Journey Indiana

S3 E9 | FULL EPISODE

Episode 309

Coming to you from the Sculpture Trails Outdoor Museum in Greene County...check out some "happy little trees" in Muncie; explore the figurative work of a Bloomington sculptor; meet an Indiana artist who celebrates her heritage in her work; and travel to Brown County for a look at another Hoosier artist's unique paper quilts.

AIRED: November 17, 2020 | 0:26:46
ABOUT THE PROGRAM
TRANSCRIPT

>>> PRODUCTION SUPPORT FOR

"JOURNEY INDIANA" IS PROVIDED

BY: COLUMBUS VISITORS CENTER,

CELEBRATING EVERYWHERE ART AND

UNEXPECTED ARCHITECTURE, IN

COLUMBUS, INDIANA.

TICKETS FOR GUIDED TOURS AND

TRIP PLANNING INFORMATION AT

COLUMBUS.IN.US.

AND BY: WTIU MEMBERS.

THANK YOU.

>> COMING UP, CHECK OUT SOME

HAPPY LITTLE TREES IN MUNCIE.

>> EXPLORE THE FIGURATIVE WORK

OF A BLOOMINGTON SCULPTURE.

>> AND MEET AN INDIANA ARTIST

WHO CELEBRATES HER HERITAGE IN

HER WORK.

>> AND TRAVEL TO BROWN COUNTY

FOR ANOTHER HOOSIER ARTIST'S

UNIQUE PAPER QUILT.

THAT'S ALL ON THIS EPISODE OF

"JOURNEY INDIANA."

>> WELCOME TO "JOURNEY INDIANA."

I'M BRANDON WENTZ, COMING TO YOU

FROM THE SCULPTURE TRAILS

OUTDOOR MUSEUM IN GREEN COUNTY.

>> AND I'M ASHLEY CHILLA JUST

DOWN THE ROLL AT THE TULIP

TRESTLE OBSERVATION DECK.

WE ARE TALKING ABOUT ALL THE

ARTS IN THIS WEEK'S EPISODE.

IT LOOKS LIKE I FOUND THE

PERFECT SPOT.

>> I SURE DID.

THE SCULPTURE TRAILS OUTDOOR

MUSEUM LOCATED A FEW MILES

OUTSIDE OF SALISBURY, INDIANA IS

HOME TO MORE THAN 100

LARGE-SCALE SCULPTORS, MANY OF

THEM CREATED RIGHT HERE ON THE

PROPERTY.

IT'S REALLY A UNIQUE PLACE AND

WE WILL LEARN ALL ABOUT IT IN

JUST A LITTLE BIT, BUT, FIRST,

WE'RE HEADED TO NORTH TO

DELAWARE COUNTY TO LEARN ABOUT A

WELL-KNOWN PAINTER WITH A LESS

WELL-KNOWN INDIANA CONNECTION.

PRODUCER JASON PEAR HAS THE

STOREY.

>> WE ARE AT MINITRISTA, WE ARE

AT A MUSEUM AND GARDENS IN

MUNCIE, INDIANA, WE ARE THE HOME

OF THE BALL BROTHERS WOULD

OPERATED BALL BROTHERS GLASS

THAT BROUGHT EVERYONE THAT

ICONIC BALL JAR.

THIS WAS THE FAMILY OF DR. LUCIA

BALL.

HE PRACTICED MEDICINE HERE IN

TOWN AND HE ACTUALLY WASN'T

INVOLVED WITH BALL BROTHERS

COMPANY.

AFTER IT WAS A PRIVATE

RESIDENCE, ED BALL, WHO GREW UP

THREE HOUSES DOWN ON THE

BOULEVARD, HE WAS REALLY ACTIVE

WITH GETTING MUNCIE'S LOCAL PBS

STATION SET UP.

SO ED WAS ABLE TO HELP WITB WHEN

THEY NEEDED A HOME FOR A STATION

AND A STUDIO UTILIZE THIS HOUSE,

WHICH WAS AVAILABLE TO DO THAT

KIND OF STRAIGHT OUT OF THE GATE

IN THE 1970s.

ANY TIME ANYONE WALKS IN, THEY

SAY, OH, IT'S SO SMALL!

THIS IS IT!

IT REALLY JUST IS.

IT WAS THE FORMER LIVING ROOM OF

THE HOME.

>> AND THROUGH A SERIES OF HAPPY

LITTLE ACCIDENTS, THIS LIVING

ROOM, TURNED STUDIO, BECAME THE

HOME OF THE TELEVISION ICON.

>> HELLO, I'M BOB ROSS AND FOR

THE NEXT 13 WEEKS, I WILL BE

YOUR HOST AS WE EXPERIENCE THE

JOY OF PAINTING.

