASTAL LOUISIANA.

THESE PLACES WILL NOT LOOK THE SAME IN THE FUTURE, I

THINK THE REAL QUESTION IS, " IS IT TOO LATE TO

CHANGE OR TO REVERSE THESE AFFECTS OR ANOTHER WAY

THAT PEOPLE HAVE INTERPRETED THAT QUESTION

WHAT'S THE MEANING OF ALL OF THIS IS WHAT CAN I DO,

WHAT SHOULD I DO.

SHOULD I BE INSPIRED TO HELP SAVE THE EARTH IN

SOME WAY TO PREVENT SEA LEVEL RISE.

THIS SELECTION OF 27 PICTURES WAS CONCEIVED OF

AS AN EXHIBITION AND THE PUBLICATION THAT WE

PRODUCED INCLUDES THE EXACT SAME 27 PICTURES AND

WE DO HAVE HOPES FOR THIS TO TRAVEL.

IN FACT, A NUMBER OF INSTITUTIONS HAVE

EXPRESSED INTEREST IN SHOWING THIS EXHIBITION IN

PLACES AS FAR AWAY AS ICELAND AND UTAH, SO WE'RE LOOKING

FORWARD TO WORKING WITH OTHER INSTITUTIONS TO PRESENT THIS.

OBVIOUSLY, THEY RECOGNIZE THAT EVEN THOUGH THIS IS

IN SOME WAYS A LOUISIANA STORY, IT'S A STORY THAT

ALMOST ANYBODY CAN UNDERSTAND ON A COASTAL LEVEL.

HIGH VOLTAGE ATTENTION.

- MY ART IS HOT GLASS, ELECTRODES AND NEON GAS,

AND FIRE IS MY PAINTBRUSH.

MY NAME IS KENNETH HINES AND I AM A NEON TUBE BENDER.

I'VE BEEN DOING NEON IN THE RENO AREA FOR 38 YEARS.

I AM THE LAST FULL-TIME NEON TUBE BENDER IN NORTHERN NEVADA.

NEON TUBE BENDER IS THE CRAFT THAT YOU TAKE A

GLASS TUBE AND YOU SHAPE IT TO A SPECIFIC PATTERN.

THEN YOU PUT COLD CATHODE ELECTRODES ON EACH END, PULL

A VACUUM ON IT AND BACK-FILL IT WITH NEON OR ARGON GAS.

THE TERM NEON IS THE RED NEON GAS.

THE MAJORITY OF REDS, PINKS, ORANGES ARE NEON

GAS MIXED IN WITH THE OTHER COLOR PHOSPHORUS IN THE TUBES.

ARGON IS A BLUE, A LITTLE DROP OF MERCURY GOES IN

AND THERE'S FLUORESCENT PHOSPHOROUS IN THE TUBES

AND THAT'S WHAT MAKES THE COLORS WITH THE ARGON AND

A LITTLE DROP OF MERCURY VAPOR.

I HAVE A FIRE THAT'S ADJUSTABLE UP TO 16 INCHES

AND I HAVE A BLOW HOSE THAT I KEEP IN MY MOUTH AT

ALL TIMES SO WHEN I MAKE A TIGHT BEND IT COLLAPSES

AND THEN YOU JUST GIVE IT A LITTLE PUFF OF AIR AND

BLOW IT BACK OUT TO THE ORIGINAL DIAMETER.

HOT GLASS LOOKS COLD SO YOU'VE GOTTA BE VERY

CAREFUL WITH THAT HOT GLASS 'CAUSE IT BURNS DOWN

TO THE BONE AND GETTING CUT WITH GLASS IT REALLY

BLEEDS A LOT 'CAUSE IT MAKES SUCH A CLEAN CUT.

WE DO DEAL WITH HIGH VOLTAGE AS WELL, PRETTY

SERIOUS THINGS, BUT YOU GET USED TO IT, AND YOU'RE

MINDFUL OF IT ALL THE TIME.

IT'S ABOUT A 10,000 HOUR PROCESS TO REALLY LEARN IT

TO REALLY GET IT GOOD WHERE YOU CAN DO ANYTHING

THAT COMES IN THE SHOP.

WHEN WE GO TO CREATE A NEON SIGN THE FIRST STEP IS DESIGN.

SOMEBODY SAYS, HEY, I'M INTERESTED IN A NEON SIGN

SO WHAT WE DO IS WE PUT 'EM IN CONTACT WITH THE

DESIGNER, DENNIS, AND DENNIS IS AN OLD SIGN

PAINTER THAT STARTED IN THE VINYL BUSINESS WHEN

THE COMPUTERS CAME OUT AND I WENT TO HIM TO MAKE

PATTERNS FOR ME YEARS AGO AND WE'VE BEEN GOOD

FRIENDS FOR THE LAST 25 YEARS.

- I WILL MAKE A PATTERN FOR KEN IN REVERSE, HE

WILL BEND ALL THE TUBES, I WILL CREATE A CABINET OUT

OF ACRYLIC OR WHATEVER WE ARE DOING THE CABINET FROM.

