(upbeat music)

- [Announcer] This is a production of WEDU PBS.

Tampa, St. Petersburg, Sarasota.

Major funding for WEDU Arts Plus is provided

through the Greater Cincinnati Foundation

by an arts loving donor who encourages others

to support your PBS station, WEDU.

And by the Pinellas Community Foundation,

giving humanity a hand since 1969.

- [Dalia] In this edition

of WEDU Arts Plus discover artisanal baking in Lakeland.

- Anything that we created was art forward.

And a lot of what we do has this European flair based off

of the flavors or the vessel that we're using

for a lot of our pastries.

- [Dalia] Art as a bridge between generations.

- We both got signature roots

and they do complement each other (mumbles) a nice pairing

for show.

- [Dalia] History set to music.

- This sort of resonated in my brain somewhere

where I wanted to write a piece,

about Ellis Island.

And music can go directly to us emotionally.

- [Dalia] And an antique letterpress as the final step

in a layered art form.

- It can be really time consuming.

It's a really process oriented art form,

but it's a lot of fun.

So it's a labor of love.

- It's all coming up next on WEDU Arts Plus.

(gentle music)

- Hello, Dalia Colon.

And this is WEDU Arts Plus.

What's not to love about chocolate croissants

and coconut cream pies?

At Born&Bread Bakehouse in Lakeland,

get a glimpse into the making

of art forward European style baked dots.

(gentle music)

- We've been established since 2015,

and we make artisanal European style pastries with flair.

(gentle music)

I got married (mumbles) in 2014

and my husband and I had a very small, low budget wedding

so that we could spend some time traveling through Europe.

It was something we had both wanted to do for so long.

And so we did it,

but that was probably the first place

that I spent falling in love with bread.

It was like irresistible.

There was something different

about the way that they processed, in a way that they baked.

And when I came back,

I fell in love with figuring it out.

(gentle music)

50000, in 2015, we started at the Farmer's Market.

In 2017, we moved from the Farmer's Market to the space

that we have next door.

In 2018, we knocked down a wall

and created our first retail space with seats and boots

and a couch and a neon sign that says American Dream.

It really transformed into something far bigger

than who I am or that original intent.

It's a really beautiful business.

I love those thank you notes.

Since I started I wanted to make sure

that anything we created was art forward.

And a lot of what we do has this European flair based off

of the flavors or the vessel that we're using

for a lot of our pastries, which is croissant dough.

Everything that we do is like a skilled work.

So nothing is coming out of a can,

the service that we make we make in house.

So if you scale something we're not using cups.

We use eletric system.

And you really have to be in tune as a baker

with changes, whether it be seasonally

or something with the flour.

So there's no part of this that's easy

although bread baking and baking in general,

and our bakery is simple.

Simple doesn't always mean easy.

(gentle music)

- I proudly describe the food

to anyone that'll listen as world-class.

It really is just magnificent.

And it is a work of art that I had not seen before.

In Lakeland or in my daily culinary endeavors.

(slow music)

The care and the tact they put into making sure

that this is pulled out at this time,

this goes in there at that time.

It's amazing and it is a work of art.

And just to see what they come up with next.

Every week it's something new or this new pastry

that I've never heard of,

that I love,

that I can't get enough of.

It really is a joy to be a part of it.

(gentle music)

- We tried to create (mumbles) menus.

So something that would play into summer

is the dole whip cruffin.

A cruffin is basically our croissant dough.

It's shaped into a cylinder form,

and then it's baked into a larger muffin tin.

And that makes it so where

it comes out the layers are kind of going in this direction.

They're kind of open.

we put a pastry cream inside this.

This one's got a pineapple curd

and then a vanilla pastry cream.

It's topped with whip.

And it's very reminiscent of a Florida trip

to Disney world.

Dostock is something

that we use with the remnants of our croissant dough

when we're laminating we put them in a large tins

so it's almost like a croissant loaf or a crow,

and we slice it and we soap it.

And then seasonally, we can create different ones.

This summer we've created two.

