Journey Indiana

S2 E4 | FULL EPISODE

Episode 204

Coming to you from the Depot Museum and Art Gallery in Beverly Shores...take a look at the body positive portrait photography of Natasha Komoda; meet Cathleen Huffman - an artist celebrating some of Indiana's agricultural icons; travel to Cambridge City to learn about the Overbeck Sisters and their lasting legacy; and meet a muralist who goes to great heights to celebrate the Hoosier state.

AIRED: August 27, 2019 | 0:26:46
ABOUT THE PROGRAM
TRANSCRIPT

>> PRODUCTION SUPPORT FOR

"JOURNEY INDIANA" IS PROVIDED

BY:

>>> COMING UP...

>> TAKE A LOOK AT THE BODY

POSITIVE PORTRAIT PHOTOGRAPHY OF

NATASHA KOMODO.

>> AND CELEBRATE SOME OF THE

AGRICULTURAL ICONS.

>> TRAVEL TO CAMBRIDGE CITY TO

LEARN ABOUT THE OVERBECK SISTERS

AND THEIR LASTING LEGACY.

>> AND MEET A MURALIST WHO GOES

TO GREAT HEIGHTS TO CELEBRATE

THE HOOSIER STATE.

THAT'S ALL ON THIS EPISODE OF

"JOURNEY INDIANA"!

>> WELCOME TO "JOURNEY INDIANA."

I'M ASHLEY DILLARD.

>> AND I'M BRANDON WENDT.

TODAY WE ARE COMING TO YOU FROM

THE DEPOT MUSEUM AND ART GALLERY

HERE IN BEVERLY SHORES WHICH IS

AN IDEAL PLACE BECAUSE TODAY WE

WILL BE LOOKING AT SOME

INCREDIBLE HOOSIER ARTISTS.

>> THAT'S RIGHT.

UP FIRST, PRODUCER JUSTIN

CROSSLY BRINGS US THE STORY OF

ONE ARTIST'S GOAL TO USE MUSIC

AND DANCE TO CREATE BEAUTIFUL

AND INTIMATE PORTRAITS.

>> MY NAME IS NATASHA KOMODO AND

I'M A PHOTOGRAPHER AND FOUNDER

OF MOMOGRAPHY.

>> IT'S A BODY POSITIVE

PORTRAITURE EXPERIENCE.

MY PERSPECTIVE ON BODY POSITIVE

PORTRAITURE, IT'S A NO JUDGMENT

ZONE, AND IT'S REALLY A

CELEBRATION THAT WE ARE, OUR

BODIES, EWE HUMANITIES AND DIVERSE

SHAPES AND ACCESSING AND BEING

AWARE OF ALL OF THAT.

NOT JUST THIS IDEA THAT THERE'S

OWN ONE BEAUTY STANDARD.

THERE'S ONLY WAY WAY TO LOOK

BEAUTIFUL.

I THINK THAT'S FALSE.

THEY ARE TRYING TO SELL EVERYONE

THAT YOU ARE NOT ENOUGH.

YOU ARE NOT BEAUTIFUL ENOUGH.

THAT IS SORT OF MY THING.

I'M TRYING TO BREAK OUT OF THAT.

I BELIEVE THAT TRYING TO DEFINE

OUR WORST WORTH BASED ON HOW BEAUTIFUL

WE ARE SHOULD BE THROWN OUT THE

WINDOW.

I THINK THE RAW HUMAN SPIRIT IS

WHERE BEAUTY REALLY COMES OUT.

I MEAN, THESE ARE THE HUMAN

CREATIVE PROCESS THAT I FIND

BEAUTIFUL.

THAT'S WHAT I'M TRYING TO

COMPOSE IN MY PHOTOGRAPHY.

MY ROLE IS I'M HOLDING A SPACE,

A LOVING AND CARING BUT STILL

NEUTRAL SPACE SO THAT THE PERSON

IS -- CAN JUST BE WHO THEY WANT

TO BE.