>> BOB ROSS, WE ALL LOVE AND

KNOW HIM NOW AS THAT

BUSHY-HAIRED PAINTER ON PBS.

WELL, BEFORE THAT, HE WAS A KID

GROWING UP IN FLORIDA.

HIS MOTHER TAUGHT HIM TO LOVE

NATURE.

AND HIS FATHER WAS A CARPENTER.

HE WAS ALWAYS VERY CREATIVE AND

DOING THINGS WITH HIS HAND AND

HE REALLY CAME TO LOVE PAINTING.

>> AND I WOULD LIKE TO SHARE

THAT GIFT WITH YOU.

>> SO ONE THING LED TO ANOTHER

AND HE WENT FROM BEING AN

IN-PERSON WORKSHOP, YOU KNOW,

TEACHER, TO HAVING THIS REALLY

GREAT FUN, TV SHOW THAT EVERYONE

LOVES.

>> SO LET'S DO IT!

LET'S AN ALMIGHTY PICTURE RIGHT

HERE.

>> IN TOTAL "THE JOY OF

PAINTING" IS 31 SEASONS.

BOB WOULD COME TO MUNCIE FOUR

TIMES A YEAR.

HE WOULD SHOW UP ON A SUNDAY AND

MONDAY MORNING, HE WOULD COME IN

AND THEY WOULD SHOOT ALL THE

OPENINGS AND CLOSINGS.

>> WELCOME BACK.

BE READY TO DO A FANTASTIC

PICTURE WITH ME.

>> AND THEN OVER THE NEXT COUPLE

OF DAYS, THEY WOULD FILM THOSE

13 EPISODES.

EVERY EPISODE WAS DONE IN ONE

SHOT.

>> THAT AN INSPIRING PAINTING.

>> ALL RIGHT, NOW.

>> IN THE FIRST YEAR, THEY HAD

ABOUT 30 STATIONS AROUND THE

COUNTRY PICK IT UP AND EACH YEAR

AFTER, THAT MORE AND MORE, AND

REALLY WITHIN JUST A COUPLE OF

YEARS, THEY HAD ALMOST THE

ENTIRE COUNTRY.

>> AND I THINK WE JUST ABOUT GOT

THAT ONE FINISHED.

>> PRETTY POPULAR STRAIGHT OUT

OF THE GATE.

WE HAVE BEEN WORKING ON TELLING

REALLY GREAT STORIES FROM OUR

COLLECTION, FROM OUR COMMUNITY,

STORIES THAT ARE CONNECTED TO

OUR SITE AND THE BOB ROSS STORY

WAS TIED TO OUR SITE.

IT'S CONNECTED TO OUR

COLLECTION, AND IT'S ABSOLUTELY

A STORY OF OUR COMMUNITY AND A

POINT OF PRIDE.

BUT WE REALLY JUST HADN'T DONE

ANYTHING WITH IT YET.

>> WELL, I THINK YOU KNOW WHAT

HAPPENED ALREADY.

>> SO WHAT WE DID IS WE STARTED

TALKING TO THE CREW THAT WORKED

ON THE SHOW, TALKING TO BOB'S

FRIENDS, TALKING TO PEOPLE THAT

WOULD HAVE BEEN IN THIS SPACE,

AND REALLY CULLING THEIR

MEMORIES ABOUT WHAT THE SPACE

LOOKED LIKE.

IF YOU COME TO THE BOB ROSS

EXPERIENCE, YOU WILL BE ABLE TO

STEP INTO THE STUDIO EXPERIENCE.

YOU CAN STEP UP TO BOB'S EASEL.

WE WANT TO GET YOU RIGHT UP

THERE NEXT TO IT AND YOU CAN GET

IMMERSED IN WHAT THAT LOOKED

LIKE AND FELT AND OVER IN THE

LIVING ROOM SPACE, YOU CAN SEE

WHAT IT WAS LIKE IN THE LATE

'80s AND '90s TO BE

EXPERIENCING BOB AT HOME.

>> THIS IS YOUR WORLD AND YOU

CAN CREATE ANYTHING THAT YOU

WANT IN IT.

>> THERE ARE SIX ORIGINAL

PAINTINGS IN THE BOB ROSS

EXPERIENCE AT ANY ONE TIME, AND

WE WILL ROTATE THOSE TO KEEP IT

FRESH.

WE HAVE 26 BOB ROSS ORIGINALS IN

OUR COLLECTION HERE AT MINTRISTA

AND THEY WILL ROTATE THROUGH.

WE NOT ONLY HAVE ONES THAT HE

PAINTED ON THE TV SHOW.

WE HAVE SOME THAT HE PAINTED FOR

HIMSELF.