One is the peach, peaches and cream.

And another one is a triple Berry cobbler.

The menu is ever changing.

And that is a really fun part of what we do.

And I think for our customer,

knowing that every week they could get something different

is exciting.

(gentle music)

An average day for one of our bakers

is coming in pretty early.

I would say most days someone's coming

in between 6:30 or seven, which isn't wild.

But as we get closer to the weekend,

which is currently the only time that we're open

with the COVID pandemic,

our night Baker... first night Baker would come in

at 9:00 PM on Friday.

Then we have another night baker that comes in around 10.

Then our shifts kind of vary.

But the last person is roughly coming in at 3:00 a.m.

So that shift is very early.

(gentle music)

During that time there's not a lot of time

to stop or pause this.

This puzzle piece fits here for a reason.

And we have a deadline and a goal.

But it is this organized chaos.

- So our kitchen is comprised of different tiers,

where everyone works together and owns their craft.

So everybody's gonna come in and they'll start scaling

and start measuring.

And then as you grow in your confidence in the bakery,

you'll start shaping this or cutting that.

It's a precision craft.

So, it around about way everybody comes together

to compliment each piece the best they can.

- There's a lot of purpose for 30 members

that we have and there's constant challenges

of how to grow and adapt and become better.

And they do that with such incredible heart.

- I love being a part of Born&Bread

because I love the way it serves our community.

And I think that that's really important.

The community of Lakeland,

I once said to a friend,

is almost like when you have a bad day

and you might go for a car ride and you put on one

of those playlists that seem to make you happy.

There are one of those communities

that it's that playlist over and over again,

on hard days on rough weeks.

When you don't think that they're gonna show up,

if it rains there in ponchos and umbrellas.

If a pandemic hits, they find ways to support you.

I don't know that it would be the same in another city.

I hope that people, through the story of Born&Bread,

understand that at any point in their life,

they could say, I wanna just try to do something

and it doesn't have to be big.

And it was never an intention to me, something big.

But I am incredibly grateful even on the bad days

for the support of the community and the opportunity

to grow such an incredible team.

- For more information, visit Born&Bread Bakehouse.com.

Six decades separate Lorraine Fink and Heather Bryant.

Yet their art shows a common thread in their work

and their whimsical personalities.

(dramatic orchestral music)

- I think the materials (mumbles) natural fabricS.

(dramatic orchestral music)

- Lorraine Fink and I were given this opportunity

to do a show with the Slover.

At first, I was really nervous.

It was a short amount of time.

So we had to really pull our strength together

to make it happen.

(dramatic orchestral music)

- We both got our signature looks.

And they do complement each other.

And I think it will be a nice pairing for a show.

(dramatic orchestral music)

(knocks)

- Good to see you.

Entering her house,

it really was like she had a village inside,

in her living room, dining room.

All the different rooms in her house were filled

with these people.

And they had a strong presence.

( gentle music)

- From early on I was interested in peoples

that are different from ours

and specially a very primitive people.

I just had fun turning them

into humanistic looking tribes and totems.

All the things from the electrician,

he was saving stuff for me and had a bunch of stuff

in the back of his car

- Well it's fine to see how you are recycling all this items

and taking things.

You are giving them a new life.

- There you go.

- Well I'm sort of fascinated by each

of this having their own personlity.

And they become a part of the people

that you collected the objects from.

So it's sort of like they are spiritual beings.

The first works that I was familiar with

from the room were her 2D works

and the first works that she saw mine were 2D.

So coming together on this project with the first time

that we got to see the things that we were doing

in the 3D world.

So these are some of the things that I've been working on.

I start, all of them are started with watercolor

and working into them with ink .

And then putting different mediums on them.

You have a lot of texture to them,

which is very similar to your work.

And then finding faces and things I can identify

with your aesthetic of looking at these forms.

And then these beings emerging from them.

- She put one on top of the other.

I said, Oh, you made a watercolor,

totem which was a nice give and take with her.

Oh, cool, this is a great piece.

This is a shame when he has powers.