CREATIVE, RAW, HUMAN SPIRIT

COMES OUT WHEN WE REALLY GET

HERE.

I USE THE TOOLS OF MOVEMENT AND

MUSIC.

I FEEL LIKE I HAVE THIS DEEP

CONNECTION WITH WHAT THE -- THE

POWER THAT WE CAN HAVE ON

PEOPLE.

WHETHER IT'S THE ACTUAL MUSICAL

COMPOSITION ITSELF OR EVEN LIKE

PEOPLE'S MEMORIES WITH

PARTICULAR SONGS.

SO I HAVE PEOPLE START THINKING

ABOUT PREPARING A PLAY LIST.

FIVE TO TEN SONGS.

WHEREVER YOU HEAR IT, YOU CAN'T

HELP BUT MOVE AND FUN AND DANCE

OR PICK SONGS THAT ARE VERY

STRONG IN THE SENTIMENTAL

CONNECTIONS WITH IT.

THINGS LIKE THAT, THAT TAP INTO

THE DEEPER, CREATIVE SPACE.

>> THE BEGINNING OF EVERY SHOOT,

I MAKE A STATEMENT THAT THERE'S

NO FAILURE IN THIS PHOTO SHOOT.

YES, YOU CANNOT -- AS LONG AS

YOU ARE HERE AND DON'T SOMEHOW

DISAPPEAR, WE HAVE SUCCEEDED

BECAUSE THE WHOLE POINT OF THE

SESSION IS THAT WE ARE CAPTURING

WHO THEY ARE RIGHT WHEN THAT

SHUTTER CLICKS AND THAT'S THE

CELEBRATION.

WE ARE CELEBRATING THEIR LIFE,

THAT THEY ARE ALIVE, THAT THEY

HAVE THEIR BODY, BUT THEIR BODY

IS A VEHICLE THAT CONTINUES

THEIR LIFE.

AND SO THAT'S THE CELEBRATION.

>> I HAVE TO STOP TRYING AND

JUST FEEL IT.

IT WAS SO FREEING, I DON'T KNOW,

GET THE EXPERIENCE THE FIRST

TIME.

I DON'T HAVE TO WORRY ABOUT IT.

IT'S JUST ME AS ME.

SO IT'S BEEN REALLY LIBERATING

DOING THIS SESSION.

THIS IS ALMOST LIKE A COUNSELING

SESSION, BUT IT'S PHOTOGRAPHY.

>> AFTER WE DO THE PHOTO SHOOT,

I ASK TO SHARE THE STORY ABOUT

THEMSELVES, AND IT CAN BE REALLY

BRIEF.

THIS POWER THROUGH WORDS AND

THROUGH PHOTOGRAPHS.

YOU KNOW, YOU PUT THAT TOGETHER

AND THERE'S JUST SOMETHING ABOUT

IT, THAT IS VERY IMPACTFUL.

YOU'RE LIKE, OH, WOW, THIS

PERSON.

THEY HAVE A SIMILAR STORY AS I

DO.

AND THEY HAVE TAKEN THE TIME TO

BE SEEN.

THEREFORE, PERHAPS I CAN ALSO BE

SEEN TOO, AND HEAL THAT

NEGATIVITY.

BECAUSE, YOU KNOW, THE MORE

NEGATIVITY THAT WE CAN HEAL

ABOUT OURSELVES, AGAIN, WE'RE

MAKING MORE SPACE TO DO

SOMETHING POSITIVE.

>> I JUST PICKED IT UP.

I HAD SUCH COMPASSION FOR ME.

IT WAS SUCH A PROFOUND, HENDER

MOMENT -- TEND HER MOMENT TENDER MOMENT WITH

MYSELF.

>> THEY ARE NOT CONSCIOUS ABOUT

THEMSELVES.

THEY ARE JUST HAVING FUN.

AND THEY ARE SO BEAUTIFUL AND

ATTRACTIVE.

I WANT TO THINK THAT, YOU KNOW,

HAVING THAT KIND OF NATURAL

HAPPINESS AROUND YOU MAKES YOU

BEAUTIFUL.

