♪ >> IN THIS EPISODE, KIM STRINGFELLOW'S PROJECT DOCUMENTS -- DOCUMENTING THE DIVERSE COMMUNITIES OF THE MOJAVE DESERT.

>> MY PRACTICE IS REALLY SOCIAL PRACTICE.

IT'S ABOUT CONVERSATIONS WITH PEOPLE.

SHARING IDEAS, EDUCATING, TURNING PEOPLE ON TO STUFF.

>> MARC TRUJILLO, A PAINTER BRINGING THE TECHNIQUE OF THE DUTCH MASTERS TO COMMERCIAL ARCHITECTURE.

>> AND THE LITTLE EXISS TEN RBLE SLIVER WE SPEND MOST OF OUR LIVES IN, THINKING OF WHERE WE'RE GOING TO BE OR WHERE WE WERE BEFORE.

>> THE SUBCULTURE OF BRAZILIAN CHOLOS WHO EMULATE THE LOWRIDER STYLE OF EAST LOS ANGELES.

>> LOWRIDERS, ALL TATTED UP, GOT ALL OUR ARTWORK.

>> AND THE REDUCTION LINO CUTS OF DAVE LEFNER, WHOSE PRINTS RECALL THE MID CENTURY CULTURE.

>> DRIVE BY THE MOM AND POP SHOPS NO ONE WOULD PAY ATTENTION TO.

YOU'D DRIVE BY IT EVERY DAY AND NOT PAY ATTENTION.

>> NEXT ON "ARTBOUND."

>> THE MOJAVE PROJECT EXPLORES THE CONVERGENCE OF THE PHYSICAL LANDSCAPE, THE GEOLOGICAL AND CULTURAL LANDSCAPE IN THE MOJAVE DESERT.

IT'S THIS KIND OF IMMERSIVE TRANSMEDIA FORMAT THAT LOOKS AT A VARIETY OF SCENES, SUBJECTS, AND SIGHTS THAT MAY SEEM LIKE THEY'RE NOT INTERRELATED BUT AS TIME GOES BY YOU'LL SEE THE CONNECTIONS.

THE MOJAVE PROJECT LOOKS AT THESE KINDS OF HUMAN ACTIVITIES, INDUSTRIES, MILITARY-INDUSTRIAL PRACTICES SUCH AS EXTRACTION OR LOOKING AT INDUSTRIAL SOLAR.

THIS IS SORT OF A NEW THING THAT'S COME OUT TO THE DESERT.

MANY LANDSCAPES ARE PROJECTIONS OF CULTURE BUT I THINK IN PARTICULAR THE MOJAVE DESERT LENDS ITSELF TO A KIND OF STAGING GROUND FOR VARIOUS INTERVENTIONS, ESPECIALLY, YOU KNOW, THESE DRY LAKES.

I SEE THOSE AS A KIND OF STAGING GROUND, A KIND OF CANVAS FOR THESE KINDS OF ACTIVITIES.

YOU HAVE THE HISTORY OF CHUCK YEAGER BREAKING THE SOUND BARRIER OUT AT EDWARDS.

YOU HAVE COMMERCIAL AEROSPACE DEVELOPMENT LIKE VIRGIN.

IN THE MOJAVE, WITHIN FIVE MILES, THERE'S SOME KIND OF ROAD.

IT MAY SEEM LIKE AN EMPTY, VAST KIND OF LANDSCAPE BUT HUMANS ARE THERE.

I WANT TO LOOK AT THESE KIND OF UNIQUE ACTIVITIES THAT HUMANS PARTICIPATE IN WITHIN THIS LANDSCAPE.

♪ >> MOST PEOPLE EITHER REALLY LOVE IT OR HATE IT.

YOU CAN SEE THAT WHEN PEOPLE ARE TRAVELING FROM L.A.. THEY'RE JUST ON THE FREEWAY, THEY'RE JUST TRYING TO GET FROM ONE POINT TO ANOTHER.

HIGH SPEED.

THAT'S THE WAY THESE APPEAR.

THERE'S OTHER PEOPLE THAT WILL PULL OFF AND BE INTRIGUED.

THE MOJAVE DESERT IS A LANDSCAPE OF EXTREMES SO THAT WEEDS OUT A LOT OF THE EXTRANEOUS KIND OF POPULATION AND IT LEAVES A CLARITY THAT'S EASY TO FOCUS ON.

THE IDEA OF THE MOJAVE PROJECT, I'M REALLY LOOKING AT THIS EXTREME LANDSCAPE.

THE PROJECT DEALS WITH THE PHYSICAL LANDSCAPE, THE GEOLOGICAL LANDSCAPE AND THE CULTURAL LANDSCAPE OF THE MOJAVE DESERT WHICH IS ACTUALLY IN FOUR DIFFERENT STATES, CALIFORNIA, NEVADA, ARIZONA, AND A BIT OF UTAH.

I STARTED COMING OUT TO DEATH VALLEY IN THE EARLY 1990'S AND I REMEMBER DRIVING THROUGH ONE NIGHT, REALLY LATE AT NIGHT, JUST TO SEE THIS KIND OF HUGE, LIT UP INDUSTRIAL PLACE IN THE MIDDLE OF NOWHERE.

IT WAS QUITE BEAUTIFUL, MESMERIZING.

I REMEMBER PULLING OVER, SORT OF STOPPED, TOOK IT IN.

IT WASN'T UNTIL QUITE A FEW YEARS LATER THAT I ACTUALLY CAME INTO TRANA.

