Journey Indiana

S3 E21 | FULL EPISODE

Episode 321

Coming to you from the Harrison Center in Indianapolis...travel to Corydon to learn the history behind Zimmerman Art Glass; meet artist Ken Bucklew and hear his inspiring story; shuffle up and deal with a McCordsville artist who designs collectible playing cards; and explore the figurative work of a Bloomington sculptor.

AIRED: April 27, 2021 | 0:26:46
ABOUT THE PROGRAM
TRANSCRIPT

>> PRODUCTION SUPPORT FOR

"JOURNEY INDIANA" IS PROVIDED BY

COLUMBUS INDIANA VISITORS

CENTER, CELEBRATING EVERYWHERE

ART AND UNEXPECTED ARCHITECTURE

IN COLUMBUS, INDIANA.

TICKETS FOR TRIP PLANNING

INFORMATION AT COLUMBUS.I N.U S

AND BY WTIU MEMBERS.

THANK YOU.

>> COMING UP, TRAVEL TO LEARN

THE HISTORY BEHIND ZIMMERMAN ART

GLASS.

>> HEAR HIS INSPIRING STORY.

>> SHUFFLE UP AND DEAL WITH AN

ARTIST WHO DEALS PLAGUE CARDS.

>> AND EXPLORE THE WORK OF

BLOOMINGTON SCULPTURE ON THIS

EPISODE OF "JOURNEY INDIANA."

>> WELCOME TO "JOURNEY INDIANA."

>> WE'RE COMING TO YOU ONCE

AGAIN FROM THE HARRISON CENTER

LOCATED IN INDIANAPOLIS' OLD

NORTH SIDE NEIGHBORHOOD.

THE HARRISON CENTER TELLS THE

STORIES OF OLD INDY

NEIGHBORHOODS.

YOU WILL FIND GALLERY, STUDIOS,

PERFORMANCE SPACES AND MUCH

MORE.

WE THOUGHT THIS WOULD BE A

PERFECT PLACE TO BRING YOU ART

STORIES FROM AROUND THE STATE.

>> WE'RE GOING TO LEARN ABOUT A

FAMILY TRADITION THAT LASTED

THROUGH FIVE GENERATIONS.

WE BRING YOU THE STORY OF

ZIMMERMAN ART GLASS.

>> WHEN I WAS A KID, YOU KNOW,

OUR MOTHERS GET US THAT LITTLE

BOOK THAT YOU WRITE IN, SO WHEN

YOU GO TO KINDERGARTEN, THEY PUT

YOUR PICTURE IN AND TALK ABOUT

WHO YOUR TEACHER WAS AND WHO

YOUR FRIENDS WERE AND ALL OF

THAT STUFF.

AT THE BOTTOM OF THE BOOK, AND I

STILL HAVE IT AT MY MOM'S HOUSE,

IT SAYS WHAT DO YOU WANT TO BE

WHEN YOU GROW UP, SO IS THERE

THERE IS FIREMAN AND LAWYER

STUFF LIKE THAT ON THERE.

IT WAS A BLANK THAT SAID OTHER.

WE ALWAYS WRITE IN GLASS BLOWER,

ALWAYS EVEN SINCE I WAS A LITTLE

KID.

THE HISTORY GOES BACK QUITE A

WAYS, BACK TO MY GRANDFATHER WHO

STARTED THE BUSINESS IN 1942.

HE WAS A LAMP CHIMNEY BLOWER.

THEY MADE THE GLASS AROUND CARRY

SEENCARRY -- KEROSENE LAMPS.

THEY STARTED MAKING A FEW ITEM,

PERFUME BOTTLE, WHICH WE STILL

DO TODAY.

MY FATHER WAS IN IT FOR 42

YEARS.

THIS IS MY 41st YEAR.

WE DO OVER 100 DIFFERENT ITEMS

NOW AND THE MAJORITY OF THOSE,

85% OF THOSE ITEMS ARE

FUNCTIONAL PIECES OF ART THAT

YOU CAN USE IN EVERYDAY LIFE.