>> I GET TO FOCUS ON LOVING

MYSELF, AND APPRECIATING MY

BODY.

LOVING YOUR BODY AS IT IS RIGHT

NOW IN THIS MOMENT.

THAT'S WHAT MATTERS THE MOST.

>> I THINK MY JOY IS BEING ABLE

TO BE A WITNESS TO THE RAW HUMAN

SPIRIT THAT I BELIEVE EVERYONE

HAS.

>> AND IF YOU WOULD LIKE TO SEE

MORE OF NATASHA'S WORK, CHECK IT

OUT AT STEMMOGRAPHY.COM.

>> WE LOOK AT A HOOSIER ARTIST

WHOSE SUBJECT MIGHT SURPRISE

YOU.

>> A GRAIN ELEVATOR IN THE

SIMPLEST TERMS IS A PLACE THAT

FARMERS STORE GRAIN.

IN THE MID-1800s, THESE WERE

BUILT ABOUT EVERY TEN MILES SO

THAT FORMERS AND THEIR HORSE AND

WAGONS COULD GET TO THE

ELEVATOR, DROP OFF THEIR GRAIN

AND GET HOME IN THE SAME DAY.

THE LOCALNESS, THE TOGETHERNESS

THAT GRAIN ELEVATOR SYMBOLIZE IS

IN INDIANA'S HISTORY.

I DID NOT GROW UP SEEING GRAIN

ELEVATORS.

WE MOVED TO INDIANA WHEN I WAS

IN ABOUT SEVENTH GRADE.

AND, IN FACT, REALLY DIDN'T

NOTICE THEM UNTIL THE -- THE

FIRST ONE IN ABOUT 2004.

I WENT AND PHOTOGRAPHED

GREENFIELD'S GRAIN ELEVATOR AND

HAVE BEEN DRAWN TO GRAIN

ELEVATORS REALLY EVER SINCE.

PROBABLY ALWAYS WILL BE.

WHEN I WAS HOME WITH KIDS FOR

TEN YEARS, THAT'S WHEN I TAUGHT

MYSELF HOW TO WATER COLOR PAINT,

WHICH IS TRICKY.

AND SO I READ BOOKS AND I

WATCHED VIDEOS AND I PRACTICED

AND I PRACTICED BE, AND PRETTY

MUCH I HAD LOTS OF FAILURES.

AND THE FIRST WATER COLOR

PAINTING THAT I ACTUALLY LIKED

THAT I PRODUCED WAS OF THE GRAIN

ELEVATOR THAT I PHOTOGRAPHED IN

2004.

I THINK THE ONES THAT I WANT TO

PAINT ARE MORE PICTURESQUE.

THEY MIGHT HAVE SOME UNIQUE

FEATURE.

THEY MIGHT BE INDICATIVE OF THAT

SENSE OF COMMUNITY THAT THE

GRAIN ELEVATOR SYMBOLIZES FOR A

SMALL DOWNTOWN.

THEY MIGHT HAVE SOME

ARCHITECTURAL FEATURE THAT MAKES

IT INTERESTING.

YOU KNOW, A LITTLE BRICK WALL OR

A COOL DOOR OR THE SHAPE.

SOMETIMES THE LIGHTING.

THERE'S ALL KINDS OF DIFFERENT

THINGS THAT MAKE IT PAINTABLE TO

ME.

I HAVE A LITTLE BOOK AND IT HAS

ALL THE GRAIN ELEVATORS I KNOW

ABOUT LISTED BY COUNTY.

SO ON ALL THE FAMILY TRIPS, I

CAN CATCH THEM WHEN I CAN, WHICH

THE KIDS LOVE.

YOU KNOW, THERE'S PRETTY MUCH

100 LEFT ON MY LIST THAT I

THOUGHT MIGHT STILL BE OUT

THERE, BUT THE LAST TRIPS I HAVE

TAKEN IN THE LAST SEVERAL YEARS

HAVE ENDED IN THE GRAIN ELEVATOR

ALREADY BEING DEMOLISHED.