IT'S A COMPANY TOWN LIKE A LOT OF PLACES WHERE TECHNOLOGY IS REALLY TAKE -- HAS REALLY TAKEN OVER AND HAS MADE THINGS, YOU KNOW, FULLY AUTOMATED, WHERE PHYSICAL BODIES, PEOPLE DOING THINGS, AREN'T NEEDED.

THE TOWN STARTED TO LOSE POPULATION IN THAT.

IT WOULD BE EASIER TO TELL THE STORY THE BLIGHT IN THAT, THE NEGATIVITY.

BUT I WOULD RATHER FOCUS ON THE WAY, SAY, WITH THE JENORAMA, WHICH THEY'VE DONE FOR SEVERAL YEAR THEY COLLABORATE TO DO THIS WEEKEND EVENT WHERE THEY HAVE THREE OR FOUR TIMES THE POPULATION THAT LIVES THERE COMES TO TOWN TO GO ON GEM AND MINERAL FIELD TRIPS.

>> WE USUALLY HAVE OVER 3,000 PEOPLE THAT COMES TO THE GEM SHOW.

THIS IS OUR 73RD CONSECUTIVE YEAR.

WE DO IT FOR THE PUBLIC.

IT DOESN'T DO THE COMPANY ANY GOOD.

ANY OF THE CRYSTALS TO THE PEOPLE PICK UP ARE OF NO BENEFIT TO THE COMPANY.

WE DO IT JUST FOR THE PUBLIC.

THAT BLACK MUD YOU SEE BEFORE US, CRYSTALS FORM IN THAT MUD.

WE DIG THE MUD UP IN AN AREA BACK OVER TO THE NORTH AND WE PUT IT IN TRUCKS AND WE BRING IT OVER HERE AND DUMP IT AND WE LET THE PEOPLE GO OUT AND DIG INTO THE MUD AND GET THE CRYSTALS.

>> YOU'RE REALLY LUCKY.

>> THIS IS ONLY ONE DAY A YEAR, YOU KNOW THAT.

>> MY NAME IS DOUGLAS, I'M A TEACHER AT WILL BURR CHARTER FOR ENRICHED ACADEMICS IN IN CALIFORNIA, WE TEACH ABOUT ROCKS AND MIGHT BE RALS SO I STARTED ABOUT NINE YEARS AGO BRINGING FAMILIES OUT HERE, NOW WE'RE UP TO ABOUT 350 PEOPLE.

WE'RE THE LARGEST GROUP THAT COMES TO THIS DIG.

OUT HERE THERE'S NOBODY TO TEACH THEM.

YOU'RE ALL ON YOUR OWN.

I COME TO BE THEIR GUIDE.

IT'S A TREASURE HUNT.

>> WE ARE OUT ON THE FIELD TRIP.

THEY FLUSH MINERALS OUT OF THE LAKE.

THEY'RE BEAUTIFUL MINERALS.

THEY'RE CRYSTALS.

>> WE DRILL WELLS, WE SET OFF EXPLOSIVES AND BREAK THESE CRYSTALS UP INDIVIDUALLY BY THE THOUSANDS AND THEN WE INJECT AIR IN THE WELLS AND WE BLOW THE CRYSTALS OUT ON THE SURFACE JUST FOR THE PEOPLE TO PICK UP.

>> WE'RE BACK, WE'RE BACK, GO, GO.

>> IT'S A CRAZY THING WHEN I FIRST WENT OUT THERE, GET OUT THERE, THEY DUMP ALL THIS BLACK MUD AND HERE'S THESE PEOPLE SORT OF MUCKING IT UP.

THEY DON'T EVEN KNOW ONE ANOTHER, BUT THEY'RE IN EACH OTHER'S PIECE.

I -- IN EACH OTHER'S FACE.

I THOUGHT IT WAS A REALLY WONDERFUL COMMUNAL EXPERIENCE OF RECREATION.

I'M REALLY ROOKING -- LOOKING AT THIS EXTREME LANDSCAPE AND IT PRESENTS CERTAIN KINDS OF CULTURE AND DIFFERENT SITES THAT YOU CAN'T FIND ANYWHERE ELSE.

I WANT TO REALLY OPEN IT UP SO PEOPLE SEE THIS KIND OF CULTURE THAT I KNOW IS PRESENT HERE.

BUT MAY NOT BE FOR SOMEONE WHO IS ONLY GOING FROM POINT A TO B, L.A.

TO LAS VEGAS, AND NOT GETTING OFF THE BEATEN PATHS.

LAND SPEED RACING ABOUT THE MIRAGE HAS BEEN GOING ON FOR 100 YEARS NOW.

IT DEVELOPED OUT OF THE HOT ROD CULTURE, THESE GUYS WOULD RACE AGAINST ONE ANOTHER.

WHEN THEY MOVED EVERYTHING OUT TO THE DESERT AND THEN THEY STARTED TO RACE AGAINST THE CLOCK.

WE WERE LOOKING FOR A VERY SPECIFIC KIND OF LANDSCAPE TO BE ABLE TO DO THIS KIND OF ACTIVITY AND THEY COULDN'T FIND THAT IN THE CITY.

SO HENCE THEY CAME OUT TO THE DESERT AND CREATED A NEW CULTURE.

>> GET INTO POSITION.

ANYBODY THAT WANTS TO DRIVE IN, YOU GOT 20 MINUTES TO DO SO.

>> SOME OF THE GUYS GOING TOP LAND SPEED HAVE MULTIPLE ENGINES.