>> OKAY.

I THINK WE'LL SIGN THIS ONE.

>> HE WANTED HIS SHOW TO BE ABLE

TO LIVE AFTER HIS LIFETIME, AND

IN MANY WAYS, HIS MESSAGE

RESOUNDS JUST AS MUCH TODAY AS

IT DID THEN.

BE FEARLESS.

BE CREATIVE.

TRY NEW THINGS.

FOR HIM, IT WAS ALL ABOUT JUST

FINDING THE JOY IN LIFE AND I

THINK THAT THAT'S SOMETHING JUST

DOESN'T GET OLD.

>> FROM ALL OF US HERE AT THIS

STATION, WE WISH YOU HAPPY

PAINTING AND GOD

AND GOD BLESS.

SEE YOU NEXT WEEK.

>> YOU KNOW, I HAD NO IDEA ABOUT

BOB ROSS' CONNECTION TO INDIANA.

AND IT'S A REALLY INTERESTING

FACT TO LEARN AMONGST ALL OF

THESE HAPPY TREES.

YOU CAN LEARN MORE AT

MINITRIST.NET/BOBROSSEXPERIENCE.

EARLIER WE CAUGHT UP WITH HUGH

PATTON, THE ARTIST IN RESIDENCE

HERE AT THE SCULPTURE TRAILS

MUSEUM.

>> SOCIAL TRAILS IS AN OUTDOOR

SCULPTURE PARK, OUTDOOR MUSEUM

FOR MOSTLY CAST METAL OR METAL

SCULPTURES.

IT'S A LITTLE BIT OF A HYBRID OF

AN OUTDOOR PARK, LIKE HIKING,

BUT ALSO ART.

YOU KNOW, ARTISTS FROM ALL OVER

THE COUNTRY KNOW ABOUT THIS

PLACE AND THEN SOME PEOPLE

WITHIN THE AREA DO.

IT'S LIKE A HIDDEN GEM, FOR

SURE.

SO THERE'S A FEW PIECES FROM

ENGLAND AND OTHER ARTISTS WHO

HAVE BROUGHT PIECES, BUT THE

MAJORITY OF THEM WERE MADE HERE,

AND THAT'S ALWAYS LIKE REALLY

SPECIAL FOR ME AS AN ARTIST OR

PEOPLE WHO VISIT HERE TO SEE

WHAT IT TAKES TO TAKE SOMETHING

FROM START TO FINISH.

THERE ARE SEVERAL PIECES OUT

HERE THAT ARE VERY SPECIFIC TO

THIS PLACE, OR JUST LIKE THE

SPACE ITSELF.

YOU KNOW SOME OF THESE PIECES

ARE INSTALLED IN CERTAIN PLACES

BECAUSE IT'S LIKE -- IT SEEMS TO

FIT.

IN ANOTHER CONTEXT, YOU MAYBE

WOULDN'T MAKE THAT TYPE OF

CONNECTION, BUT WHEN IT'S OUT,

THERE IT FEELS LIKE IT'S

SUPPOSED TO BE THERE KIND OF.

AND EVEN THE COLOR SCHEMES OF

SOME OF THEM.

A LOT OF THEM ARE METAL AND A

LOT OF THEM HAVE A RUSTY PATINA,

SPRING AND SUMMER WHEN THERE'S

ALL OF THIS GREEN, THEY REALLY

POP OUT AND IT'S COOL TO SEE HOW

THE PIECES CHANGE, AS LIKE THE

SEASONS CHANGE.

FOR PEOPLE WHO EITHER APPRECIATE

ART OR WHO DON'T REALLY CARE

ABOUT ART, I THINK SEEING IT IN

A DIFFERENT CONTEXT MAYBE BREAKS

SOME OF THAT RIDGEDNESS THAT YOU

MAYBE FEEL LIKE IN A GALLERY OR

A MUSEUM.

I THINK THE WAY IT'S INTERTWINED

WITH THE WOODS SHEDS THAT

INSTITUTION FEEL.

WE ALL REALLY TEAR ABOUT THIS

PLACE AND WANT TO KEEP IT GOING

AND THAT'S HOW IT SURVIVES,

LIKE, IT STAYS ALIVE BECAUSE SO

MANY PEOPLE CARE ABOUT IT AND

WANT TO KEEP IT GOING.

>> YOU CAN LEARN EVEN MORE AT

SCULPTURETRAILS.COM.

ASHLEY?

>> THANKS, BRANDON.

UP NEXT, WE ARE HEADED JUST UP

THE ROAD TO MEET A BLOOMINGTON

SCULPTOR WHO ENJOYS MAKING FOLKS

FEEL A LITTLE BIT UNEASY.