AND ONCE THEY ARE GONE, THEY ARE

GONE.

THEY ARE NOT BUILDING THEM ANY

MORE.

THE BICENTENNIAL LEGACY PROJECT

WAS DEVELOPED BY THE STATE OF

INDIANA TO HELP CELEBRATE

INDIANA'S 200th BIRTHDAY.

I THINK THERE WERE LIKE 1,000

PROJECTS AND PEOPLE ACROSS THE

STATE OF INDIANA COULD CHOOSE TO

DO SOME PROJECT TO HELP

CELEBRATE THE STATE.

KNOWING THAT ONCE UPON A TIME

THESE WERE SO IMPORTANT TO

INDIANA'S STORY AND NOW THEY

WERE DISAPPEARING, I FELT LIKE I

WANTED TO PRESERVE THAT.

I THINK REALLY THE CONNECTION

ARE ONE THE GREATEST PARTS OF

THIS PROJECT.

IT'S NOT JUST ABOUT THE

ELEVATOR.

IT'S ABOUT THE PEOPLE AND THE

CONNECTIONS THAT THEY HAVE TO

THIS FROM WHEN THEY WERE GROWING

UP AND THE MEMORIES THAT THEY

SEN ATHAVE AND THE STORIES THAT THEY

HAVE.

AND I WOULD GET CALLS FROM

SHOCKING AMOUNTS OF PEOPLE THAT

HAVE STORIES THAT THEY WANT TO

TELL.

SOMETIMES ARCHITECTURE JUST GETS

DEMOLISHED AND WE DON'T REALLY

KNOW WHY.

AND I THINK PEOPLE FELT LIKE

THAT THIS WAS REALLY COOL, THAT

IN THIS WAY, I WAS HELPING TO

PRESERVE THESE GRAIN ELEVATORS

THAT WERE SO IMPORTANT TO THEM

IN THEIR FARMING BACKGROUNDS AND

THEIR FAMILIES AND THEIR

COMMUNITIES AND THEIR

CHILDHOODS.

AND THEY WERE JUST SO

APPRECIATIVE.

COMMUNITIES HAVE TURNED GRAIN

ELEVATORS INTO HOTELS AND

MUSEUMS AND BREWERIES AND ALL

SORTS OF THINGS.

SO I THINK THE SKY IS THE LIMIT

FOR SOMEBODY WITH SOME

IMAGINATION, AND SOME INTEREST

IN HELPING TO PRESERVE THE

STRUCTURE.

I THINK THAT MY PAINTINGS HELP

PEOPLE APPRECIATE THEM AND

APPRECIATION IS FIRST THING THAT

PEOPLE NEED BEFORE PRESERVATION

OR RESTORATION.

SO IN THAT REGARD, I AM INVOLVED

IN HELPING PROMOTE PRESERVATION

OF THESE GREAT STRUCTURES.

>> YOU CAN CHECK OUT MORE OF

KATHLEEN'S WORK AT

KATHLEENHOFFMAN.COM.

>> AND NOW WE'RE OFF TO WAYNE

COUNTY TO LEARN ALL ABOUT THE

OVERBECK SISTERS AND THE

BUSINESS THEY CREATED MORE THAN

100 YEARS AGO.

>> IT'S REED RUSKIN'S WORK AND

SOME OF THE LATER WRITERS IN THE

ARTS AND CRAFTS MOVEMENT, IT WAS

ABOUT THE WAYS IN WHICH OUR

SURROUNDINGS AFFECT OUR

CHARACTER.

THEY REALLY BELIEVED THAT OUR

ARCHITECTURAL AND NATURAL

SURROUNDINGS, RIGHT DOWN TO THE

OBJECTS WITH WHICH WE INTERACT

ON A DAILY BASIS, THEY BELIEVE

THAT ALL OF THOSE ELEMENTS OF

OUR DAILY LIVES AFFECT WHO WE

ARE AND HOW WE SEE THE WORLD.