THEY'RE TRYING TO DO 500 MILES PER HOUR ON A GAS ENGINE.

YOU DON'T HAVE THE JET ROCKET ENGINES GOING OR ANY OF THAT STUFF.

THIS IS ALL DONE BY COMBUSTION ENGINES.

>> FOR THE MOST PART THIS IS JUST FOR THE LAS VEGAS OF THE SPORT.

THIS IS PART OF THIS EXPERIENCE FOR -- FOR THE LOVE OF THE SPORT.

THIS IS PART OF THE EXPERIENCE FOR THEM, TO COME OUT AND BE TOGETHER, PART OF THIS GROUP OF PEOPLE, CELEBRATE THIS IDEA OF SPEED WITHIN THIS SPACE.

I'M WORKING WITH AUDIO QUITE A BIT.

I REALLY LIKE THE PEOPLE THAT I'M INTERVIEWING TO TELL THEIR OWN STORY IN THEIR OWN VOICE.

I THINK IT ADDS THIS REALLY NICE LAYER IN THIS KIND OF DOCUMENTARY FORM.

I GET REALLY EXCITED TALKING WITH PEOPLE AND HEARING THEIR STORIES AND INTERVIEWING THEM, JUST LIKE MEETING DAVID HERE TODAY.

I JUST HAPPENED TO STUMBLE UPON THE SHOP AND I SAW ROCKS AND WAS LIKE, WHAT'S THIS?

AND CAME OVER HERE AND HAD A GREAT CONVERSATION AND TOLD HIM ABOUT THE PROJECT AND HE WAS LIKE, YEAH, I'M WILLING TO CONTRIBUTE WHEN YOU'RE READY.

I STILL HAVE AN IDEA OF WHAT THIS IS GOING TO BE ABOUT BUT THEN THEY SORT OF CRACK IT OPEN AND IT'S SOMETHING DIFFERENT.

>> YOU SEE THE CRYSTALS?

>> YEAH.

>> YOU CAN SEE ALL THE CRYSTALS INSIDE.

THAT THING IS NOTHING BUT A BUNCH OF LITTLE, TINY CRYSTALS HOLDING IT TOGETHER.

>> EASTER EGG HUNTING AS A CHILD IS A VERY IMPORTANT THING BECAUSE THAT ACTUALLY TEACHES YOU TO BE A ROCK HOUND.

BECAUSE YOU'RE LOOKING FOR WHAT LOOKS OUT OF PLACE.

>> OK.

>> AND THAT'S WHAT YOU'RE LOOKING FOR.

WHEN YOU FIND LITTLE THINGS THAT CATCH YOUR EYE, PICK IT UP AND TAKE A LOOK AT IT.

THAT'S A REASON IT CAUGHT YOU -- THERE'S A REASON IT CAUGHT YOUR EYE.

LOOK AT THIS.

>> OH, YEAH.

>> THAT'S A HECK OF A CHUNK OF ROCK SITTING THERE.

IT'S GOT A BLUISH CAST TO IT.

WOW.

SEE THAT.

DON'T WORRY, IT'S GOOD.

>> MY PRACTICE IS REALLY SOCIAL PRACTICE.

IT'S ABOUT CONVERSATIONS WITH PEOPLE.

IT'S ABOUT SHARING IDEAS, EDUCATING.

TURNING PEOPLE ON TO STUFF.

AGE LOT OF THIS IS ABOUT SURPRISE AND EXPLORING AND YOU KNOW, THAT'S WHAT I WANT TO INSTILL IN THE VIEWERS, AND THAT IS THIS IDEA THAT THERE'S THIS WHOLE WORLD THAT IS REALLY, REALLY FASCINATING, AND I THINK IT IS A WAY THAT SORT OF WORKS AGAINST SOME OF THE STEREOTYPES PEOPLE HAVE OF THE MOJAVE DESERT AND ARID ENVIRONMENTS AND SORT OF INVITE THEM TO LOOK FURTHER, LOOK CLOSER, ACTUALLY COME OUT AND EXPERIENCE.

>> MARC TRUJILLO IS A SAN FERNANDO VALLEY-BASED PAINTER, WITH A SERIES CALLED NORTH AMERICAN PURGATORY IN WHICH HE CALLS ATENSION TO THE COMMERCIAL ARCHITECTURE OF THE UNITED STATES.

THE SHOPPING MALL THE FAST FOOD RETAILERS, THE GROCERY STORES THAT A LOT OF US SPEND A -- LIKE A GOOD CHUNK OF OUR LIVES IN BUT DON'T NECESSARILY REALIZE IT.

THESE PLACES THAT ARE SO UBIQUITOUS IN THE URBAN ENVIRONMENT THAT WE KIND OF MOVE THROUGH.

BECAUSE THEY'RE EVERYWHERE IN THE UNITED STATES.

THEY ALL LOOK THE SAME.

THEY'RE MADE TO LOOK THE SAME.

AND HE WANTS TO BRING ATTENTION TO THESE PLACES THAT ARE NOT MEANT FOR YOU TO STICK AROUND IN.

♪ >> THE PLACES THAT I PAINT TEND TO DEPICT A SORT OF NORTH AMERICAN PURGATORY, A LITTLE EXISS TEN RBLE SLIVER THAT WE SPEND MOST OF OUR LIVES IN, THINKING OF WHERE WE'RE GOING TO BE OR WHERE WE WERE BEFORE.

THESE PLACES ARE BUILT ALMOST LIKE AN ARCHITECTURAL INSTANTIATION OF YOUR MIND.

