Journey Indiana

S2 E14 | FULL EPISODE

Episode 214

Coming to you from the Sidney and Lois Eskenazi Museum of Art at Indiana University...meet a Bloomington mosaicist who creates works of art - one piece at a time; witness the artistry of collodion process photography; meet the artists who participated in last year's Great Outdoor Art Contest in Brown County; and meet Adam Nahas - the artist behind Bloomington's Burl and Ingot Workshop

AIRED: January 14, 2020 | 0:26:46
ABOUT THE PROGRAM
TRANSCRIPT

>> PRODUCTION SUPPORT FOR

"JOURNEY INDIANA" IS PROVIDED

BY:

>>> COMING UP.

>> MEETING A BLOOMINGTON

MOSAICIST WHO CREATES WORK ONCE

PIECE AT' TIME.

>> AND MEET THE ARTIST WHO

PARTICIPATED IN LAST YEAR'S

GREAT OUTDOOR ART CONTEST IN

BROWN COUNTY.

>> AND MEET ADAM NAHA, THE

ARTIST BEHIND BLOOMINGTON'S BURL

AND INGUS WORKSHOP.

>> THAT'S ALL ON THIS EPISODE OF

"JOURNEY INDIANA"!

>>> WELCOME TO "JOURNEY

INDIANA."

I'M ASHLEY DILLARD.

>> AND I'M BRANDON WENT.

AND WE'RE COMING FROM THE

ESKANAZI MUSEUM OF ART ON THE

INDIANA CAMPUS AND THAT'S' GREAT

PLACE FOR US TO BE AND WE WILL

TAKE A LOOK AT SOME INCREDIBLE

HOOSIER ARTISTS.

>> THAT'S RIGHT AND UP FIRST, WE

ARE LOOKING AT ON ANCIENT ART

WITH BLOOMINGTON MOSAICIST.

PRODUCER JASON PEAR HAS THE

STOREY.

>> MOSAIC HAPPENED TO ME THROUGH

CHANCE.

IT WAS SORT OF CHANCE THAT I

BECAME A TILE SETTER AND

MOSAICS, IT'S BROAD ENOUGH, IT'S

EXPRESSIVE ENOUGH, AND IT'S A

MEDIUM THAT'S BIG ENOUGH THAT IT

NOW IS SORT OF -- IT'S THE THING

THAT I DO.

THE WAY I GOT STARTED WAS GOING

TO THRIFT SHOPS.

YOU GO AND FIND BOWLS WITH LOTS

OF DESIGNS AND COLOR.

AND TAKE THEM HOME AND BUST THEM

UP WITH A HAMMER AND APPLY

MORTAR ON A SUBSTRATE AND AFFIX

THE TILES ON THE MORTAR.

PEOPLE BRINGS IN PLATES AND

DISHES.

A QUIRED LOTS OF MATERIALS

THROUGH TILE SETTING, AND

OCCASIONALLY, WILL BUY BOXES OF

TILES IF I NEED PARTICULAR

COLORS.

THE CONTEMPORARY MOSAIC RELIES

MOSTLY ON STONES AND BYZANTINE

OR ITALIAN GLASS.

THERE ARE GLASS COMPANIES IN THE

STATES, ACTUALLY KOKOMO, INDIANA

HAS ONE OF THE PREMIER GLASS

COMPANIES IN THE WORLD.

I ACTUALLY USE A LOT OF THEIR

MATERIALS.

OTHERWISE, SHELLS -- I MEAN,

JUST FOUND OBJECTS.

AND LIKE I SAID, THAT'S WHAT

MAKES MOSAIC FUN.

YOU CAN FIND LOTS OF YOUR

MATERIAL OUT IN THE WOODS OR ON

THE BEACH.

AND I DO THAT WHEN I GO TO THE

BEACH.

I BRING HOME LOTS AND LOTS OF

SHELLS.

THE TWO ENDS OF MY WORLD ARE

TILE MOSAIC AND CONTEMPORARY

MOSAIC.

THE TILE MOSAIC, IT'S CUTTING

THEM AND BREAKING THEM UP WITH

HAMMERS AND REASSEMBLING THEM

AND GROUTING THEM.

CONTEMPORARY MOSAIC IS DONE WITH

TRADITIONAL TOOLS, WHICH IS A

HAMMER AND A CHISEL AND A LOG,

JUST THE SAME WAY IT'S BEEN DONE

FOR SEVERAL THOUSAND YEARS.