TO RELATE THAT TO THE OVERBECK

SISTERS, THEIR EMPHASIS ON

WANTING TO DO SOMETHING LOCAL,

THAT IS IT WAS AN AMERICAN-MADE

PRODUCT.

THEIR USE OF NATURAL MOTIFS,

THEIR USE OF LOCAL CLAY.

AND THE OVERBECK SISTERS' BELIEF

IN THEIR ABILITY TO CREATE A

BUSINESS OF THEIR OWN IS

ABSOLUTELY RELATED TO THE

FOUNDATION OF THE ARTS AND

CRAFTS MOVEMENT.

>> MORE THAN JUST AN AESTHETIC,

THE ARTS AND CRAFTS MOVEMENT WAS

ROOTED IN OPPOSITION TO

VICTORIAN EXCESS AND TOXIC

INDUSTRIALISM.

A PHILOSOPHY THAT SOMEHOW MADE

ITS WAY FROM ENGLAND TO THE

UNITED STATES, TO A SMALL HOUSE

ON EAST CHURCH STREET IN

CAMBRIDGE CITY, INDIANA.

>> UNFORTUNATELY, IT SEEMS THAT

THE RESIDENTS OF CAMBRIDGE CITY

OR UNAWARE OF THE OVERBECKS'

HOUSE AND WHAT THEY PRODUCED.

AND WHEN THEY COME TO THE

LIBRARY HERE AND SEE WHAT THERE

IS, THEY ARE ASTOUNDED BECAUSE

THEY HAD NO KNOWLEDGE OF WHAT

HAD HAPPENED HERE IN THIS TOWN.

>> WHAT HAPPENED WAS THE LIFE'S

WORK OF THE OVERBECK SISTERS,

MARGARET, HANNAH, ELIZABETH,

MARY FRANCIS AND IDA.

THEY ESTABLISHED THEIR STUDIO IN

1911 AND OVER THE COURSE OF

SEVERAL DECADES BETWEEN BEING

KNOWN FOR THE FANCIFUL FIG

FIGUREINES.

>> THE SISTERS' WILL GO WAS TO

PRODUCE QUALITY, NOT QUANTITY.

AND WHILE THEY MADE A LIVING,

THEY CERTAINLY DIDN'T GET RICH.

>> SOMETIMES THEY WOULD SELL

THEIR PIECES FOR A DOLLAR OR TWO

OR MAYBE A NICE VASE WOULD BE $5

OR $10 OR $25 COMMUNITY.

THIS WAS A FARMING COMMUNICATE.

PEOPLE WERE INTERESTED IN THEIR

SCHOOLS AND KIDS AND CHURCHES

AND NOT SO MUCH IN ART.

>> BUT IT WAS A SUPPORTIVE

COMMUNITY.

ONE THAT CAN STILL BOAST

PERSONAL CONNECTIONS LIKE THE

ONE BETWEEN MARY FRANCIS

OVERBECK AND A YOUNG LEAH

HUDDLESTON.

>> I WOULD JUST GO IN AND SIT

DOWN AND SHE WOULD BE AT ONE

SIDE OF THE TABLE MAKING HER

CLAY.

I CAN'T REMEMBER OUR

CONVERSATIONS, BUT WE JUST

TALKED.

SHE WAS VERY PLEASANT.

VERY PLEASANT.

NEVER DID SEEM TO GET TIRED OF

ME JUST SITTING THERE WATCHING

HER.

AND I HAD NO IDEA OF THE

MAGNITUDE OF THEIR WORK.

>> THE WOMEN OWNED AND HANDLED

ALL ASPECTS OF THEIR ARTISTIC

ENTERPRISE UNTIL 1955, WHEN LAST

OF THE SISTERS DIED AND OVERBECK

POTTERY CLOSED.

OVER THE ENSUING YEARS AND MUCH

TO THE SURPRISE OF MANY

CAMBRIDGE CITY RESIDENTS,

OVERBECK POTTERY HAS RISEN

SHARPLY IN VALUE, BECOMING QUITE

COLLECTIBLE.