THESE SORT OF NOWHERE PLACES ARE ALL OVER THE UNITED STATES.

I BOTH LIKE AND DISLIKE THE LITTLE CHILL I GET INSIDE A COSTCO WHERE I KNOW I CAN BE IN NEW JERSEY OR WASHINGTON OR FOR THE.

THAT KIND OF ANONHIMITY OF NOBODY BEING NOWHERE IS ONE OF THE HORRORS OF THE MODERN WORLD BUT IT'S ONE OF THOSE THINGS YOU CAN ONLY HAVE AN IDEA ABOUT IN THE ABSTRACT.

I WORK IN SKETCHBOOKS PRETTY CONSTANTLY.

THAT'S REAMY IMPORTANT TO ME, TO REALLY SORT THROUGH MY IMPRESSIONS IN A VISUAL WAY, TO THINK THINGS THROUGH VISUALLY, AND DRAWING IS THE MOST IMPORTANT WAY FOR ME OF THINKING THINGS THROUGH.

THERE'S SOMETHING ABOUT WHAT I SAW THAT MADE ME WANT TO PAINT IT AND AM I GETTING THAT ACROSS AS BEST I CAN.

AM I MAKING IT AS RESONANT AS I CAN.

THE ONLY WAY I KNOW TO MAKE SURE I'M DOING THAT IS TO START DRAWING AND GET IT OUT OF MY HEAD.

BEING FROM ALBUQUERQUE FACTORS INTO THE WAY I MAKE THE PAINTINGS.

THERE'S ABOUT A 2,000-FOOT VARIANCE IN ALTITUDE, ABOUT A MILE ABOVE SEA LEVEL AND THE AIR IS VERY DRY.

YOU CAN SEE WHOLE WEATHER FRONTS ROLLING ACROSS LANDSCAPES.

YOU'RE ALWAYS AWARE THAT YOU'RE ABOUT THIS BIG.

IT MAKES SENSE TO ME AS A WORLD VIEW AND MAKES -- AND AFFECTS THE WAY I SCALE THE FIGURES IN THE PAINTING.

MATERIALS ARE IMPORTANT TO ME.

THE QUALITY OF PAINT MAKES SUCH A HUGE DIFFERENCE BECAUSE THE MORE PIGMENT IT HAS IN IT, THE LESS PHYSICAL PAINT YOU HAVE TO USE TO GET THE SATURATION TO A CERTAIN POINT.

I ALSO LIKE TO PAINT ON MATERIALS I KNOW IT'S GOING TO BE PERMANENT.

I'LL PAINT ON ALUMINUM, OR ON POLYESTER OVER A PANEL, IT'S MORE INERT THAN LINEN, SO IT STAYS INTACT.

I LIKE GEEKING OUT ABOUT THIS STUFF.

SOMETIMES PEOPLE WILL SAY THAT THE PAINTINGS LOOK LIKE A PHOTOGRAPH, AND THEY MEAN IT AS A COMPLIMENT, BUT I TAKE A LOT OF PAINS TO TAKE OUT THINGS THAT PHOTOGRAPHY DOES.

LIGHT IS SOMETHING -- LIFE IS SOMETHING THAT PHOTOGRAPHY DOESN'T SHOW, AND I SPEND A LOT OF TIME WORKING O-- ON THAT.

IT'S LIKE AN ALIBI FOR A CRIME.

THEY ALL HAVE TO MATCH UP OR IT DOESN'T WORK.

THESE PAINTINGS ARE BUILT LIKE ONE-FRAME MOVIES.

I HAVE TO BUILD THE SET, LIGHT IT, CAST IT, PUT THE FIGURES WHERE I WANT THEM, I WANT THE FIGURES TO HELP GUIDE YOU THROUGH THE SPACE.

READING IS A WAY OF SEEING REALITY THAT'S NOT THE SAME AS THE PICTURES.

THAT'S WHY I BLUR OUT THE WRITING IN PAINTINGS.

I WANT TO INVITE YOU INTO THE PAINTING AND KEEP YOU THERE AS LONG AS I CAN.

I WANT TO MAKE THESE SPACES SORT OF LIKE HOW I EXPERIENCE THEM.

I LIKE THESE PLACES TO BE DRAWN FROM THE SORT OF MIDDLE GROUND OF COMMON EXPERIENCE.

IF YOU GO TOO HIGH OR TOO LOW, YOU PLAY INTO PEOPLE'S FANTASY LIVES WHICH IS NARRATIVE POISON TO ME.

I PAINT U.S.A.

GAS, THE PAINTING HAS A CHANCE OF BEING AN EXPERIENCE YOU'VE HAD.

I DON'T MEAN IT TO BE ENTIRELY CRITIQUE EITHER.

I'M AMERICAN SO I'M A LITTLE EMBARRASSED AS AN AMERICAN ABOUT COSTCO BUT I'M ALSO INTO COSTCO.

I LIKE IT.

IF I'M NOT BOTH A LITTLE BIT IN AWE OF THE PLACE AND A LITTLE BIT ASHAMED OF THE PLACE, THEN I DON'T STAY ENGAGED IN A WAY THAT I WOULD BE INTERESTED LONG ENOUGH TO DO SOMETHING LIKE MAKE A PAINTING.

I'M NOT TRYING TO PRAISE THESE PLACES AND I'M NOT TRYING TO CONDEMN THEM.

I'M TRYING TO CONVEY WHAT IT IS ABOUT THE EXPERIENCE OF THESE PLACES THAT FASCINATES ME.