THE TOOLS THAT I USE OUT THERE,

YOU KNOW, THEY CAME OUT OF THAT

LAMP CHIMNEY FACTORY, I MEAN

THEY ARE OVER 100 YEARS OLD, BUT

THAT IS WHAT GLASS PEOPLE DO.

THAT ASPECT HASN'T CHANGED A

WHOLE LOT.

EVERYTHING IN HERE IS BUILT IN

LAYERS OF GLASS, AND EVERYTHING

IS MADE ON THESE LONG IRON RODS.

I SAY IT IS LIKE PUTTING

SPAGHETTI ON A FORK.

YOU GO IN THERE AND TWIST IT AND

IT WILL GATHER UP ON THERE.

YOU START WITH A SMALL LAYER

ABOUT THE SIZE OF A GOLF BALL

THEN ADD COLOR TO IT AND YOU

FORM A DESIGN AND ONCE YOU HAVE

THAT, YOU PUT ANOTHER LAYER ON

TOP OF THAT AND THAT TRAPS THE

DESIGN ON TOP OF THAT.

YOU CAN MAKE AS MANY LAYERS AS

YOU WANT OR AS MANY DESIGN USE

WANT.

IF YOU START THIS, YOU HAVE TO

FINISH IT, IT IS NOT I'M GOING

TO TAKE A BREAK OR CATCH MY

BREATH.

IT DOES NOT WORK THAT WAY.

YOU START IT, YOU HAVE TO FINISH

IT EVENTUALLY.

WHEN I WAS YOUNGER, I'M GOING

MAKE THESE BIG PIECES AND THESE

BIG ELABORATE THINGS, BUT I KIND

OF GOTTEN AWAY FROM THAT.

I'M OVER ALL OF THAT.

MY JOB, WHERE I'M AT IN THE ART

WORLD IS I'M SUPPOSED TO EDUCATE

PEOPLE, SO THAT WHEN THEY GO OUT

AND THEY SEE A PIECE OF ART

GLASS MADE BY CHULE Y OR ONE OF

THE ARTISTS, THEY CAN SEE NET

OUR SHOP.

EVERYONE WHO CUSTOMS IN HERE

GETS A DEMONSTRATION EVERYONE IF

YOU COME IN WITH YOUR FAMILY, OR

IF THERE IS TWO OF YOU OR FOUR

OF YOU OR A BUS LOAD, WE WILL

TELL YOU HOW IT IS MADE.

THEY WILL WATCH US FOR AN HOUR

AND SAY THIS IS MESMERIZING.

BUT WHILE I'M MAKING THE PIECE,

I'M AS BEING MESMERIZED, WHEN

YOU'RE DOING A PIECE OVER AGAIN

AND OVER AGAIN, IT BECOMES VERY

PLEASING.

I WOULD RATHER SIT HERE WORKING

THAN SITTING IN MY LAZY BOY

WATCHING A BALLGAME, BECAUSE IT

BECOMES SO RELAXING.

THERE'S THAT JOURNEY THAT YOU GO

THROUGH.

YOU ARE THE BASIC CRAFTSMEN

TRYING TO WORK THE TOOLS AND HOW

MUCH PRESSURE TO PUT ON HIM AND

THEN ALL OF A SUDDEN, AFTER SO

MANY YEARS, YOU GET THE

BEGINNING STAGES OF A MASTER

CRAFTSMEN AND YOU ARE REACTING,

BECAUSE YOU START WORKING BY

RHYTHM AND TO ME, THAT IS MY

WHOLE TAKE ON WHEN THE ARTIST

COMES IN WHEN YOU ARE GOING BY

RHYTHM.

THE OLD BUILDING, I USED TO

SPEND A LOT OF TIME SITTING

THERE TALKING TO MY FATHER.

I HAD A PERCH-LIKE THING THAT I

SAT ON AND JUST TALKED TO HIM.

THE OLD BUILDING BURNED DOWN IN

1983, SO WE BUILT A BRAND-NEW

STRUCTURE OVER THE ORIGINAL

PLACE WHERE MY DAD WAS AT.

I CONSIDERED THAT MY PLACE AND

MY BROTHER'S PLACE AND WE WORKED

THERE TOGETHER UNTIL HIS DEATH

ABOUT 25 YEARS.