WE HAVE THE STORY.

>> MY NAME IS CLAIR AND AIM A

CERAMIC SCULPTOR AND I WORK

MOSTLY WITH THE HUMAN FIGURE.

IT WAS REALLY ACCIDENTAL.

I THINK I WAS IN MY SECOND YEAR

OF COLLEGE AND I HAD NOT SIGNED

UP FOR CLASSES IN TIME.

I WANTED TO DO A DRAWING CLASS

AND HE WAS GOING TO CERAMICS.

I THOUGHT, OH, I WILL GO.

I WAS REALLY BAD AT IT WHEN I

FIRST STARTED DOING IT AND FOUND

IT FRUSTRATING.

THEN I STARTED THROWING ON THE

WHEEL AND MAKING POTTERY AND GOT

KIND OF OBSESSED WITH THE

FRUSTRATION OF HOW HARD IT IS.

I THINK IT WAS ALSO THE

COMMUNITY.

THERE'S A LOT OF COMMUNITY

AROUND CERAMICS, KIND OF LIKE OF

NECESSITY, BUT ALSO THAT'S KIND

OF JUST THE WAY IT IS.

THE SMALL TOWN IN THE ART WORLD,

AND YOU NEED EACH OTHER TO

OPERATE MACHINERY, LEARN HOW TO

FIRE KILNS OR YOU NEED HELP

LOADING STUFF.

IT'S VERY COMMUNAL AND I THINK

ALSO JUST GOING INTO A CLASS AND

REALIZING THAT YOU HAVE TO BE

FRIENDS WITH PEOPLE AND

GENERALLY, I JUST GOT ALONG WITH

PEOPLE WHO DID CERAMICS TOO.

SO IT MADE IT A LOT MORE

ENTICING TO WANT TO BE THERE.

MY WORK HAS ALWAYS BEEN

FIGURATIVE.

I USED TO SCULPT FROM PHOTOS

TRYING TO AS AN ATOMICAL AS

POSSIBLE AND TRIED TO DO MORE

WORK FROM MEMORY AND USING

OBJECTS AND LIKE SCENERY FROM MY

LIFE TO RECREATE A SCENE.

ALMOST EXCLUSIVELY

SELF-PORTRAITS.

KIND OF LIKE A BODY DOUBLE AND

USUALLY THERE ARE MULTIPLES IN A

SCENE.

IT'S KIND OF LIKE A

PSYCHOLOGICAL PORTRAIT AS WELL

AS LIKE A PHYSICAL PORTRAIT OF

WHAT I SEE AS MARKERS OF MY OWN

IDENTITY.

IF I'M STANDING NEXT TO IT, THEY

ARE LOOKING AT ME TOO, AND IT'S

ALMOST LIKE A PERFORMANCE AT

THAT POINT.

I DO TEND TO DRESS LIKE MY

SCULPTURES WHEN I GO.

I WILL WEAR THE OUTFIT OF

WHATEVER THAT ONE IS WEARING,

JUST BECAUSE I THINK IT'S FUNNY.

I'M INTERESTED IN MAKING SCENES

THAT ARE WOMAN CENTRIC, AND

ALLOW THE FIGURES TO HAVE

COMPLEX INNER EMOTIONS AND

DIALOGUES THAT ARE OFTEN

SYMBOLIZE WOMEN IN MEDIA.

USUALLY WOMEN ARE NOT CENTRAL

CHARACTERS WHERE YOU ARE SEEING

SOME KIND OF LIKE HERO'S JOURNEY

FOR THEM EMOTIONALLY OR EVEN

REALLY HAVING THEM BEING MORE OF

LIKE A REFLECTION OR SOME KIND

OF OBJECTIVE DESIRE.

I WOULD LIKE VIEWERS OF MY WORK

TO RELATE TO IT IN SOME WAY.

I WOULD ALSO LIKE THEM TO BE

SLIGHTLY CONFUSED BY IT.

YOU KNOW, I'M REALLY INTERESTED

IN MAKING WORK AND IN SETTING UP

SCENES THAT ARE NOT ONE LINERS.

I DON'T REALLY HAVE SOME BIG

POINT THAT I'M TRYING TO HIT

HOME FOR PEOPLE, THAT THEY WOULD

WALK AWAY AND BE LIKE, WELL, I

WAS DEFINITELY FEELING THIS.

I WANT PEOPLE TO ENGAGE WITH IT

AND HAVE AN EXPERIENCE WITH IT,

BE STRUCK BY IT SOME WAY,

WHATEVER THE EMOTIONAL EFFECT OF

THAT PARTICULAR PIECE IS

INTENDED TO BE.