IT IS A MIX OF AWE AND SHAME AND THESE BIG DEEP SPACES.

IT'S LIKE A DESERT THERE.

IT'S LIKE -- THE INSIDE OF A COSTCO IS LIKE A MINI DESERT.

MAYBE I JUST FEEL AT HOME THERE.

♪ >> MY FIRST TRIP TO BRAZIL WAS IN 2005 AND WHEN I GOT TO SAO PAULO I WAS IN THE DOWNTOWN AREA AND -- AND I CAME ACROSS THESE TWO GUYS DRESSED IN THE CHOLO STYLE I RECOGNIZED HERE IN EAST L.A.

AND GROWING UP IN LOS ANGELES IN GENERAL.

THEY HAD THE BIG PANT THE BAGGY PANTS, HAD A DODGERS JERSEY ON, ANOTHER GUY HAD A BIG WHITE SHIRT.

VERY BIG.

THEY HAD THEIR SOCKS PULLED UP TO THEIR KNEES.

I THOUGHT THIS IS -- ARE THEY TOURISTS?

THEY MUST BE FROM L.A.

WHAT'S GOING ON.

I WENT UP TO THEM OUT OF CURIOSITY AND REALIZED THEY WERE SPEAKING FLUENT PORTUGUESE SO THAT CONFUSED ME BUT ALSO MADE ME MORE CURIOUS.

SO I WALKED INTO THIS SORT OF LIKE MALL BEHIND THEM AND WHEN I WENT INSIDE I SAW THIS WHOLE NEW WORLD.

THERE WERE TATTOO SHOPS THAT WERE -- WHERE PEOPLE WERE GETTING TATTOOS IN THE EAST L.A.

STYLE.

A LOT OF GUYS THAT LOOKED LIKE THE GUYS I SAW OUTSIDE.

AND THEN I THOUGHT ONE TAI I HAVE TO COME BACK AND I SHOULD WRITE A STORY ABOUT THIS.

EVENTUALLY WHEN I DID DECIDE TO REALLY PURSUE THE STORY, AT THAT POINT I HAD ALREADY KNOWN A FEW FRIENDS WHO KNEW SOME OF THESE GUYS IN THE LOWRIDER CULTURE.

AND THEY INTRODUCED ME TO THEM AND SUDDENLY MY WORLD WAS EXPANDED LIKE A THOUSAND TIMES AND I SAW THAT THERE WERE POCKETS ALL OVER, ACTUALLY, IN BRAZIL, NOT JUST SAO PAULO, IF YOU WERE TO TALK TO THE LOWRIDERS THERE, IF YOU SAID THEY WERE JUST IMITATING.

THEY REALLY BELIEVE THEY ARE LOWRIDERS.

AND THEY ARE.

THEY LIVE THE LIFESTYLE.

WHEN YOU THINK ABOUT IT, BRAZILIANS AND LATINOS, MEXICAN AMERICANS HAVE VERY MUCH THE SAME VALUES.

THEY HAVE VERY STRONG BONDS WITH THEIR FAMILY, RELIGION, ESPECIALLY KA TO THECISM.

-- KA TO THECISM.

-- KAT OLCISM.

-- CATHOLICISM.

THERE'S A UNION BETWEEN THE TWO CULTURES.

AND THEY ALL TOLD ME, WE DO NOT WANT TO BRICK VIOLENCE INTO THIS.

THIS IS HOW IT'S DIFFERENT HERE.

THE VIOLENCE IN BRAZIL IS A DIFFERENT DYNAMIC.

YOU HAVE IT BETWEEN THE POLICE AND THE DRUG TRAFFICKERS.

THESE GUYS ARE JUST, YOU KNOW, THEY LOVE LOWRIDING.

THEY LOVE THE CHICANO CULTURE.

THEY'RE NOT VIOLENT.

OF COURSE THERE ARE RIVALRIES BETWEEN THE GROUPS BUT IT'S MORE LIKE WHO IS DOING IT BETTER THAN THE OTHER WHO IS MORE AUTHENTIC TO MAKING THE STYLE OF THE CAR A CERTAIN WAY.

THERE SALORIDER BIKE CLUB, THEIR NAME MEANS NORTHSIDE.

IN SAO PAULO THEY ARE FAMILY ORIENTED AND BRING THEIR LOWRIDER BIKE INTO THE SLUMS AND THEY SHOW THE KIDS IN THE SLUMS THAT, LOOK, YOU CAN ACTUALLY, YOU KNOW, PUT YOUR ENERGY INTO SOMETHING THAT'S REALLY PRODUCTIVE, YOU KNOW, INSTEAD OF GOING OUT AND, YOU KNOW, ROBBING OR DOING DRUGS.

THERE'S A HEALTHY WAY TO FUNNEL YOUR INTERESTS.

THAT'S REALY COOL BECAUSE THAT'S WHAT THE AMERICANS CAN LEARN FROM.

THAT TO ME WAS VERY, VERY INTERESTING.

LIKE A CULTURE FROM L.A.

THAT GETS EXPORTED ENDS UP BEING, YOU KNOW, RE-EXPORTED BACK INTO OUR COUNTRY WITH A NEW ANGLE.

♪ >> MY NAME IS ESTEBAN, I'M THE ONLY PHOTOGRAPHER THAT HAS TRAVELED THE WORLD DOCUMENTING LOWRIDER CULTURE.

WHEN THEY TOLD ME THEY HAD A LOWRIDER SCENE IN SAO PAULO I WAS LIKE, COOL, THEY PROBABLY HAVE FIVE OR 10 CARS.