THOSE MATERIALS WHEN THEY ARE

CUT INTO CUBIC GEOMETRIC FORMS

ARE EMBEDDED IN MORTAR AND

TYPICALLY NOT GROUTED.

>> MOST OF MY IMPULSES NOWADAYS

ARE ON INTERNAL FACE OF

CONSCIOUSNESS, MY OWN

EXPERIENCES AND TRYING TO CREATE

SOME TYPE OF TANGIBLE OBJECT

THAT, LIKE, WORKS THOSE

EXPERIENCES OUT.

THE EMOTION THAT COMES FROM THE

USE OF COLOR AND THE USE OF LINE

PATTERNS, YOU COULD ALSO ARGUE

THAT MY WORK DOES NOT HAVE A

THEME.

IT'S JUST LIFE.

I'M ALSO A YOUNG ARTIST.

SO I WOULD SAY A LOT OF MY WORK

UP UNTIL NOW HAS BEEN PRETTY

EXPLORATORY.

I HAVE ONE SON.

HE'S DONE LOTS AND LOTS OF

DRAWINGS AND ON OCCASION,

THERE'S ONE THAT I'M REALLY

BLOWN AWAY BY AND SO ON THREE

OCCASIONS NOW, I HAVE SORT OF

WHAT MOSAICISTS WOULD SAY IS

ETERNALIZE HIS DRAWINGS BY

TRANSLATING THEM NO MOSAICS IF I

SEE SOMETHING THAT HE'S DONE

THAT WOULD MAKE A GREAT SUBJECT

FOR MOSAICS, I USED IT.

AS AN ARTIST, I'M PRODUCING A

TANGIBLE, VISIBLE OBJECT THAT IF

I CREATE IT AND IT'S HANGING ON

MY WALLS, IT'S INCOMPLETE,

BECAUSE IT REQUIRES NOT ONLY A

CREATOR, BUT SOMETHING MORE.

I RELY REALLY HEAVILY AND HOPE

THAT PEOPLE WHO SEE MY WORK ARE

RECEIVING SOMETHING FROM IT.

WHETHER IT BE JOY OR SOME KIND

OF INSPIRATION THEMSELVES.

THAT FEEDBACK LOOP IS SUPER

IMPORTANT TO ME.

FOR ME, IT'S THE MOST

FUNDAMENTAL, BASIC LEVEL, THAT'S

WHY I DO WHAT I DO.

IT'S SOMETHING THAT I LOVE, AND

I'M PUTTING THE LOVE THAT I HAVE

INTO IT, AND I'M HOPING THAT WE

CAN KEEP DOING THAT AND SO

THAT'S WHAT I HOPE TO DO.

IT'S NOT SUPER BIG AMBITIONS BUT

I WANT TO KEEP DOING THIS UNTIL

I'M OLD.

>> TO SEE MORE OF CHRIS' WORK,

JUST GO TO OMOSAICO.COM.

>> UP NEXT, A SLIGHTLY MORE

MODERN ART FORM.

PRODUCER JOHN TIMM INTRODUCES US

TO COLONIAL PROCESS PHOTOGRAPHY.

>> IT'S JUST A DIFFERENT FORM OF

EXPRESSION.

IT'S DIFFERENT THAN FILM.

AS MANY SIMILARITIES AS THERE

ARE, THERE ARE DIFFERENT

QUALITIES TO THE IMAGE AND YOU

CAN'T GET IT ANY OTHER WAY.

YOU CONDITION GET IT CAN'T GET IT FROM A FILTER

ON INSTAGRAM AND IT'S SOMETHING

UNIQUE TO THIS PROCESS.

I'M MICHAEL GODAC.

I SHOOT DIGITAL AND ANALOG,

INCLUDING THE WET PLATE COLONIAL

PROCESS.

PHOTOGRAPHY HAS ALWAYS BEEN A

PASSION OF MINE SINCE HIGH

SCHOOL.

I TOOK A CLASS IN HIGH SCHOOL

AND I ENJOYED THE PROCESS OF

TAKING THE IMAGE AND ALSO

DEVELOPING THE FILM AND PRINTING

IT IN THE DARK ROOM.

A COUPLE OF YEARS AGO, I SAW A

VIDEO ONLINE CALLED SILVER AND

LIGHT, FEATURING IAN ROOTER,

HE'S AN ARTIST THAT DOES THIS

PROCESS BUT TO A MUCH LARGER

SCALE.