WHEN WE MOVED OVER HERE, IT IS

APPLES AND ORANGES COMPARED TO

THE OLD PLACE, BUT IT IS FOR THE

NEXT GENERATION.

IT WILL BE THEIR PLACE.

I STOOD ON WIDE SHOULDERS.

PEOPLE COME IN AND MY

GRANDFATHER, WHEN THEY STARTED,

THEY WENT SEVERAL WEEKS WITHOUT

CUSTOMERS COMING IN THE

BUILDING.

THE COURAGE THAT THOSE GUYS HAD

TO DO THAT IS, YOU KNOW, I MEAN

IS REALLY PRETTY REMARKABLE, I

THINK.

I LOVE BEING A PART OF THAT.

>> SO, I HAVE TRIED GLASS

BLOWING BEFORE AND IT DID NOT GO

WELL, BUT IT MAKES SUCH A

APPRECIATION FOR PEOPLE WHO CAN

DO THAT.

YOU CAN LEARN MORE AT ZIMMERMAN

ART GLASS ON THE ADDRESS ON THE

SCREEN.

>> UP NEXT, WE'RE HEAD TOLD OWEN

COUNTY TO MEET PAINTER KEN

BUCKLOU.

>> RIGHT AFTER HIGH SCHOOL, I

WAS HURT REALLY BAD ON A DIVING

ACCIDENT, SUFFERED TOTAL

PARALYSIS FROM THE NECK DOWN.

I WAS IN THE HOSPITAL FOR FOUR

MONTHS.

I HAD TO RELEARN HOW TO DO

EVERYTHING, HOW TO WALK AND DO

EVERYTHING WITH MY HANDS AND

EVERYTHING.

THAT LEFT ME WITH LIMITED

SENSATION AND DEXTERITY IN MY

HANDS.

THE WAY I PAINT, I DON'T MOVE MY

FINGERS AND MY HAND WHEN I

PAINT.

I HOLD THINGS, ALL OF MY MOTION

IS DONE WITH MY UPPER ARM AND

SHOULDER.

SINCE THAT, I I HAD TO ADJUST THE

WAY I DO THINGS AND EVOLVE IN

PAINTING, WHERE I CAN STILL DO

IT, BUT THERE ARE A LOT OF

LIMITATIONS.

I PAINT THE NATURAL BEAUTY OF

INDIANA AND I JUST DO IT THE

BEST I CAN AND HOPEFULLY TO BE

INSPIRATION TO OTHERS WHO HAVE

GOTTEN HURT BAD LIKE I HAVE AND

THINGS THEY NEED TO OVERCOME, I

DON'T CONSIDER MYSELF DISABLED.

I HAVE A LOT OF LIMITATIONS AND

EVERYTHING, I TRY TO REALIZE HOW

BLESSED I HAVE BEEN IN SPITE OF

THAT AND NOT TO WHINE AND

COMPLAIN ABOUT WHAT I CAN'T DO

AND JUST CONCENTRATE ON WHAT I

CAN DO AND DO IT THE BEST I CAN.

I ALWAYS HAD AN INTEREST IN

NATURE AND I WAS INSPIRED BY THE

OUTDOORS, BECAUSE I WAS AN

OUTDOORS KID, INTERESTED IN

EVERY PLANT, EVERY TREE, AND ALL

OF THAT.

BY THE TIME I WAS IN SECOND

GRADE, I KNEW EVERY TREE IN THE

WOODS, EVERY BUG, THINGS LIKE

THAT.

I WAS THE KID THAT EVERYONE CAME

TO WHEN F THEY SAW AN

INTERESTING FOOTPRINT OR AN

INTERESTING LEAF.

I WAS ALWAYS INTERESTED IN

DRAWING IT.

THE SUNT SUBJECT MATTER FOR MY

ARTWORK IS WHAT I SEE, THE

INSECTS, THE LANDSCAPE, WHAT IS

NATIVE TO OWEN COUNTY AND

SOUTHERN INDIANA.

MOSTLY WHAT I DO IS WHAT I AM

FAMILIAR WITH.

STET WHAT I KNOW.