I GOT THERE, SEEN THEM, YOU KNOW, THEY'RE ALL -- THEY ALL HAD THEIR CARS, YOU KNOW, LIKE THIS IS CRAZY.

THIS IS OVER HERE IN BRAZIL, LOWRIDERS, THEY'RE ALL TATTED UP, THEY GOT, YOU KNOW, ALL OF OUR, LIKE, ARTWORK AND PICTURES AND STUFF, YOU KNOW, ON THE WALLS AND STUFF, TO ME I WAS LIKE FLATTERED.

IT WAS KIND OF LIKE, THIS IS COOL.

YOU KNOW.

BUT TO DO THE CARS THE WAY THEY DID THEM, THAT'S THE PART THAT BLEW ME AWAY.

THEY KNOW HOW TO WORK THE CAR, HOW TO BUILD THEM, ALL THOSE GUYS WERE, YOU KNOW, YOU COULD BASICALLY PUT THEM IN L.A.

AND THEY'D BE FINE, YOU KNOW.

WHEREAS YOU COULDN'T PUT GUYS FROM L.A.

IN BRAZIL AND THEY'D BE FINE, YOU KNOW.

>> I'M FROM L.A., I ONLY KNEW ONE STYLE OF TATTOOING AND THAT WAS THAT BLACK AND GRAY GANGSTER STUFF.

THAT'S PRETTY MUCH WHAT KEPT ME GOING WHEN I WAS LEARNING HOW TO TATTOO SO THAT'S WHAT I PUSHED WHEN I CAME TO THE CONVENTION.

>> TATTOOS THEY HAD WERE KIND OF LIKE OUR STYLE HERE BUT IT HAD THEIR TWIST ON IT, YOU KNOW.

HAD THEIR -- THINGS THAT MEAN SOMETHING TO THEM.

>> I THINK IT'S COOL ABOUT THE SCENE, A LOT OF PEOPLE ARE TAKING THE EFFORT AND THE PATIENCE TO DO THOSE THINGS LIKE MOUNT LOWRIDER BIKES AND PUT TOGETHER A BIKE.

BUT I FEEL, A BIGGER MAJORITY ARE NOT DOING IT THEMSELVES.

THAT THEY'RE ASSEMBLING GANGSTERS YOU KNOW?

IT'S LIKE A CONVEYOR BELT.

PUT THIS, PUT A HAT ON IT, PUT A SNEAKER ON IT, AND IT'S A CHOLO.

>> I THINK IT'S BETTER, YOU KNOW .

WHO WANTS TO -- YOU KNOW, WHO WANTS TO DIE OVER STUFF, YOU KNOW.

BUT AT THE SAME TIME, VIOLENCE IS PART OF IT.

AND THAT'S KIND OF WHAT MAKES IT FUN, YOU KNOW.

♪ ♪ >> DAVE LEFNER CREATES PLANTS USING -- PRINTS USING A METHOD CALLED REDUCTION LINO CUTS, IT'S A METHOD THAT'S VERY LABOR INTENSIVE.

IT WAS PIONEERED BY PICASSO IN THE 1950'S.

IT INVOLVES CREATING A DESIGN ON LINOLEUM, CUTTING AWAY PART, PRINTING A LAYER, CUTTING AWAY MORE, PRINTING A LAYER, CUTTING AWAY MORE.

YOU'RE LEFT WITH NOTHING ON THE ORIGINAL BLOCK AT THE PINT WHEN YOU HAVE THE FULL IMMINGAGE ON THE PAPER.

BECAUSE OF THE SELF-DESTRUCTIVE QUALITY OF THE PRINTING, THEY'RE KNOWN AS SUICIDE PRINTS BECAUSE THE ORIGINAL BLOCK IS DESTROYED IN THE PROCESS.

HE'S INTERESTED IN THE IDEA OF THE ARTISAN, ARTISTS WHO PUT A LOT OF TIME AND ENERGY AND CRAFT INTO THOSE IN FAVOR SAY AYE WORK.

I THINK DAVE IS MAKING A COMMENT ON THE HYPER DIGITAL, HIGH TECH LIFESTYLE AND THE WAY THAT A LOT OF ARTIST PROSS TODAY.

HE'S GOING BACK IN TIME TO PRODOUSE SOMETHING THAT IS VERY LABOR INTENSIVE WHICH IS THE ON SOIST MANY OF THE TECHNOLOGIES WE'RE USING TODAY.

THE POINT OF MOST OF OUR TECHNOLOGY IS TO MAKE OUR LIVES EASIER HE HAS CHOSEN AN ART FORM THAT MAKES HIS LIFE HARDER BUT HE LOVES IT SO MUCH HE DOESN'T MIND SPENDING HOURS CARVING AWAY AT THE HI NELL -- LYNELL YUM BLOCKS AND PRINTING THESE -- LINOLEUM BLOCKS AND PRINTING THESE IMAGES.

>> I WANTED SOMETHING THAT WAS GETTING BACK TO A TIME WHERE AN ARTIST WAS RESPECTED AS AN ARTISAN OR A CRAFTSMAN.

THERE WAS AN ACTUAL SKILL INVOLVED IN ORDER TO TURN OUT A FINAL PIECE.

MOST PEOPLE ARE FAMILIAR WITH LINOLEUM BLOCK PRINTING IN A HIGH SCHOOL CLASS OR COLLEGE CLASS.

THEY ALWAYS HAVE THE STORY, THAT CUT ON MY FINGER, THAT'S FROM MY BLOCK CUT CLASS.