THE MOST COMMON THING THAT

PEOPLE WILL COMMENT TO ME ABOUT

MY WORK IS LIKE, WELL, THAT'S

WEIRD!

THAT REALLY FREAKED ME OUT OR

THAT WAS SCARY.

YOU KNOW, THEY ARE KIND OF LIKE

SCARECROWS.

IT'S KIND OF THE PSYCHOLOGICAL

EFFECT OF SOMEBODY IS IN A ROOM

WITH SOMETHING THAT LOOKS LIKE

AIL HUMAN FIGURE EVEN THOUGH

IT'S INANIMATE, PEOPLE CAN'T

HELP BUT THINK THAT IT WILL

ANIMATE ITSELF.

AND I LIKE THE IDEA OF PLAYING

ON THAT FEAR.

IT'S JUST AN IMPULSE.

I JUST REALLY LOVE TO MAKE

THINGS.

I WILL THINK OF SOMETHING AND

THEN, YOU KNOW, I WILL BE LIKE,

ITCHING TO MAKE IT.

AND SO I JUST KIND OF FOLLOW

THAT IMPULSE THROUGH ALL THE

WAY.

IT'S A LOT OF SATISFACTION IN

THE WAY THAT IT KIND OF REGARDS

ALL THE THINGS THAT I CARE

ABOUT, THINKING ABOUT MAKING

THINGS ALSO MAKES ME HAVE TO BE

ENGAGED IN ART HISTORY AND

ENGAGED IN ART THEORY.

IT MAKES ME HAVE TO BE PART OF A

COMMUNITY WHERE I LOOK AT OTHER

PEOPLE'S WORK AND GET FEEDBACK

FROM PEOPLE.

A LOT OF MY SATISFACTION IS

HAVING THE ABILITY TO WORK ON

SOMETHING FOR A LONG PERIOD OF

TIME.

IT'S LIKE A JOURNEY.

IT'S A PROCESS OF FIGURING

THINGS OUT.

I FIND IT REALLY INTERESTING.

I SEE MYSELF AS MAKING WORK FOR

THE PEOPLE WHOSE ART WORK I ALSO

LIKE.

AND KIND OF THAT FEEL OF ART OR

SCULPTURE.

YOU KNOW, NOT EVERYONE LIKES

HORROR MOVIES BUT SOME PEOPLE

REALLY, REALLY LIKE THEM.

IT'S NOT FOR EVERYBODY.

>> YOU KNOW, I LOVE WHEN ARTISTS

PUSH PEOPLE OUTSIDE OF THEIR

COMFORT ZONE AND I LOVE THAT

SHE'S PRESENTING FEMALE STORIES

IN AN ATYPICAL WAY.

YOU CAN SEE MORE OF CLARISSA'S

WORK AT CLARISSAPIZONE.COM.

AND WE GO TO MEET KATRINA

MITTEN.

PRODUCER TODD GOULD HAS THE

STORY.

>> MY BEAD WORK AND MY OTHER

ARTS THAT I DO ARE AN EXTENSION

OF MY FEELINGS TO WHAT HAPPENED

TO OUR PEOPLE.

IT'S MY WAY OF PUTTING IT OUT

THERE OF WHO MY PEOPLE ARE AND

WHAT THOSE ARTS ARE LOST.

IT'S BRINGING THEM BACK.

>> ART HISTORIANS WILL NOTE THAT

INDIVIDUAL WORKS OF ART ARE A

WINDOW INTO THE HEART AND THE

MIND OF THE ARTIST.

FOR KATRINA MITTEN, ART IS ALSO

A WINDOW TOO THE PAST, REVEALING

THE HISTORY OF THE PEOPLE AND

THE CULTURE THAT ONCE RULED THIS

TERRITORY LONG BEFORE INDIANA

WAS DECLARED THE 19th STATE IN

1816.

A DESCENDANT OF THE MIAMI TRIBE

OF NATIVE AMERICANS, KATRINA IS

A BEAD ARTIST WHO IS PRESERVING

AN ANCIENT TRADITION THAT WAS

COMMON AMONG THE INDIAN NATIONS

THAT THRIVED IN THE INDIANA

TERRITORY MORE THAN TWO

CENTURIES AGO.

>> I WAS AROUND THE AGE OF 12,

WHEN I FIRST STARTED DOING BEAD

WORK.

I FOUND JUST SOME SMALL PIECES

THAT ACTUALLY MY GRANDMOTHER

HAD.

AND I LOOKED AT THE TECHNIQUE BY

LOOKING AT THE STITCHES ON THE

BACK, BECAUSE THE -- THE BACKING

HAD WORN AWAY.

SO I COULD SEE THE ACTUAL

STITCHES.