I HAVE TO BE THERE AND SEE IT,

TASTE IT AND SMELL IT TO BE

INSPIRED BY IT.

I FOLLOW THE SEASONS WHEN I

PAINT.

THE PAINTING I'M WORKING ON IS A

DAY JUST LIKE TODAY.

I DID THE PHOTOGRAPHY FOR IT A

YEAR AGO.

I LADIES OUT THE -- LAID OUT THE

PAINTING A YEAR AGO, BUT I DID

NOT GET IT THE WAY I WANT IT, SO

I'M PAINTING IT A YEAR LONGER

NOW THAT WE'RE IN THE SEASON

AGAIN.

THE LARGER AREAS AND THE SMALLER

AREAS.

I THINK ABOUT EYE FLOW.

I WILL DO ON A PIECE OF PAPER, I

WILL DOODLE SOME SKETCHES HOW I

WANT THE VIEWER'S EYE TO FLOW

THROUGHOUT THE PAINTING.

ONCE YOU GET THE FOUNDATION

DOWN, THIS HAS A FLOCK OF

TURKEYS IN, ONCE YOU HAVE THEM

ROUGHED IN, YOU SIT BACK AND

LOOK AT IT AND COMPOSITIONALLY

THAT GOING TO WORK.

ONCE THAT DRY, I'M READY TO MIX

AND MATCH ALL OF MY COLORS.

I TEST THEM ON MY PHOTOGRAPHS.

FOR MY PAINT PALLETTES, I FOUND

ALUMALUMINUM PIE PANS.

SOME PEOPLE LIKE TO COLLECT MY

OLD PIE PANS, I DON'T KNOW WHAT

THEY DO WITH THEM, MAKE MOBILES

AND HANG THEM ON THEIR PORCH OR

WHATEVER.

AS THE WINNER OF THE

COMPETITION, I HOSTED A NATIONAL

ART COMPETITION OF GAME BIRD

STAMP.

I WON THE GAME BIRD STAMP 11

TIMES AND THE DUCK BIRD STAMP

SIX TIMES.

MY BARBER OVER HERE, A BIG HIT

HIS WINDOW UP THE ROAD AND HE

CALLED ME AND SAID I HAVE A BIG

BIRD THAT HIT THE WINDOW AND

KILLED ITSELF.

DO YOU WANT THAT?

YEAH, PUT IT IN A BAGGY AND PUT

IT IN THE REFRIGERATOR AND I

WILL GET IT.

SO, I WENT AND GOT IT ABOUT 5:00

IN THE AFTERNOON.

I LAID IT UNTIL MY BIRD BATH AND

I WAS PHOTOGRAPHING, THE SIDE

VIEW, THE HEAD, THE WING, THIS

IS BACK WHEN EVERYTHING IS

35-MILLIMETER.

MY STOMACH WAS GROWLING, BECAUSE

I HADN'T EIGHT HADN'T ATE ALL DAY, SO AFTER I

WAS DONE PHOTOGRAPHING, I

CLEANED IT AND BAKED IT IN THE

OVEN WITH A BAKED POTATO, SO I

GOT TO EAT MY SUBJECT MATTER.

I PRODUCED A PAINTING THAT WON

THE 1996 INDIANA GAME BIRD

COMPETITION.

I GOT TO EAT MY SUBJECT AND WIN

FIRST PLACE, SO YOU DON'T GET

MUCH MORE MILEAGE OUT OF A BIRD

THAN THAT.

ONE OF MY GOALS THROUGH THE

PAINTINGS IS TO PRESERVE THE

NATURAL BEAUTY OF INDIANA

THROUGH MY TRADITIONAL PAINTINGS

AND JUST HUMBLY BE AN EXAMPLE OF

PERSEVERANCE AND PATIENCE IN

DOING SO TO OTHERS.

>> YOU CAN LEARN MORE ABOUT KEN

AND SEE MORE OF HIS ART AT

KENBUCKLOUFINEART.COM.

UP NEXT, WE'RE GOING TO MEET THE

MIND BEHIND MIDNIGHT CAR.

JASON PEAR HAS THE STORY.

>> LIKE MOST OF US, ARTISTS AND

GRAPHIC DESIGNER RANDY BUTTER

FIELD HAS A DAY JOB.