JUST MESMERIZED BY THE PROCESS

AND HOW IT WORKED AND WHAT THE

IMAGES LOOKED LIKE.

SO I STARTED RESEARCHING HOW TO

GET INTO IT, AND WHAT IT WOULD

BE REQUIRED TO DO.

I MET A FEW PEOPLE ALONG THE WAY

THAT KIND OF GUIDED ME AND

HELPED ME TO FIGURE OUT HOW TO

GET STARTED IN THE PROCESS.

PEOPLE CALL IT MANY DIFFERENT

THINGS, WET PLATE, WET PLATE

COLODIAN, AND TIN TYPE, BUT IT

ALL REFERS TO THIS PROCESS.

>> PRIOR TO WET PLATE, THERE WAS

THE PROCESS OF GERATITES WHICH

WERE INTRODUCED IN 1839, AND

THEN WET PLATE PHOTOGRAPHY CAME

IN LATER, IN THE 18 -- THE EARLY

1850s AND SO THAT WET PLATE

PHOTOGRAPHY IS FROM 1850s

THROUGH THE 1870s.

IT'S JUST A DIFFERENT LOOK THAN

ANYTHING ELSE THAT'S OUT, THERE

EVEN WITHIN THE BLACK AND WHITE

GENRE OF PHOTOGRAPHY.

>> IN ESSENCE, YOU NEED A LENS.

IT COULD BE ANY TYPE OF LENS

DATING FROM WHEN THEY FIRST

STARTED MAKING THEM, TO A MODERN

LENS NOWADAYS.

AND A BOX TO CAPTURE THE LIGHT

AND THE ACTUAL WET PLATES TO

RECEIVE IT AND BE ABLE TO BE

DEVELOPED.

>> SO IT'S A PROCESS THAT TAKES

ABOUT 15 MINUTES, ROUGHLY,

DEPENDING ON WHAT YOU ARE DOING

FOR THE SHOT, BUT TYPICALLY, YOU

WILL WANT TO GET SOME SORT OF

FOCUS ON YOUR SUBJECT AHEAD OF

TIME, SO THAT YOU ARE NOT

RUSHING, BUT ONCE YOU GET A

GENERAL COMPOSITION READY, IN

YOUR CAMERA, YOU WOULD PLATE OR

COAT AN ALUMINUM PLATE.

YOU WILL COAT IT WITH A CHEMICAL

CALLED COLODION.

FROM THERE, YOU WILL PUT IT IN A

SILVER PATH BATH AND IT SITS FOR A

FEW MINUTES TO SENSUOSITIES SENSITIZE IT TO

LIGHT.

IF YOU JUST REMOVE IT AND PUT IF

IN A PLATE HOLDER, THEN YOU

EXPOSED IT TO LIGHT AND YOU

CAN'T TAKE A PICTURE, JUST LIKE

EXPOSING FILM TO LIGHT.

AT THAT POINT, YOU WILL TAKE IT

OUT OF THE SILVER BATH, AND PUT

IT IN THE PLATE HOLDER TO BE

EXPOSED IN THE CAMERA.

ONCE YOU TAKE THE PICTURE, YOU

ALSO HAVE TO SHUT THE LIGHT OFF

TO DEVELOP IT, BECAUSE AGAIN, IF

IT'S EXPOSED TO LIGHT, IT'S

STILL LIGHT SENSITIVE AT THAT

POINT.

ONCE YOU EXPOSE IT TO LIGHT, YOU

WILL TAKE IT BACK AND DEVELOP IT

RIGHT AWAY.

AND THEN PUT IT IN A FIXER BATH,

TO ELIMINATE THE EXCESS SILVER

THAT WASN'T EXPOSED TO LIGHT.

SO IT IS VERY SIMILAR TO FILM,

BUT YOU ARE CREATING THE

EMULSION, INSTEAD OF HAVING THE

EMULSION ALREADY ADHERED TO YOUR

FILM.

WE KIND OF ALL MUTUALLY STARTED

SHOOTING TO GO.

WITH HAVE A MUTUAL FRIEND WHO

HAS DONE THIS FOR A VERY LONG

TIME.