USUALLY IT'S IN A SINGLE COLOR.

WITH THE REDUCTION PROCESS IT'S A DIFFERENT STEP, YOU'RE PRINTING A MULTICOLORED PRINT USING A SINGLE BLOCK.

YOU KEEP CONTINUALLY CUTTING THAT SINGLE BLOCK AWAY UNTIL YOU'RE DONE PRINTING YOUR WHOLE PIECE.

BECAUSE I'VE DISCOVERED THAT IT'S SOMETHING NOT MANY PEOPLE DO, I KNEW IT WAS A PERFECT FIT FOR ME.

NOW IT IS ABOUT CREATING THE WORK AND HOPING PEOPLE RESPOND TOYOTA.

THAT'S ONE OF THE BEAUTIFUL THINGS ABOUT BEING AN ARTIST, I CAN JUST DO THE WORK.

BECAUSE CALIFORNIA IS SUCH A CAR CULTURE, MY INSPIRATION REALLY STARTED WHEN I FIRST STARTED DRIVING AND FINALLY BRANCHING OUT TO DIFFERENT AREAS OF LOS ANGELES AND DRIVING BY THESE MOM AND POP SHOPS THAT PEOPLE WOULDN'T PAY ATTENTION TO AT ALL.

YOU DRIVE BY EVERY DIAND NOT PAY ATTENTION TO THE BEAUTY THAT'S IN THAT.

SEING THE ENERGY THAT WENT INTO MAKING THESE BEAUTIFUL SIGNS THAT CAN DRAW PEOPLE INTO THEIR STORE, ESPECIALLY EVEN IN THE SUNSHINE OF L.A., YOU NORMALLY THINK OF NEON AT NIGHT BUT WHEN YOU DRIVE BY IN THE DAY AND SEE THE RUSTED OUT ELEMENTS AND BROKEN TUBING AND THE WAY SHADOWS ARE CAST FROM THE SUN, THERE'S SOMETHING FASCINATING ABOUT THAT.

THEN I STARTED REALIZING, ESPECIALLY MOVING THROUGH DOWNTOWN L.A., ALL THE HISTORIC THEATERS DOWN THERE YOU WOULD THINK ARE PROTECTED OR TRYING TO BE PROTECTED BUT THEY'RE FALLING APART JUST AS MUCH AND IT'S REALLY SAD TO SEE BECAUSE OTHER THE LAST 10 YEARS I HAVE LIVED HERE, I'VE TAKEN THOUSANDS OF PHOTOS OF DOWNTOWN AND WHEN I LOOK BACK OVER 10 YEARS, A LOT OF THINGS I'VE TAKEN SHOTS OF DON'T EXIST.

DOCUMENTATION AND PROSER VATION ARE A BIG PART OF MY WORK RIGHT NOW.

CAPTURING THE QUICKLY CHANGING FACE OF THE LOS ANGELES URBAN LANDSCAPE.

WE'RE STANDING IN FRONT OF THE LOS ANGELES LEADER RIGHT NOW AND DOWNTOWN L.A.

'S BROADWAY THEATER DISTRICT.

I'M TAKING MY PHOTOGRAPHIC PART OF CHOOSING A SIGN TO PRINT.

IT'S A BEAUTIFUL THEATER, MARQUEE IS AMAZING.

ONE GOOD THING ABOUT THIS SIGN, THE COLORING OF IT.

THE REDS WITH THE YELLOW TUBING, GOING TO MAKE A NICE CONTRAST IN THE PRINT.

THE GREAT THING ABOUT THIS THEATER, IT'S STILL USED AS A NEEDER -- THEATER, THAT'S IMPORTANT TO ME.

THAT IT'S STILL USED FOR ITS ORIGINAL PURPOSES.

THE SHADOWS CAST OFF THE TUBING ALMOST CREATE ARCHAIC SCRIPT.

SOME KIND OF ARCHAIC LANGUAGE, NOT EVEN WHAT WAS INTENDED.

THAT'S A BIG JUMPING OFF POINT.

I KNEW EARLY ON THAT I WAS MEPT TO BE AN ARTIST.

I HAVE A LITTLE DRAWING OF ME WITH A BERET STANDING IN FRONT OF AN' SELL AND AT THE BOTTOM IT SAYS, SOMEDAY, I WILL BE AN ARTIST AND PAINT A LOT OF PICTURES.

I KNEW I WOULD BE INVOLVED WITH THE ARTS.

EVEN THOUGH I'M WORKING FROM PHOTOGRAPHS, I'M DOING A HAND DRAWING BRONTHED FROM THAT.

I DOCTOR THE WAY SHADOWS FALL TO MAKE SURE THE CURVE OF THE SHADOW IS THE WAY I WANT IT.

I RUB THAT DOWN ON A HI NOEL YUM SURFACE, SPRAY FIX IT WITH A FIXTIVE TO ADHERE IT WITHOUT -- FIXATIVE TO ADHERE IT.

THEN THE CARVING BEGINS.

ON CARVING -- I'M CARVING INTO A LITTLE HI NOEL YUM -- LINOLEUM BLOCK, IT'S MEANT FOR MINE -- FINE ART PURPOSES, DOESN'T HAVE A GLOSS ON IT, BUT IT REALLY IS THE SAME STUFF YOU'D USE ON YOUR FLOOR.

BASICALLY WHERE I'M GOUGING AWAY RIGHT NOW WILL REVEAL ON PAPER WHEN I PUT THE FIRST LAYER OF INK ON IT.