>> MOST OF OUR CLIENTS ARE IN

THE SPIRIT INDUSTRY, WHICH IS

THE WINE AND ALCOHOL.

YOU GO TO THE STORE AND YOU SEE

ON A BOTTLE A LITTLE 2.5X3, SAVE

$2 ON MALIBU.

WE DESIGN MAKE TWO OR THREE OF THOSE A

DAY.

>> THAT LEFT A STRESS RELIEVER

EVERY AND CREATIVE OUTLET.

>> I WORKED ON AN ANIMATED SHORT

AND IF YOU DO AN ANIMATED SHORT,

IT COULD TAKE A YEAR OR TWO TO

CREATE A 1-2 MINUTE ANIMATION.

>> IT WORKED AS A CREATIVE

OUTLET, BUT FOR A BUSINESS, NOT

THE RIGHT FIT.

>> I HAPPEN TO SEE PLAYING CARDS

THAT PEOPLE WERE STARTING TO DO

CUSTOM THEMES.

THE FIRST THING HE SAW WAS A

BLUEPRINT THEME, SO I THOUGHT I

COULD DO SOMETHING LIKE THAT.

AND EIGHT YEARS LATER, I HAVE

PRINTED OVER, I THINK OVER 80

DECKS NOW.

WELL, IDEAS CAN COME FROM

ANYWHERE, IT IS JUST WHAT YOU

THINK WILL SELL WELL.

ONE OF MY EARLIER DECKS WAS EGG

DESIGNS.

I SPENT A LOT OF TIME ON THAT, A

LOT OF RENDERS AND CLEANUP.

ONCE I WAS DONE, I REALIZED THE

MAJORITY OF THE PLAYING CARD

COMMUNITY ARE MALES IN THEIR

20'S OR 30'S, SO THEY DIDN'T

KNOW WHAT THEY WERE.

SO, THAT WAS A HARD SELL AND I

HAD TO ADJUST MY THEMES TO WHAT

I THINK WILL SELL WELL.

THE LAST COUPLE OF YEAR, I KIND

OF BRANCHED OUT A LITTLE BIT, SO

WITH THE WILD WEST DECK, I ENDED

UP HAND DRAWING EVERYTHING WITH

PENCIL AND PAPER.

THE GOOD THING ABOUT THE WILD

WEST IS WHEN THEY STARTED TAKING

PHOTOS, THE EARLY DAYS OF

PHOTOGRAPHY, SO THERE IS A LOT

OF PHOTOS OF THE ACTUAL PEOPLE

LIKE WILD BILL HICKC O COC HICK --

HITCHCOCK.

IT TURNED OUT BEAUTIFULLY.

I WAS HAPPY WITH THE RESULTS.

I RECENTLY STARTED DOING SHOWS

LIKE INDIANA COMIC-CON AND

THINGS LIKE THAT AND I STARTED

GETTING A LOT OF PEOPLE ASKING

IF I HAD CUSTOM DECKS.

YOU DON'T USE THE 2-8 OR JOKER

CARDS, SO I GOT RID OF THE 2-8

AND JOCKER CARDS AND I COULD FIT

TWO DIFFERENT DECKS IN A BOX AND

THEY WERE A BIG HIT AT THE

SHOWS.

SO, I WAS CURIOUS AND DID ONE OF

MY DESIGNS ON KICK STARTER.

I DID FAIRLY WELL AND I WAS

SURPRISED HOW MANY PEOPLE IN

AUSTRALIA AND NEW ZEALAND WERE

INTO IT.

I GUESS IT IS A BIG THING IN

THOSE TWO COUNTRIES.

EVERYBODY WHO PLAYS UECKER, DO

YOU HAVE CARDS THAT WORK WITH

UKER THAT WORKS WITH 7'S, NO, HE

I HAVE TO GEAR IT TOWARDS

INDIANA CONSUMERS.

IT IS A DECK FOR FOR MAGICIANS, SO

IT IS GREAT IF YOU HAVE A YOUNG

MAGICIAN IN YOUR FAMILY.