BUT FOR SOME FOLKS, A SMALL

FIGURINE OR A VASE IS NOT

ENOUGH.

>> WE HAVEN'T CHANGED THE HOUSE

VERY MUCH.

THAT WAS ONE OF THE GOALS WE HAD

WHEN WE BOUGHT THE HOUSE WAS NOT

TO MAKE BIG CHANGES IN IT.

>> THAT'S RIGHT PHYLLIS AND

JERRY MATTIAS ARE THE PROUD

OWNERS OF THE OVERBECK HOUSE AND

STUDIO.

>> I WAS JUST TAKEN WITH THE

HOUSE, BECAUSE I WILL THOUGHT

WHAT A GREAT FAMILY HOME!

THERE'S A BEDROOM FOR EACH ONE

OF OUR KIDS.

LOTS OF ROOM TO EXPAND.

ROOMS TO PLAY AND THE YARD.

>> INITIALLY DRAWN TO THE HOME

FOR MORE PRACTICAL PURPOSES, THE

MATTIASS SOON REALIZED THE

SIGNIFICANCE OF THE PROPERTY.

>> WE KNEW IT WAS IMPORTANT FOR

THAT TO BE PRESERVED.

>> AND HERE YOU ARE WORKING ON

IT.

>> YEAH.

>> AND WE'RE STILL WORKING ON IT

STILL AFTER 27 YEARS BECAUSE

THERE'S STILL GROWING.

IT'S LIKE A MARRIAGE.

THE MORE YOU WORK ON IT, THE

MORE YOU BECOME A PART OF IT AND

IT BECOMES PART OF YOU.

>> IT'S MUCH MORE THAN JUST THE

HOUSE.

IT'S BEEN OUR LIFE.

IT HAS BEEN OUR FAMILY.

>> FOR PHYLLIS AND JERRY, AND

THE FOLKS AT THE OVERBECK

MUSEUM, IT'S ALL ABOUT

CELEBRATING THE SISTERS' ART AND

WORKING TO ENSURE A LASTING

LEGACY.

>> I DON'T THINK THEY ARE

RECOGNIZED ENOUGH, REALLY, IN

OUR STATE AND LOCALLY.

IT'S SO SURPRISING TO US THAT

PEOPLE ARE SO UNAWARE OF WHAT

THEY HAVE, THE HERITAGE HERE.

PART OF OUR MISSION IS TO INFORM

PEOPLE AND MAKE THEM AWARE OF

WHAT'S HAPPENING AND OF THE

VALUE OF THE HISTORIC AREA HERE

IN CAMBRIDGE CITY AND IN WAYNE

COUNTY.

>> THE OVERBECK MUSEUM IS

LOCATED IN THE CAMBRIDGE CITY

PUBLIC LIBRARY.

JUST CHECK OUT THE LIBRARY'S

WEBSITE FOR HOURS.

>>> TYNEALLY, WE WILL TAKE A

LOOK AT AN ARTIST WHOSE WORK CAN

BE FOUND ALL OVER INDIANA.

FROM THE SMALL TOWNS TO THE

STATE CAPITOL.

PRODUCER JASON PEAR JOINS US THE

STORY OF MURALIST PAMELA BLISS.

>> PAINTING A MURAL IS CERTAINLY

DIFFERENT THAN PAINTING ON

CAMPUS.

IF I HAVE A 6-FOOT HEAD THAT I'M

PAINTING WHEN YOU ARE LOOKING UP

CLOSE, IT'S VERY IMPRESSIONISTIC

LOOKING.

IT'S ALMOST LIKE I HAVE TO PAINT

ABSTRACT FORM TO CREATE A

REALISTIC IMAGE.

SO I HAVE TO THINK ABOUT THE BIG

PICTURE, AND THE DETAILS ALL AT

THE SAME TIME.