WE KNEW EACH OTHER THROUGH HIM,

AND SO WE SAID, HEY, LET'S GET

TOGETHER AND SHOOT AND THEN IT

BECAME KIND OF A REGULAR THING

THAT WE WOULD GET TOGETHER,

USUALLY ONCE A MONTH, AND JUST

SHOOT AND SHARE IDEAS AND TRY

TO --

>> I LOVE THE HISTORY PART OF

IT.

I HAVE MET SO MANY DIFFERENT

PEOPLE DOING IT.

AND DIFFERENT CREATIVE PEOPLE.

>> I THINK IT'S IMMENSELY

ENJOYABLE WHEN IT TURNS OUT.

IT CAN BE INCREDIBLY FRUSTRATING

WHEN YOU SPEND ALL OF THIS TIME

TO PREP THE PLATE, TO ARRANGE

YOUR SUBJECT TO SHOOT THE IMAGE

AND THEN YOU MAKE ONE MISTAKE

WITH A CHEMICAL OR YOU SCRATCH

THE PLATE AND IT DOESN'T TURN

OUT.

YOU HAVE TO DO EVERYTHING ALL

OVER AGAIN.

SO THAT CAN BE DISCOURAGING, BUT

WHEN IT TURNS OUT, IT MEANS MORE

THAN WHEN YOU GET A SHOT WITH

DIGITAL.

>> WHEN YOU SEE IT TRANSFORM

FROM THE NEGATIVE TO THE

POSITIVE, THERE'S JUST SOMETHING

THAT IS UNEXPLAINABLE AND

GRATIFYING ABOUT THAT.

IT'S THE ONLY WAY I CAN DESCRIBE

IT, AND MANY OTHER PEOPLE HAVE

DESCRIBED IT, IS IT IS MAGIC.

EVEN THOUGH IT'S A CHEMICAL

PROCESS.

>> YOU CAN LEARN MORE AT

MODERNCOLODIAN.COM.

>> AND NOW WE ARE OFF TO BROWN

COUNTY WHERE PRODUCER JASON PEAR

BRINGS US THE SIGHTS AND SOUNDS

OF THE 2018 GREAT OUTDOOR

CONTEST.

>> TODAY IS A TRIBUTE TO T.C.

STEELE AND THE WHOLE PLEIN-AIR

MOVEMENT.

PLEIN-AIR IS THE ART OF ARTISTS

WHO PAINT OUTSIDE IN THE

PLEIN-AIR, IN THE OPEN AIR.

IT'S THE RIGHT THING FOR ME.

IT'S THE RIGHT THING FOR MANY

ARTISTS, BECAUSE YOU SEE COLOR.

YOU CAN SEE COLOR BETTER THAN IF

I WERE TO JUST TAKE A PHOTOGRAPH

AND PAINT FROM A PHOTOGRAPH IN A

STUDIO.

I DECIDED, YOU KNOW, I HAVE COME

FROM OHIO HERE, AND JUST TO GIVE

MY TRIBUTE TO THE MOVEMENT AND

TO T.C. STEELE, AND THE OTHER

INDIANA PLEIN-AIR PAINTERS.

>> TODAY IS A LITTLE BIT

DIFFERENT BECAUSE WE HAVE A TIME

STRUCTURE.

WE CAN START AT 7:00 AND WE HAVE

TO BE SET UP FOR JUDGING AT

2:00, WHICH REALLY MEANS YOU

NEED TO STOP BETWEEN 1 AND 1:30,

DEPENDING UPON HOW READY YOU ARE

TO SET IT UP ON AN EASEL.

AND THAT'S BASICALLY IT.

YOU JUST SIT AND PAINT OUTSIDE,

NO MATTER WHAT THE ELEMENTS ARE.

I MEAN, IT MAY SEEM SILLY TO

PEOPLE WHEN THERE'S ALL OF THIS

OTHER NATURE HERE THAT I'M

SITTING AN PAINTING A FLOWER IN

A POT, BUT IT'S JUST WHAT CAUGHT

MY ATTENTION.

SO I THOUGHT OKAY, THEN THAT'S

WHAT YOU NEED TO PAINT.

SO I SET MYSELF UP HERE.

>> I REALLY ENJOY THE SOLITUDE

OF IT, AND I LOVE THE

REFLECTIONS WITH THE WATER

LILIES.

SO IT'S JUST A PERSONAL CHOICE.

THIS' SO MANY GREAT PLACES TO

PAINT HERE.