AND I COULD SEE THE COLORS THAT

WERE USED, AND I SAY THAT MY

TEACHERS WERE THE BEAD WORKERS

OF THE PAST.

THOSE THAT LEFT THINGS BEHIND.

>> MANY NATIVE ARTISTS HAVE BEEN

FORTUNATE TO RECEIVE TRAINING

AND GUIDANCE PASSED DOWN FROM

GENERATION TO GENERATION.

BUT KATRINA DID NOT HAVE THIS

ADVANTAGE.

INSTEAD SHE BEGAN STUDYING

NATIVE TRADITIONAL ART AT FAMILY

GATHERINGS AND MUSEUM EXHIBITS

AND THEN BEGAN ESSENTIALLY TO

REVERSE ENGINEER THE FINISHED

WORKS TO DETERMINE HOW A PIECE

WAS CREATED.

>> THERE WERE PEOPLE IN THE

DIFFERENT TRIBES FURTHER NORTH

THAT HAD SAVED -- YOU KNOW, HAD

STILL BEEN PASSING THINGS DOWN

THROUGH GENERATIONS, BUT I WAS

NOT FORTUNATE TO HAVE THAT.

SO I HAD TO START BEADING BY

LOOKING AT DIFFERENT ITEMS THAT

MY FAMILY HAD STILL IN THEIR

POSSESSION.

THEY WERE SMALL PIECES BECAUSE A

LOT OF THAT WAS LOST.

I STARTED LOOKING AT HOW THE

TECHNIQUE WAS DONE.

>> KATRINA'S STUDIO IS LOCATED

IN HUNTINGTON, AND HER FAMILY

LINEAGE IN THIS TOWN STRETCHES

BACK TO A TIME BEFORE THE

VILLAGE WAS EVEN ESTABLISHED.

THIS HOUSE, BUILT IN 1833, WAS

ONE OF THE COUNTY'S OLDEST

STRUCTURES AND WAS THE HOME TO

KATRINA'S FAMILY, TRIBAL LEADERS

OF THE MIAMI NATION DURING THE

ERA OF TREATY NEGOTIATIONS IN

THE 1830s AND '40s.

>> MY FOURTH GRADE GRANDFATHER

WAS CHIEF RICHARD BILLS.

HIS UNCLE WAS LITTLE TURTLE.

CHIEF LITTLE TURTLE WAS OUR WAR

CHIEF.

HE WAS HELD VERY HIGHLY BY OTHER

LEADERS OF OTHER SOLDIERS, OTHER

WARRIORS SUCH AS GEORGE

WASHINGTON AND CASIASKO, THEY

THOUGHT VERY HIGHLY OF HIM

BECAUSE HE WAS ONLY ONE OF THE

NATIVE AMERICANS TO DEFEAT TWO

UNITED STATES ARMIES IN BATTLE.

THE WOMEN ARE HELD VERY HIGHLY

IN OUR CULTURE, AND MY FAMILY

LINEAGE WITH THE MIAMI PEOPLE IS

THROUGH THE WOMEN IN MY FAMILY.

MY MOTHER, MY GRANDMOTHER, MY

GREAT GRANDMOTHER.

IT GOES BACK.

>> DURING THE INDIAN REMOVAL ACT

OF 1846, MOST OF THE FAMILIES OF

THE MIAMI NATION IN INDIANA WERE

FORCED TO MOVE TO THE OKLAHOMA

TERRITORY.

BECAUSE KATRINA'S FAMILY WERE

TRIBAL LEADERS, THEY WERE

ALLOWED TO STAY IN INDIANA, BUT

THEY WERE LARGELY FORCED TO

ASSIMILATE THEIR CULTURE AND

TRADITIONAL WAYS TO THE WHITE

SETTLERS IN THE REGION.

KATRINA BELIEVES THIS IS THE

REASON THAT MANY OF HER NATIVE

TRADITIONS SUCH AS BEAD ARTISTRY

WERE LOST OVER THE YEARS.

HER WORK TO RESTORE THIS

TRADITIONAL ART HAS LED HER TO

ESTABLISH ART HISTORY PROGRAMS

IN THE HUNTINGTON SCHOOLS WHERE

SHE DRESSES IN NATIVE CLOTHING

AND TEACHES YOUNG AUDIENCE ABOUT

THE IMPORTANCE OF THE AREA'S

ARTISTIC HERITAGE.

>> I STARTED DOING PROGRAMS AT

SCHOOLS HERE IN INDIANA,

THROUGHOUT INDIANA, WHERE I

WOULD SET UP CAMP, AN 1830s

TIME FRAME CAMP AND I WOULD COME

IN MY TRADITIONAL CLOTHING AND

WE WOULD DISCUSS EVERYTHING THAT

HAS NO DO WITH ARTS.