>> IT'S A MENTAL DANCE THAT

MURALIST PAMELA BLISS FROM HOAGY

CARMICHAEL IN RICHMOND TO THE

JAZZ LEGENDS OF INDIANA AVENUE

IN INDIANAPOLIS, SHE'S PAINTED

MORE THAN 50 MURALS THROUGHOUT

THE STATE.

EACH ONE STARTS SIMPLE ENOUGH,

WITH A DESIGN, A YARDSTICK AND A

PENCIL.

AND IN THE CASE OF HER LATEST

PROJECT, A REALLY BIG BLANK

WALL.

>> I WANTED TO PAINT ON THIS.

AND IT JUST SO HAPPENS THAT THE

FAMILY WAS LOOKING FOR ME AND

THEY WANTED A MURAL AND IT CAME

TOGETHER.

>> SO THIS WALL IN INDIANAPOLIS

AT THE CORNER.

DELAWARE AND MICHIGAN WILL SERVE

AS BLISS' LATEST CANVAS.

IT'S ALSO HER TALLEST WHICH

BELIEVE IT OR NOT POSES A BIT OF

A PROBLEM.

>> I'M PETRIFY OF HEIGHTS.

[ LAUGHTER ]

ONCE I START PAINTING ON IT,

THEN IT'S JUST LIKE A

NO-BRAINER.

I HAVE GOTTEN TO THE POINT WHERE

I CAN ZONE OUT, YOU KNOW,

BECAUSE SOMETIMES LIKE ON THIS

ONE, I'M 60 FEET IN THE AIR.

AND SO I HAVE TO THINK ABOUT

SOMETHING OTHER THAN NOT DYING.

BUT FOR SOME REASON, THE LIFT IS

DIFFERENT.

I CAN CONTROL IT, TO MAKE SURE

IT'S CLOSE ENOUGH TO THE WALL

THAT IF IT FALLS OVER, YOU KNOW.

IT'S JUST A CONTROL THING.

>> OVER THE COURSE OF A COUPLE

OF MONTHS IN THE FALL OF 2018,

THIS ICONIC IMAGE OF PACERS

GREAT AND NBA HALL OF FAMER

REGGIE MILLER WILL TAKE SHAPE.

AFTER THE LAYOUT IS FINISHED,

BLISS STARTS AT THE VERY TOP,

LARGELY TO KEEP GRAVITY FROM

BLOWING WET PAINT INTO THE

PREVIOUS DAY'S WORK.

SHE ALWAYS KEEPS THE BIGGER

PICTURE IN MIND.

>> THIS IS MORE ABOUT REGGIE,

BUT INDIANA PRIDE AND COMING

TOGETHER.

>> IT'S A SENSE OF

RESPONSIBILITY THAT BLISS FEELS

IN ALL OF HER WORK.

>> WHEN I'M DOING A SUBJECT, I

WANT TO KNOW IF IT'S CORRECT.

LIKE, FOR INSTANCE, I DID THE

KURT BONNOGUT MURAL.

HE WAS JUST A FIGURE STANDING

THERE.

I WANTED TO GET HIS PERSONALITY.

I READ SO MUCH ABOUT HIM.

I THINK THE EXTRA RESEARCH

REALLY BENEFITED THAT MURAL.

A LOT OF PEOPLE DON'T KNOW THAT

THEY HAVE THIS HISTORY IN THEIR

OWN HOMETOWN.

PUBLIC ART IS IN EVERYONE'S FACE

EVERY DAY.

IT'S NOT LIKE THEY GO TO A

MUSEUM AND THEY GO SEE THAT ART.

IT'S IN THEIR LIFE.

AND IT BECOMES THEIR TRUTH.

AND I WANT TO MAKE SURE THAT I

INSTALL THE CORRECT TRUTH.

>> IN SOME PLACES, LIKE BLISS'

HOMETOWN OF RICHMOND, MURALS,

MANY OF THEM HER OWN, HAVE

BECOME TOURIST ATTRACTIONS.