WHEN THE NEON IS COMPLETED KEN AND I WILL PUT

EVERYTHING TOGETHER ON THE CABINET AND THEN WE WILL

WIRE IN THE TRANSFORMERS TO COMPLETE THE PROJECT.

NOWADAYS WE'VE BEEN ACTUALLY INCLUDING REMOTES

FOR THE NEON SO PEOPLE CAN ACTUALLY TURN THEM ON

REMOTELY WITHOUT HAVING TO GO UP TO THE SIGN.

- [KEN] WE NOT ONLY CREATE NEW NEON SIGNS WE DO

RESTORATIONS AS WELL.

THIS SIGN RIGHT HERE, THE DICE, THEY'RE A FLAG MOUNT

WHICH MEANS THAT THEY'RE HANGING OUT OVER THE

SIDEWALK, YOU CAN SEE IT FROM BOTH SIDES.

THEY WERE ORIGINALLY DISPLAYED ON THE PARADISE

MOTEL IN SPARKS ACROSS FROM THE PLANTATION CASINO.

IT GOT TAKEN DOWN SO I STRIPPED 'EM AND HAD 'EM

POWDER COATED AND TOTALLY REBUILT ALL THE NEON, NEW

TRANSFORMERS, PUT IT ON THAT PIECE OF EXPANDED

METAL AND HUNG IT ON THE WALL AND IT'S BEEN QUITE

THE CONVERSATION PIECE FOR A COUPLE YEARS NOW.

- I'VE BEEN A GRAPHIC DESIGNER FOR ABOUT 40

YEARS NOW AND NEON IS MY PASSION THESE DAYS.

I LOVE DESIGNING NEON AND SEEING IT COME TO FRUITION.

WORKING WITH NEON IS QUITE UNIQUE BECAUSE IT TAKES ME

TO A PLACE WHERE I'M REALLY HAPPY WITH WHAT I'M DOING.

IT'S NOT LIKE WORK, I ENJOY THE CREATIVITY, AND

THE FINISHED PRODUCT.

AND THE SATISFACTION OF CREATING THESE BEAUTIFUL

PIECES THAT PEOPLE WILL HAVE IN THEIR HOMES OR IN

THEIR BUSINESS FOR YEARS TO COME.

- I THINK PEOPLE EXPECT TO SEE IT, ESPECIALLY IN

DOWNTOWN RENO, OR DOWNTOWN LAS VEGAS, IT'S JUST PART

OF THE OVERALL AWE.

- WHEN YOU'RE DRIVING DOWN A HIGHWAY, OR AN OLD ROAD,

AND YOU SEE A BRIGHT NEON SIGN IN THE DISTANCE IT'S

KIND OF ALLURING AND IT KIND OF ATTRACTS YOU.

NEON'S BEEN AROUND FOR ABOUT A HUNDRED YEARS AND

KEN AND I ARE WORKING HARD TO KEEP THAT ART FORM

ALIVE AND WELL IN RENO, WE JUST WANT TO KEEP IT GOING.

MEANING THROUGH SONG.

ONE OF THE THINGS THAT I REALLY LOVE ABOUT SILVER

IS THAT WE DON'T TRY TO BE ANYTHING.

I THINK GREG GOES AND DOES HIS THING AND DOES A LOT

OF THE SONGWRITING, AND HE'LL BRING A SONG TO THE

BAND AND WE JUST PLAY WHAT WE WOULD PLAY ON IT AS

INDIVIDUALS, NOT NECESSARILY TRYING TO MAKE

IT SOUND LIKE THIS OR THAT OR THE OTHER THING.

WE ADD OUR OWN TASTE OR FLAVOR TO IT EACH TIME.

EVERY TIME WE BRING A SONG TO THE BAND, EVERYBODY

JUST PLAYS WHAT THEY'RE GONNA PLAY.

WE DON'T ACTUALLY TRY TO GO AFTER, OH, THIS IS

SUPPOSED TO SOUND LIKE A COUNTRY SONG, THIS IS

SUPPOSED TO SOUND LIKE IT'S FROM THE EARLY '70S

OR SOMETHING LIKE THAT.

I THINK THAT'S JUST SOMETHING THAT IS

CHANNELED THROUGH OUR OWN INDIVIDUAL EXPERIENCES AND

IT COMES IN TO BE THIS, WHATEVER YOU WANNA CALL

IT, FIVE-HEADED BEAST THAT IS SILVER.

- OR WHAT ELSE HEAR EXCITES ME, MAYBE RESEMBLE

OTHER STYLES OR SOUNDS.

IT'S SUPER IMPORTANT THAT I THINK EACH ONE OF US HAS

A DIFFERENT DISTINCT PERSONALITY SO THAT EVERY

TIME WE DO WORK ON A SONG, THERE'S FIVE VERY DISTINCT

STYLES, AND PERSONALITIES, COLORING, THAT PARTICULAR

TUNE SO IT'S NEVER GONNA SOUND TOO MUCH LIKE

ANYTHING ELSE OTHER THAN US MAKING WHATEVER IT IS

THAT WE'RE MAKING.