THIS IS A CHANCE FOR THE

CHILDREN TO LEARN ABOUT OUR

CULTURE.

>> KATRINA'S ART WORK HAS BEEN

WIDELY ACCLAIMED AND SOME OF HER

WORK HAS BEEN VALUED AT MORE

THAN $3,000.

SHE'S SHOWCASED MANY OF HER

WORKS IN MUSEUMS ACROSS THE

NATION.

FROM REGIONAL EXHIBITS AT THE

IDLE GEORGE MUSEUM OF AMERICAN

INDIANSAMERICANINDIANS TO SHOWS IN SANTA FE AND

THE SMITHSONIAN MUSEUM OF THE

AMERICAN INDIAN IN WASHINGTON,

D.C..

>> A LOT OF PEOPLE DON'T KNOW

WHO THE MIAMI PEOPLE ARE.

I KIND OF FELT IT'S MY

RESPONSIBILITY WITH MY ART TO

TELL THE STORY TO THOSE WHO

DON'T KNOW OF US.

IT'S CONTINUING THE STORY OF OUR

PEOPLE.

>> YOU CAN SEE EVEN MORE OF

KATRINA'S WORK AT

KATRINAMITTEN.COM.

>> AND WE ARE GOING TO BROWN

COUNTY TO MEET AN ARTIST WHO

WORKS WITH A UNIQUE MEDIUM.

PRODUCER JASON PEAR GOES TO LOST

LAKE STUDIO.

>> MICHELE'S JOURNEY TO LOST

LAKE STUDIO IN EASTERN BROWN

COUNTY WAS NOT A DIRECT ONE.

>> WHEN I WAS YOUNG AND DECIDING

WHAT TO DO, GOING TO COLLEGE, IT

WAS EITHER GOING TO BE AN

ENGINEERING DEGREE AT PURDUE OR

I WAS GOING TO GET AN ENGLISH

DEGREE.

>> SHE WENT THE ENGINEERING

ROUTE AND FOLLOWING GRADUATION

FOUND HERSELF IN MINNESOTA

WORKING FOR 3M.

>> I DECIDED PRETTY QUICKLY THAT

WASN'T WHAT I WANTED TO DO FOR

THE REST OF MY LIFE.

>> SO DURING HER TEN YEARS IN

THE CORPORATE WORLD, MICHELE

PURSUED OTHER INTERESTS AND SHE

WENT BACK TO SCHOOL AND GOT A

MASTER'S DEGREE IN POETRY.

SHE ALSO REDISCOVERED HER LOVE

OF VISUAL ARTS.

>> THEN AT THAT TIME I WAS DOING

COLLAGES AND STITCHING AND I WAS

HAND BINDING A BOOK AND I HAD

ONE OF THOSE ACTUAL LIKE EUREKA,

A-HA MOMENTS.

I WAS SEWING THE BOOK TOGETHER.

YOU SEW THEM TOGETHER BY HAND

AND I REALIZED I WAS SEWING IN

PAPER.

AND I STARTED HAND SEWING IN

SOME OF MY COLLAGES AND ONE DAY

I STUCK ONE THROUGH THE SEWING

MACHINE AND ONE THING LED TO

ANOTHER AND NOW THAT'S WHAT I

MOSTLY DO IS SEW IN THE SEWING

MACHINE AND PAPER.

THE MAIN MEDIUM I WORK IN, I

SORT OF MADE UP.

I LIKE TO CONSIDER IT DRAWING

WITH THE SEWING MACHINE.

I OUTLINE THE PIECES.

I ADD TEXTURE.

I ADD LINES.

SO IT'S LIKE APPLIQUE QUILTING

BUT IN PAPER, OR IT'S LIKE

COLLAGE WITH SEWING.

A LOT OF IT IS BASED ON

PHOTOGRAPHS.

I WALK EVERY DAY IN THE WOODS.

I PHOTOGRAPH WHAT I SEE.

I USE THOSE TO MAKE PATTERNS FOR

MY WORK AND THEN I WRITE BASED

ON WHAT I SEE.

I DON'T REALLY FIT IN ONE

MEDIUM.

AND I THINK THOSE PLACES WHERE

TWO THINGS COME TOGETHER, I

THINK THERE'S JUST INTERESTING

THING TO EXPLORE.

>> AND THAT WILLINGNESS TO

EXPLORE DIDN'T STOP WITH PAPER

QUILTING.

>> I STARTED MAKING THE PAPER

SCULPTURES AFTER I TOOK A POP-UP

BOOK CLASS.

SO I ENJOYED A LOT THE POP-UP

BOOKS AND I ENJOYED THE IDEA OF

MAKING THE THREE-DIMENSIONAL

IMAGES, BUT IT WAS PRETTY

RESTRICTIVE.