>> RANDY'S OTHER DESIGN INCLUDE

A SERIES INSPIRED BY THE ART OF

JACKSON POLLOCK, A DECK THAT

PLAYS OHMAGE TO NETFLIX

DOCUMENTARY AND MANY, MANY MORE.

>> I LIKE TO SWITCH IT UP EVERY

NOW AND THEN.

OTHERWISE, IT GETS BORING,

SINGLES IT IS MY HOBBY JOB.

I DON'T WANT IT TO GET BORING.

I THINK PART OF IT IS WHEN YOU

GET AN IDEA UNTIL YOUR HEAD FOR

A THEME YOU WANT TO SEE HOW THAT

WOULD LOOK.

I HAVE A LIST, A LONG LIST OF

THEMES I WANT TO TACKLE.

I WANT TO DO AND ANCIENT EGYPT

THEME.

I WANT TO DO THE GREEK GODS.

>> YOU CAN SEE MORE OF RANDY'S

WORK AT THE ADDRESS ON THE

SCREEN.

>> FINALLY, WE'RE HEADING TO

MONROE COUNTY TO MEET

BLOOMINGTON SCULPTURE SCULPTOR.

♪♪

>> I AM A CERAMICS SCULPTOR AND

I WORK WITH THE HUMAN FIGURE.

IT WAS ACCIDENTAL.

I WAS IN MY SECOND YEAR OF

COLLEGE AND I HAD NOT SIGNED UP

FOR CLASSES AT TIME.

I RAN INTO A FRIEND OF MINE AND

HE WAS GOING TO CERAMICS AND I

WAS LIKE, OK, I WILL GO.

I HAD NO IDEA WHAT CERAMICS WAS.

I WAS REALLY BAD AND FOUND IT

FRUSTRATING, BUT THROWING ON THE

WHEEL AND MAKING POTTERY AND GOT

KIND OF OBSESSED WITH THE

FRUSTRATION WITH HOW HARD IT IS.

I THINK ALSO THE COMMUNITY.

THERE IS A LOT OF COMMUNITY

AROUND CERAMICS LIKE OF

NECESSITY, BUT THAT IS KIND OF

THE WAY IT IS.

A SMALL TOWN IN THE ART WORLD

AND YOU NEED EACH OTHER TO

OPERATE MACHINERY OR FIRE KILNS.

IT IS VERY COMMUNAL.

SO, I THINK GOING INTO A CLASS

REALIZING YOU HAVE TO BE FRIENDS

WITH PEOPLE AND GENERALLY, I GOT

ALONG WITH PEOPLE WHO DID

CERAMICS, TOO, SO IT MADE IT

MORE ENTICING TO BE THERE.

MY WORK HAS BEEN FIGURATIVE.

I USED TO SCULPT FROM PHOTOS AND

RECENTLY, I HAVE BEEN DOING MORE

FIGURATIVE WORK FROM MEMORY AND

SETTING UP THEMES AROUND MOVIE

SETS AND USING SCENERY FROM MY

LIFE TO RECREATE A SCENE, ALMOST

EXCLUSIVELY SELF-PORTRAIT,

ALMOST LIKE A BODY DOUBLE AND

THERE IS MULTIPLE IN A SCENE.

IT IS A PSYCHOLOGICAL PORTRAIT,

AS WELL AS 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, IT IS

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, BECAUSE INIT IS

FUNNY.

I'M INTERESTED IN MAKING THEMES

THAT ARE WOMEN CENTRIC AND ALLOW

THE FIGURES TO HAVE COMPLEX

DIALOGUES THAT ARE OFTEN DENIED

TO WOMEN UNTIL MEDIA.

USUALLY, WOMEN ARE NOT CENTRAL

CHARACTERS WHERE YOU'RE SEEING A

HERO'S JOURNEY FOR THEM

EMOTIONALLY OR REALLY HAVING

THEM BE MORE LIKE OF A

REFLECTION OR SOME KIND OF

OBJECT OF DESIRE.

I WOULD LIKE VIEWERS OF MY WORK

TO RELATE TO IT IN SOME WAY.

I ALSO LIKE THEM TO BE SLIGHTLY

CONFUSED BY IT.