>> PUBLIC ART DOES A LOT MORE

THAN JUST MAKE A WALL PRETTY.

SHE'S BECOME ONE OF THE STATE'S

MOST SOUGHT AFTER MURALISTS.

>> ONE OF MY TEACHERS IN HIGH

SCHOOL SAID I COULD NOT PAINT.

SO I DIDN'T UNTIL I WAS ABOUT 30

YEARS OLD.

SO I TOOK A FOUR-DAY WORKSHOP TO

LEARN HOW TO PAINT A PORTRAIT.

I THOUGHT, WELL, I KNOW I CAN'T

PAINT BUT AT LEAST I WANT TO

CREATE SOME HEIRLOOMS FOR MY

KIDS.

>> CLEARLY, SHE'S DONE MUCH MORE

THAN THAT AND NOT JUST AS A

MURALIST.

A FEW YEARS AGO, BLISS GOT WORD

THAT A FILM COMPANY WAS LOOKING

FOR PAINTERS.

INTRIGUED, SHE ANSWERED THE CALL

AND SENT OFF SOME SAMPLES.

TO HER SURPRISE, SHE GOT A

RESPONSE.

>> THEN THEY SENT ME THIS EMAIL

SAYING THAT I WAS SELECTED.

IT WAS JUST LIKE THAT.

IT WAS TOO EASY FOR ME.

I WAS LIKE THIS IS THE NIGERIAN

PEOPLE TRYING TO GET MY

INFORMATION.

>> THE EMAIL WAS LEGIT AND A FEW

WEEKS LATER, SHE WAS HEADED TO

POLAND.

THE SURPRISES WEREN'T OVER.

>> I GUESS I REALLY DIDN'T KNOW

WHAT TO EXPECT.

I THOUGHT I WAS GOING TO BE

PAINTING BIG BACKDROPS FOR THE

MOVIE.

>> INSTEAD, SHE AND MORE THAN

100 OTHER ARTISTS HAND PAINTED

THE IMAGERY FOR THE 2017 OSCAR

NOMINATED FILM "LOVING VINCENT."

>> IT TOOK 12 PAINTED FRAMES FOR

ONE SECOND OF FILM.

>> THE PATIENCE AND ATTENTION TO

DETAIL REQUIRED FOR THAT PROJECT

ISN'T ALL THAT DIFFERENT THAN

THE SKILLS REQUIRED TO PAINT A

MURAL.

BY MID-OCTOBER, SHE BROUGHT ALL

OF HER SKILLS TO BEAR ON THE

LATEST PIECE AND WAS PUTTING ON

THE FINISHING FINISHING TOUCHES.

IMPACT IS UNDENIABLE.

THE TOP OF THE BALL IS 6 STORIES

OFF THE GROUND.

AND REGGIE'S ICONIC FOOT ALONE

IS 3 FEET TALL.

AND IT'S ALREADY DRAWING A

CROWD.

>> I LIKE IT THAT PEOPLE ARE

DRAWN TO THE ART, THE PIECE, BUT

I WOULD RATHER PREFER PEOPLE TO

KNOW MY WORK AND NOT NECESSARILY

ME.

>> A VERY PRIVATE PUBLIC ARTIST

CREATING HEIRLOOMS FOR HOOSIERS

ONE WALL AT A TIME.

>> AND AS ALWAYS, WE ENCOURAGE

YOU TO STAY CONNECTED WITH US.

>> JUST HEAD OVER TO "JOURNEY

INDIANA.ORG."

THERE YOU CAN SEE FULL EPISODES,

AND CONNECT WITH US ON FACEBOOK

AND YOUTUBE AND SUGGEST STORIES

FROM YOUR NECK OF THE WOODS.

>> BEFORE WE SAY GOOD-BYE, LET'S

TAKE A LOOK AT A FEW MORE

ARTISTS EXHIBITING HERE AT THE

DEPOT MUSEUM AND ART GALLERY.

>> PRODUCTION SUPPORT FOR

"JOURNEY INDIANA" IS PROVIDED

BY:

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