YOU CAN'T PUT EXTRA THINGS IN

IT.

THEY HAVE TO FOLD FLAT WHEN YOU

ARE DONE.

AND I HAD THE IDEA, WELL, IF I

STICK THESE INTO A SHADOW BOX

FRAME, THEN I CAN PUT ANYTHING I

WANT IN THEM.

SO I THEY ARE INSPIRED -- SO

THEY ARE INSPIRED BY POP-UP

BOOKS BUT I HAVE GONE BEYOND

WHAT YOU CAN PUT IN A POP-UP

BOOK.

I SEW THE PIECES TOGETHER TO GET

THE DIMENSIONALITY AND THE

TEXTURE.

I LAYER UP THE PIECES AND I CAN

MAIM THEM AS THREE-DIMENSIONAL

AS I LIKE.

>> MICHELLE ALSO MAKES

FUNCTIONAL ART.

>> SO I LIKE TO THINK OF MY

JOURNALS AND MY BOOKMARK AND MY

NOTE CARDS AS ART WORK THAT GET

TO TOUCH AND LOOK AT EVERY DAY.

WHEN PEOPLE ARE READING OR

JOURNALING, THEY GET TO TOUCH

AND USE THE THINGS I MAKE OVER

AND OVER AGAIN.

>> AT THE END OF THE DAY, THEY

ARE ALL OPPORTUNITIES FOR

MICHELLE TO FURTHER EXPLORE A

MEDIUM SHE'S GROWN TO LOVE.

>> I LOVE THE VARIETY OF PAPER.

I LOVE THAT IT'S EASY TO WORK

WITH.

I MEAN, IT'S ONE OF THE FIRST

ART SUPPLIES YOU GIVE A KID.

I MEAN, IT'S PRETTY EASY TO WORK

WITH.

I COLLECT PAPER THE WAY QUILTERS

COLLECT FABRIC.

I HAVE A STASH OF PAPER,

PROBABLY MULTIPLE LIFETIMES

WORTH OF PAPER.

IT'S LIKE A TREASURE HUNT EVERY

TIME I'M MAKING SOMETHING TO

FIND THE RIGHT PIECE AND THE

RIGHT TEXTURE AND COLOR TO FIT

THE SPOT I'M WORKING ON.

>> AND ALONG WITH THE MOO MEDIUM AND

CAREER, MICHELE FOUND A

COMMUNITY TO LOVE AS WELL.

>> I'M PRETTY SOCIAL PERSON, A

PRETTY EXTROVERTED PERSON THAT

LIKES TO BE AROUND OTHER PEOPLE,

ESPECIALLY OTHER PEOPLE WHO ARE

DOING THESE KIND OF CREATIVE

WORKS.

SO BROWN COUNTY IS A WONDERFUL

PLACE TO LIVE FOR THAT.

THERE'S A FANTASTIC COMMUNITY OF

ARTISTS THAT I TAPPED INTO

ALMOST IMMEDIATELY WHEN I MOVED

HERE.

SO FOR ME, THAT'S PROBABLY MY

BIGGEST SOURCE OF INSPIRATION.

>> YOU CAN GET ALL THE INFO AND

SEE MORE OF MICHELE'S WORK AT

LOSTLAKESTUDIO.COM.

AND AS ALWAYS, WE WOULD LIKE TO

ENCOURAGE YOU TO STAY CONNECTED

WITH US.

>> JUST HEAD OVER TO

JOURNEYINDIANA.ORG.

THERE YOU CAN SEE FULL EPISODES,

CONNECT WITH US ON FACEBOOK,

YOUTUBE AND INSTAGRAM AND

SUGGEST STORIES FROM YOUR NECK

OF THE WOODS.

>> WE ALSO HAVE A NEW MAP

FEATURE THAT ALLOWS TO YOU SEE

WHERE WE HAVE BEEN AND TO PLAN

YOUR OWN INDIANA ADVENTURES

BEFORE.

WE SAY GOOD-BYE, LET'S SPEND

MORE TIME EXPLORING THE

SCULPTURE TRAILS OUTDOOR MUSEUM.

>> PRODUCTION SUPPORT FOR

"JOURNEY INDIANA" IS PROVIDED BY

COLUMBUS VISITORS CENTER,

CELEBRATING EVERYWHERE ART AND

UNEXPECTED ARCHITECTURE IN

COLUMBUS, INDIANA.

TICKETS FOR GUIDED TOURS AND

TRIP PLANNING INFORMATION AT

COLUMBUS.I.N..US.

AND BY WTIU

STREAM JOURNEY INDIANA ON

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