- REHEARSAL USUALLY CONSISTS OF GOING ONE OF TWO DIRECTIONS.

THEY'RE EITHER RUNNING THROUGH AND GETTING READY

FOR A SPECIFIC SHOW, OR IT'S GETTING TOGETHER AND

DOING A WRITING SESSION.

- GREG WILL START EITHER PLAYING SOMETHING HE CAME

UP WITH, AND THEN SOMEONE ELSE WILL START PLAYING

SOMETHING, AND IT'S JUST ONE OF THOSE SITUATIONS

WHERE JEFF'S LIKE, WELL, I WAS LISTENING TO YOU FOR

WHAT TO DO, AND I'M LIKE, WELL, I WAS LISTENING TO

YOU FOR WHAT TO DO.

ALL OF A SUDDEN, BOTH OF US JUST WENT PAST EACH

OTHER AND WE'RE ALL JUST CREATING THE CYCLE TOGETHER.

AND EVEN WITH SONGS THAT GREG HAS SPENT SOME TIME

AT HOME CRAFTING AND WRITING, HE'LL BRING IT

IN, AND ALL OF A SUDDEN, PLAYING IT WITH US WILL

CHANGE THE SONG A LITTLE BIT.

SO IT'S ALL THIS CONSTANT EVOLUTION OF THE SONG AS

WE PLAY IT TOGETHER.

- AND THAT'S WHAT IT TAKES TO REALLY GET DISSECTED

AND FIGURE OUT WHAT MAKES IT SILVER.

- I THINK IT'S NEAT THE AMOUNT OF POWER THAT YOU

HAVE IN A BAND NOW, TO BE YOUR OWN ENTITY.

AN INDEPENDENT BAND IS TRULY INDEPENDENT.

IT'S BUILT BY THE PEOPLE WHO MADE IT,

BUT IT'S A LOT OF WORK.

- THE VIDEO THING THIS YEAR HAS BEEN A BIG LEARNING CURVE.

THE FIRST ONE WE DID INCLUDED SOME FRIENDS AND

IT GOT SOME REACH.

I THINK THE TAKEAWAY WAS PUT YOUR FRIENDS IN YOUR VIDEO.

UP AND TAG THE VIDEO.

THE MORE PEOPLE SEE THE VIDEO, PROFIT.

SO WE DID THE CHASE VIDEO AND GOT MORE FRIENDS AND

MORE MEMBERS OF THE COMMUNITY, AND A COOLER

LOCATION, AND FILMED IT IN MORE ICONIC SPOTS IN RENO.

AND THE FEEDBACK HAS BEEN GOOD ON THAT VIDEO.

I THINK WE'VE ACHIEVED OVER 30,000 VIEWS ON THAT.

I THINK THAT IT'S OPENED A FEW DOORS THAT HAVE

OTHERWISE BEEN CLOSED FOR US IN THE COMMUNITY.

IT'S THE CHASE THAT BRINGS YOU BACK TO THE

START IT'S THE CHASE THAT BRINGS -

MOST OF THE TIME WHERE I'M A WRITING A SONG, THE GOAL

IS TO MAKE SOMEBODY FEEL BETTER ABOUT SOME KINDA

SITUATION THAT THEY'RE IN, OR SOMETHING DIFFERENT.

THAT'S WHAT I'VE ALWAYS WANTED TO DO.

- TO ME, MUSIC HAS ALWAYS BEEN SOMETHING WHERE

LYRICS COMBINED WITH MELODY CREATES SOMETHING

THAT MEANS SOMETHING TO YOUR OWN PERSONAL

EXPERIENCE, AND TO ME, A LOT OF THE SONGS, A LOT OF

THE LYRICS THAT GREG WRITES, IT HITS ME AND IT

CREATES SOME SORT OF MEANING, AND I'M ABLE TO

USE THAT IN MY LIFE TO PUT MYSELF IN A BETTER PLACE FROM

FEELING DOWN, OR, HECK, IN THE OTHER WAY, I WANNA FEEL DOWN.

I WANNA FEEL LIKE I DON'T KNOW IF I WOULD BE GOOD

ENOUGH, AND I HEAR THAT AND I'M BALE TO RELATE TO IT.

- I THINK THAT THE ABILITY TO RELATE TO THE CONTENT

IS USEFUL FOR A LOT OF PEOPLE AND FOR ME

PERSONALLY, WHETHER THAT ESCAPE IS JUST TUNING OUT.

FOR ME, WHEN I LISTEN TO MUSIC, A LOT OF IT IS

RHYTHM-ORIENTED LISTENING, BUT SOMETIMES, YOU WANNA

CLOSE LISTEN AND YOU WANNA HEAR THE WORDS, AND YOU

WANNA BE PULLED OUT OF YOUR LIFE AND INTO

SOMETHING ELSE AND SEE IT FROM A DIFFERENT

PERSPECTIVE, AND I THINK THAT'S SUPER IMPORTANT.

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