I've known her a long time.

I remember I'd seen her work label very often

on the same wavelength.

(gentle music)

For the show we're gonna combine her current work,

my current work,

and three pieces that we're collaborating on.

We could maybe paint on these

or even add some crochet elements.

(mumbles)

- Was the bulbs from the lighting fixtures

that I had painted black and white,

and they were animals and birds and Heather enhanced it.

- Foundation we can add bit to color to it.

We can build off of this pink.

Would you wanna paint into mine and crochet into yours?

(laughs)

- We could do that.

- We both got signature looks

and I could see her hand here.

And my hand there.

Let's do it, that will be fun.

- I started undergraduate when I was like 16.

- Oh my goodness! (laughs).

Five kids already going off to college.

- When I found out that Lorraine didn't get started

in her artistic practice till much later in her life

until she was in her sixties,

I was really surprised about that.

Just because of the the expanse of her work.

To me it struck me as somebody who had always been working

at that capacity.

So Lorraine you'll be showing your totems.

Will it be really cool to see them at the Slover?

- Yeah.

- We're going on an adventure.

(gentle music)

- It's a beautiful new world class building.

- And what a beautiful space to show my tribes and totems

that they just felt like they moved in.

(gentle music)

I was really impressed the different components,

whether it was the found bits and pieces

seeing all those materials together

was really impressive.

(gentle music)

I wasn't sure how everything was gonna come together,

but I felt like it was a huge success

between the people who came to celebrate Lorraine.

The people who came to celebrate me.

we had very different groups there

and seeing those different groups interact.

And the questions that they asked us both

was really positive.

Even though our works are different

there's a lot of common things.

So it was really cool to investigate.

She definitely transforms objects that makes you think

from an entirely different way.

- With all these things staring at you

as you're walking down the hall.

Good monster or a bad monster?

(laughs)

- I think we both enjoyed each other.

- Every inch of it is inpired.

- Thank you for coming.

It's been a great experience working with Lorraine.

We both have a lot of fun

and we've done three collaborative pieces that are up front.

So please check it out.

And Lorraine is big inspiration to me.

And we have so much in common as far as working

with images that investigate the spiritual world.

And looking at the past, present and future

as subject matter.

So, do you have anything that you'd like to say?

- You just said everything I was gonna say.

(laughs)

- When I am in my nineties,

I hope I am exactly where Lorraine.

She's still making things.

She's still thinking of new ideas.

She's still challenging herself and reinventing her artwork.

So that's exactly where I'd wanna be.

(engine roaring)

- To see more visit heatherbryant.com.

Peter Boyer is one of the most frequently performed

American orchestral composers of our generation.

The Los Angeles resident discusses his work Ellis Island.

The dream of America, which was recently featured

on PBS's great performances.

(instrumental music)

- So the instruments are all contained in there.

And, for example, if we look at one instrument.

(instrumental music)

Trumpet here.

(instrumental music)

So, and I can...

At the moment when I play a key,

you're hearing both piano

and you're hearing the instrument that I've chosen,

which is trumpet.

But I can turn off the piano and just hear a trumpet.

(instrumental music)

You want to hear some hymn?

Let's hear some hymn.

Literally just, I mean, this is what's happening

at the moment because in the next couple of weeks,

this has to be done like this.

(instrumental music)

So that's it, within in piano form.

And then this is what it sounds like with brass.

This is hard, it's hard to make the computer play brass,

lyrically and sound realistic.

But as a composer, I am attracted to the granduer

of what one can do with large forces.

I mean one can be a composer and write very small

and intimate music for solo piano,

or for violin and piano for chamber music.

Something very small and that can be wonderful.

But there is something about the grandeur

of a symphony orchestra.

On its own or with soloists or with choir,

or in the case of Ellis Island with speakers.

And with narrator I actually refer to them as actors

in the case of Ellis Island

because it's kind of a hybrid work.

- He is a remarkable curator.

I think he thinks about the liberado.

He labors over the right choices of narrative for a project.