I'M OUT TO HAVE FUN.

WINNING WOULD BE WONDERFUL.

BUT THERE'S THAT CAMARADERIE,

THAT IT'S A SUPPORT SYSTEM IN

MANY WAYS.

SO I ENJOY THAT VERY MUCH.

>> THE WHOLE IDEA OF PAINTING

OUTDOORS REALLY CAME ABOUT IN

THE 19th CENTURY, WHEN THEY

STARTED TO MAKE PAINT IN TUBES.

YOU COULD ACTUALLY CARRY IT

OUTSIDE.

BEFORE THAT, YOU COULDN'T LEAVE

THE STUDIO.

YOU JUST HAD TO MAYBE MAKE

SKETCHES AND COME BACK TO THE

STUDIO BECAUSE ALL PAINT WAS

MADE IN A STUDIO AND IT WASN'T

TRANSPORTABLE.

SO THE WHOLE IDEA OF

IMPRESSIONISM CAME ABOUT THEN

BECAUSE THE PAINTERS WERE --

THEY DIDN'T EVEN ACTUALLY CALL

THEM PAINTINGS.

THEY CALLED THEM IMPRESSIONS.

PART OF THE IDEA IS YOU WOULD GO

OUT AND TRY TO CAPTURE THE

LIGHT, THAT MOMENT AS IT EXISTS

IN THE ENVIRONMENT.

YOU KNOW, IT'S PRETTY

INTIMIDATING.

IT'S A LITTLE BIT LIKE PLAYING

COMPANY BASEBALL GAME IN YANKEE

STADIUM, BUT, YOU KNOW,

HOPEFULLY THERE'S SOME KARMA

FROM MR. STEELE AND HIS WIFE AND

THE PEOPLE THAT PAINTED HERE

BEFORE US, THAT CAN RUB OFF AND

INSPIRE US TO DO -- TO DO GREAT

WORK.

>> ACTUALLY, WHEN I SET DOWN

HERE TO DO THIS, THERE WAS A LOT

OF BEAUTIFUL LIGHT AND THAT'S

ONE OF THE CHALLENGES OF

PLEIN-AIR PAINTING IS THAT YOU

HAVE TO CHASE IT, OR IT'S GOING

TO CHASE YOU.

SO I'M HOPING IT COMES BACK HERE

IN' FEW MINUTES.

THE FIRST TIME I EVER PLEIN-AIR

PAINTED, RIGHT HERE ON LOCATION,

WAS T.C. STEELE.

THAT WAS FIRST YEAR I ACTUALLY

GOT OUT AND DID IT ON LOCATION.

THAT AS JUST SO MUCH FUN.

IT'S BEEN GOING ON FOR A LONG

TIME.

AND JUST ARTISTS CAN COME OUT

AND ENJOY THE DAY, AND FROM THE

DAY OF T. C. STEELE, AND A FEW

MORE ARTISTS GREW UP HERE AND

THERE, BUT, YEAH, IT'S FUN.

A LOT OF TRAILS, THINGS LIKE

THAT.

YOU CAN GET AWAY FROM IT.

YOU CAN BE IN THE MILDLE OF IT.

YOU CAN ENJOY NATURE OR YOU

CAN -- YEAH.

IT'S PRETTY AWESOME THAT THEY

ARE ABLE TO SHARE THAT.

>> IT'S ALWAYS FUN TO ENGAGE

WITH A GROUP OF PEOPLE AND SEE

THE WORKS THAT EVERYONE HAS

CREATED IN ONE SPACE.

IT'S BEAUTIFUL RIGHT NOW, JUST

THERE'S A TOUCH OF FALL AND WE

CAN CAPTURE THAT.

BUT I LOVE INDIANA SUBJECT

MATTER IN GENERAL.

I MEAN, I PAINT, WHEREVER I

TRAVEL, WHETHER IT'S MAINE, NEW

MEXICO, OR FLORIDA, BUT I FEEL

SO AT HOME AS A HOOSIER, JUST

HERE IN OUR LANDSCAPE.

THE GREEN, THE BEAUTY

EVERYWHERE.

>> REALLY PAINTING IS A

MEDITATION, WHERE YOU JUST GET

INTO WHAT YOU SEE AND TALK ABOUT

IT WITH YOUR MEDIUM.

AS YOU STAND HERE, YOU SEE SOME

PRETTY AMAZING THINGS, LIKE

BIRDS.