I'M INTERESTED IN MAKING WORK

AND SETTING UP SCENES THAT ARE

NOT ONE LINERS.

I DON'T HAVE SOME BIG POINT I'M

TRYING TO HIT HOME FOR PEOPLE

THAT THEY WOULD WALK AWAY AND BE

LIKE, WELL, I WAS SAYING THIS.

I JUST WANT PEOPLE TO ENGAGE

WITH THAT AND HAVE AN EXPERIENCE

WITH IT AND BE STRUCK BY IT IN

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, THAT IS WEIRD.

THAT FREAKED ME OUT OR SO SCARY,

THEY ARE KIND OF SCARECROWS.

IT IS KIND OF LIKE THE

PSYCHOLOGICAL EFFECT OF SOMEBODY

IS IN A ROOM WITH SOMETHING THAT

LOOKS LIKE A HUMAN FIGURE EVEN

THOUGH IT IS INANIMATE, PEOPLE

CAN'T HELP BUT THINK IT WILL

ANIMATE ITSELF, WHICH IS A LOT

OF FEAR AROUND FIGURATIVE

SCULPTURE.

I LIKE THE IDEA OF PLAGUE PLAYING ON

THAT FEAR.

IT IS JUST AN IMPULSE.

I LOVE TO MAKE THINGS.

I WILL THINK OF SOMETHING AND I

WILL BE ITCHING TO MAKE IT, SO I

FOLLOW THAT IMPULSE THROUGH ALL

THE WAY.

IT IS A LOT OF SATISFACTION IN

THE WAY IT REGARDS ALL OF THE

THINGS I CARE ABOUT AND THINKING

ABOUT THINGS, MAKES ME ENGAGED

IN ART HISTORY, ENGAGED UNTIL

ART THEORY.

IT MAKES ME BE PART OF THE

COMMUNITY WHERE I LOOK AT OTHER

PEOPLE'S WORK AND GET FEEDBACK

FROM OTHER PEOPLE.

A LOT OF MY SATISFACTION IS

BEING ABLE TO WORK ON SOMETHING

FOR A LONG TIME.

IT IS LIKE A JOURNEY.

THE PROCESS OF FIGURING THINGS

OUT, I FIND IT INTERESTING.

I SEE MYSELF AS MAKING WORK FOR

THE PEOPLE WHOSE ARTWORK I ALSO

LIKE AND KIND OF THAT FEEL OF

ART OR SCULPTURE.

NOT EVERYONE LIKES HORROR MOVIE,

BUT SOME PEOPLE REALLY, REALLY

LIKE THEM.

IT IS NOT FOR EVERYBODY.

>> WHEN I WAS IN COLLEGE, I

TRIED MY HAND ON THROWING ON THE

WHEEL AND MUCH LIKE THE GLASS

BLOWING, IT ALSO DID NOT GO VERY

WELL.

I HAVE SUCH AS MIRROR RATION FOR

ARTISTS LIKE CLARISSA AND BEING

ABLE TO CREATE SUCH LARGE-SCALE

BEAUTIFUL PIECES.

YOU CAN SEE MORE OF HER WORK

ONLINE.

>> WE WOULD LIKE TO ENCOURAGE

YOU TO STAY CONNECT WITH US.

>> HEAD OVER TO

JOURNEYINDIANA.ORG AND SUGGEST

STORIES FROM YOUR NECK OF THE

WOODS.

>> WE HAVE A MAP FEATURE THAT

ALLOWS YOU TO SEE WHERE WE HAVE

BEEN AND PLAN YOUR OWN INDIANA

ADVENTURES.

LET'S SPEND MORE TIME EXPLORING

THE ART AT THE HARRISON CENTER.

♪♪

>> PRODUCTION SUPPORT FOR

"JOURNEY INDIANA" IS PROVIDED BY

COLUMBUS INDIANA VISITORS CENTER

CELEBRATING EVERYWHERE ART AND

UNEXPECTED ARCHITECTURE IN

COLUMBUS, INDIANA.

TICKETS FOR GUIDED TOURS AND

TRIP PLANNING INFORMATION AT

COLUMBUS.IN.US AND

STREAM JOURNEY INDIANA ON

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