And this one being probably his most important project

to him personally.

- Growing up as a little boy and hearing the words

of Emma Lazarus written on the pedestal

on the Statue of Liberty.

From the poem, 'The New Colossus' , give me your tired,

your poor, your huddled masses, yearning to breathe free.

These words that I think many of us as Americans come

to know at some point in our lives.

This sort of resonated in my brain somewhere.

I thought I wanted to write a piece about Ellis Island.

And music can go directly to us emotionally.

And that was what I really thought I wanted to try

to do with the piece.

And my own music as a composer for the concert hall

is often described as cinematic.

And I think you know that's probably no accident.

(instrumental music)

- We're a historic art form, right?

We're curating a cannon of music that's hundreds

of years old.

So I think from the standpoint of curation,

we have traditions to maintain,.

But if we don't keep the traditions fresh

and that can include introducing new music

into the experience,

I think that we become simply a museum of the past.

The power, the richness, the flexibility

of this great instrument called the symphony orchestra

really does shine through grade composition.

- I never set out to make any kind

of a political statement with a piece.

It's an historical piece, it's not a political piece.

It's a piece that celebrates historical integration.

But to whatever extent this may be contributing

to a discussion that is useful today.

Then I feel grateful to have contributed to that discussion.

But at the end of the day, it's a piece of performing arts.

It's about the performing arts.

It's meant to be experienced.

It's meant to be felt it's meant to be enjoyed.

And for that I'm, I'm grateful that the amount

of attention it is receiving

is certainly more than it's ever had before.

- To find out more, check out propulsivemusic.com.

Nevada printmaker, Katherine Case creates

linoleum cut prints that are inspired by nature.

With an antique letterpress,

she runs a full service letterpress studio surrounded

by the Sierra Nevada mountains.

(cool music)

- My name is Katherine Case,

and I make limited edition linoleum cut prints.

And I print them on an antique letterpress.

You carve the linoleum with carving tools,

that are the same tools as you use for a woodcut print.

You carve a separate block for each color of each print.

And so for my multi-color prints,

I'll carve five or six different blocks.

And then I put them separately in the letterpress.

So up say, first put in the block for the blue sky.

And print that on a hundred sheets of paper.

Take it out, clean the press.

Put the block in for the green.

And then print that on of the blue.

And then I'll layer each color on top of each other

in the letterpress.

You have to plan well in advance where every color

is gonna be in the print.

And where all the details is gonna be

on the different colors.

So it's not intuitive or expressionistic,

but it's very project based.

So it takes a really long time.

But then when you're done, you have an entire edition

of the prints.

You have to have your vision of how you really want it

to be and then work towards that.

But then also the end product is never exactly like

that beginning vision either.

So you have to have flexibility along the way

of the process.

Since I moved to Reno and I started Meridian press,

I've been going really deep into my subject matter.

I do all birds, animals and landscapes in the Sierra Nevada.

And it's been amazing

to learn all the different bird species.

And I try to only do birds that I see in person somewhere

in the Sierra Nevada.

(gentle music)

I also have a series that I do of lakes and landscapes up

in the Sierra Nevada.

(gentle music)

In addition to my printmaking, I'm also a poet.

(gentle music)

My poetry is more about personal experience than my art is.

My art is very much about nature and the environment

and my poetry is more about my experience

as a human on earth.

For example, I wrote a series of poems about moving

into this house and living in the great basin

and having kids and stuff like that.

I remember always writing poetry and drawing and making art.

I've always tried to as much as I can hold on

to both things.

(gentle music)

- To learn, Visit meridianletterpress.com.

And that wraps it up for this edition of WEDU Arts Plus

For more arts and culture visit wedu.org/artsplus.

Until Next time I'm Dalia colon.

Thanks so much for watching.

(upbeat music)

- [Announcer] Major funding for WEDU Arts Plus

is provided through greater Cincinnati foundation

by an arts loving donor who encourages others

to support your PBS station WEDU

and by the Pinellas community foundation,

giving humanity a hand since 1969.

(gentle music)