SOMETIMES AN EAGLE WILL FLY BY.

BEAUTIFUL HERONS AND OTHER

STIMULI THAT MAKE YOU FEEL

REALLY, REALLY GOOD ABOUT THE

ENVIRONMENT.

I HAVE PAINTED BUILDINGS IN THE

PAST, AND T.C. DID TOO.

BUT TODAY WAS GOING TO BE A

BEAUTIFUL NATURE DAY.

IF YOU DON'T STOP AND LOOK AT

IT, YOU QUIT SEEING IT.

SO THIS FORCES YOU TO REALLY

CONCENTRATE SEN HAVE A NEW

APPRECIATION, A DAILY

APPRECIATION WHEN YOU ARE

PAINTING FOR WHAT IS.

>> FOR MORE INFORMATION ABOUT

THE GREAT OUTDOOR ART CONTEST OR

OTHER EVENTS TAKING PLACE AT THE

T.C. STEELE STATE HISTORIC SITE,

HEAD OVER TO TCSTEELE.ORG.

>> FINALLY, WE ARE RIGHT BACK

HERE IN BLOOMINGTON.

WHERE OUR PRODUCER BRINGS US THE

STORY OF BURL AND INGOT.

>> I HAVE A LOT OF APTITUDE

TOWARDS MATH AND SCIENCE.

I CONSIDERED BEING AN ARCHITECT

OR ENGINEER.

BECAUSE I LIKE TO BUILD AND I

HAVE A GOOD SPATIAL

UNDERSTANDING OF HOW THINGS FIT

TO GO AND HOW THINGS WORK.

GROWING UP, I WAS REALLY FOCUSED

ON FANTASY ART AND I REALLY

ENJOYED COMIC BOOK AND GREEK

MYTHOLOGY A LITTLE BIT BECAUSE

IT WAS TAKING ANIMALS AND HUMANS

AND HYBRIDIZING THEM SEN CENTAURS

AND PEGASUS AND ALL OF THAT

STUFF CAME FROM THAT ERA.

I'M DRAWN TO A LOT OF DIFFERENT

MEDIUMS.

I THINK EARLY ON IN MY CAREER I

WAS DRAWN TOWARDS METALS BECAUSE

OF THE PERMANENCE AND THAT

PHYSICAL ART FORM, I FELT LIKE

WOULDN'T STAND THE TEST OF TIME.

YOU CAN RIP A PAINTING.

YOU CAN BURN AND YOU CAN CRUMPLE

SOMETHING UP, BUT WITH A METAL

SCRIPTURE, THAT'S SOMETHING

THAT'S A LOT HARDER TO

MANIPULATE AFTER THE IDEA IS

DONE.

I HAVE REALLY BEEN IN LOVE WITH

THE CASTING PROCESS, AND THE

CASTING PROCESS UTILIZES, YOU

KNOW, METALS OF ALL DIFFERENT

TYPES, AND I REALLY ENJOY IT,

LIKE I SAID, BECAUSE OF HOW LONG

LASTING IT IS AND A LOT OF

THINGS THAT GET PAID OUT OF

METAL ARE DESIGNED TO STAND THE

TEST OF TIME FOR THAT REASON.

THAT'S WHY YOU CREATE MONUMENTS

AND MEMORIALS AND AWARDS ALL OUT

OF METAL ARTS BECAUSE IT'S AN

HONOR.

IT HAS A HIGH VALUE.

SO I THINK WORKING IN THAT

MEDIUM ELEVATES WHAT I DO AND IT

ADDS MORE PROCESS TO IT.

SO WHILE IT MIGHT TAKE A LITTLE

BIT MORE TIME, IT WILL LAST SO

MUCH MORE.

SO I FEEL LIKE THE INVESTMENT OF

THE TIME YOU PUT INTO IT IS

RETURNED BACK TO YOU AFTERWARDS.

SO DEFINITELY METALS AND THE

CASTING PROCESS HAVE BEEN A HUGE

INFLUENCE IN THE TYPE OF ART

THAT I DO.

BURL AND INGOT, THE NAME OF THE

WORKSHOP, CAME ABOUT BECAUSE WE

HAD TWO SIDE-BY-SIDE GARAGES

WHEN WE FIRST CREATED THE

RESOURCE AND ONE SIDE WAS OUR

WOOD WORKING SIDE AND THE OTHER

SIDE WAS OUR METALWORKING SIDE.

SO INSTEAD OF SAYING THE

METALWORKINGSHOP AND THE WOOD

WORKINGSHOP, WE SAID BURL AND

INGOT.

ONE OF THE WAYS WE HELP YOUNG

ASPIRING ARTISTS IS WE ARE

CURRENTLY HOSTING A LINE OF

SUMMER CAMPS.

WE HAVE ACTUALLY GOTTEN THROUGH

OUR FIRST TWO SESSIONS AND OUR

LAST SESSION I'M TEACHING A

CLASS ABOUT BODY DUPLICATION AND

LIFE CASTING.

IT'S A MEDIUM THAT A LOT OF

PEOPLE DON'T UNDERSTAND.

WHEN PEOPLE THINK ABOUT ART THEY

THINK OF METAL OR ART OR DRAWING

AND I FEEL THAT'S PRETTY MUCH

THE BIG SCOPE OF THING AND

PEOPLE SEE IT.

BUT BODY DUPLICATION FOCUSES ON

THE KIDS DUPLICATING THEIR

HANDS.

THEY PUT THEIR HANDS IN A TUB

AND LET IT POSITION UP, IT MAY

BE A THUMBS UP OR A-OKAY AND

THEN THE DEMOLD PHASE WHICH IS

ALLOWING THEIR HAND TO COME UP

AND THEN THEY POUR A PLASTER

BACK INSIDE OF IT AND THE

PLASTER WILL HARDEN INSIDE THE

ROBBER MOLD.

THE RUBBER TEARS OFF EASILY.

IT'S NOT GREAT FOR CREATING A

LOT OF DUPLICATION BUT TO MAKE

ONE DUPLICATE OF YOUR BODY, IT'S

PERFECT FOR.

THE KIDS GET A CHANCE TO DO THAT

AND IN THAT PROCESS, THERE ARE

BUBBLES OR PROBLEMS THAT ARE

FORMED FROM IT.

SO THEY GET A CHANCE TO FIX

THOSE LITTLE PROBLEMS AFTER THE

CASTING COMES OUT AND THEN THEY

GET A CHANCE TO MAKE IT LOOK

LIKE DIFFERENT TYPES OF

MATERIAL.

THERE'S A PAINTING TECHNIQUE

THAT YOU CAN MAKE THESE PLASTER

SCULPTS OR PAINT THEM TO LOOK

VERY REALISTIC.

THIS WILL BE A PAINTING ELEMENT

INVOLVED WITH THE CLASS AND THEN

THE KIDS GET TO TAKE THESE HOME

WITH THEM AND FOREVER ACT LIKE A

LITTLE MOY MEMORIAL IN THEIR CLASS

AND STATE IN TIME.

AND MOM AND DAD GET TO HAVE THIS

LITTLE MOMENT FROZEN IN TIME IN

THE SUMMER CAMP AND I THINK IT'S

A LOT OF FUN TORE THEM FOR THEM TOO.

ART IS FOUND IN EVERY FACET OF

LIFE.

IT'S TO ELEVATE SPECIFIC MEDIUMS

INTO SOMETHING DIFFERENT.

YOU KNOW, TAKING BASIC MATERIALS

OR TAKING, YOU KNOW, THINGS THAT

ARE CONSIDERED GARBAGE, TRASH,

THINGS THAT AREN'T USEFUL, AND

REFORMING IT TO GIVE PEOPLE AN

IDEA OF AN EMOTION OR A THOUGHT

OR SOME MESSAGE YOU ARE TRYING

TO PASS ALONG.

IT'S VERY TRANSFORMATIVE.

>> FOR MORE INFORMATION, JUST

HEAD OVER TO

BURLINGOTARTISANALLEY.COM.

>> AND WE ENCOURAGE YOU TO STAY

CONNECTED WITH US.

>> JUST HEAD OVER TO "JOURNEY

INDIANA.ORG" AND YOU CAN SEE

FULL EPISODES AND CONNECT WITH

US FACEBOOK AND YOUTUBE AND

SUGGEST STORIES FROM YOUR NECK

OF THE WOODS.

>> AND BEFORE WE SAY GOOD-BYE,

LET'S EXPLORE OF THE ESKANAZI

MUSEUM OF ART.

>> PRODUCTION SUPPORT FOR

"JOURNEY INDIANA" IS PROVIDED

BY:

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