I HAVE A PAINTING PROFESSOR IN COLLEGE, I LEFT THE WHITES OF THE EYES THE BLANK CANVAS AND HE FLIPPED OUT HE SAID YOU HAVE TO COVER EVERY INCH OF CANVAS WITH PAINT AND HE MADE A BIG DEAL ABOUT IT AND I THOUGHT, THIS IS ART, I CAN DO ANYTHING I WANT TO.

I ALWAYS USE THE WHITE OF THE PAPER IN MY PRINTS AS SORT OF LIKE, THUMBING MY NOSE AT THINK PROFESSOR.

JUST THE ACT OF CARVING ITSELF TAKES QUITE A WHILE.

YOU CAN SEE HOW PAINSTAKING IT IS JUST TO REMOVE A SMALL LITTLE AREA OF LINOLEUM AWAY.

ONE YEAR, JUST FOR FUN, I TRIED TO TRACK MY PRODUCTION FOR A YEAR.

SO I STARTED SAVING ALL THE LITTLE SHAVINGS OF LINOLEUM, THIS REPRESENTS THE BLOOD, SWEAT, AND TEARS OF 2005.

ONCE I CARVE THOSE AREAS AWAY IT'S GOING TO REPEAL THE WHITE OF THE PAPER, I INK THE BLOCK WITH MY FIRST COLOR.

MAKING SURE THAT THE WHOLE BLOCK IS COVERED UNIFORMLY WITH THE INK.

MY VERY FIRST BLOCK PRINT I PRINTED WITH MY CAR.

I HAD A LITTLE 1972 BEETLE, BIG GREEN MACHINE.

I WOULD INK MY BLOCK IN THE GARAGE, PUT THE PIECE OF PAPER DOWN, PUT THE MASONITE ON TOP AND BACK MY CAR OVER IT.

THEN I FINALLY MADE THE INVESTMENT TO GET A CONRAD PRESS AND IT'S BEEN INVALUABLE TO HAVE HERE.

IT'S A BIG THING FOR PRINTMAKERS, TO BE ABLE TO DO YOUR WORK WHENEVER YOU WANT TO.

SO ONCE THE LINOLEUM BLOCK HAS BEEN INKED, I PUT IT IN THE PRESS, PUT THE PAPER ON TOP, PUT A PIECE OF MASONITE DOWN AND I'M READY TO CRANK THE PRESS.

I PEEL UP THAT PIECE OF PAPER AND WHAT'S PRINTED ON PAPER IS MY FIRST COLOR.

ALL YOU SEE THE WHITE OF THE PAPER AND THE AREAS GOUGED AWAY AND THE FIRST COLOR.

SAY I PRINT SEVEN PIECES OF PAPER, THEY'LL ALL LOOK JUST LIKE THAT FIRST PIECE OF PAPER.

ONCE THE ENTIRE BLOCK IS CLEANED OFF I'M READY TO START THE NEXT STAGE.

THE PRODUCTION PROCESS WAS A LOST ART FORM, VERY LABOR INTENSIVE.

I THINK THAT'S WHY NOT MANY PEOPLE DO IT ANYMORE, THERE'S SO MUCH ATTENTION TO DETAIL AS FAR AS COVERBING THE BLOCK AND INKING THE BLOCK.

IT DOES TAKE A LONG TIME TO DO THE FINAL PIECE.

I USUALLY WRITE DOWN THE NUMBER OF COLORS I THINK I WANT, I'M ALWAYS CONSIDERING WHAT COLOR I JUST PRINTED SO WHEN I GO BACK AND CARVE MORE, I'LL BE REVEALING THAT COLOR.

THERE WERE A FEW TIMES WHERE I WOULD ACTUALLY CARVE AN AREA AWAY FROM THE BLOCK AND REALIZE I DIDN'T WANT THAT TO BE CARVED AWAY AND I WAS ABLE TO FIND THE LITTLE SHAVINGS IN THE HUNDREDS OF LITTLE SHAVINGS AND ABLE TO GLUE IT BACK INTO THE BLOCK AND MAKE IT WORK THAT WAY.

PROBABLY THE MOST IMPORTANT ELEMENT OF THIS ENTIRE MEDIUM IS REGISTRATION IN THE PRESS AND THE WAY THE BLOCK AND PAPER FIT INTO THE PRESS.

BECAUSE YOU'RE PRINTING FROM THE SAME BLOCK, IT'S CRUCIAL THAT THE COLORS LINE UP.

I'VE BEEN WORKING ON THIS PIECE FOR A WHILE NOW AND HAD TO TAKE SOME TIME OFF FOR A WEEK OR SO.

THE WEATHER CHANGED.

I'M NOT SURE IF IT STRETCHED THE PAPER OR THINGS BUT MESSED WITH THE REGISTRATION A LITTLE.

YOU DEFINITELY HAVE TO HAVE SOME PATIENCE TO GO THROUGH THE WHOLE PROCESS OF IT AND EVEN DEAL WITH A LITTLE, I GUESS JUST LITTLE BUMPS IN THE ROAD.

I'M NOT ABOUT MASS PRODUCING THE WORK AT ALL.

BECAUSE OF THE PROCESS, BECAUSE YOU CAN NEVER GO BACK AND PRINT THE EDITION.

I WANT PEOPLE BUYING MY WORK TO KNOW IT'S A VERY LIMITED EDITION PIECE.

I THINK THAT THAT IS PART OF THE CHARM.

I THINK IT'S PART OF THE MEDIUM.

IT'S PRINTED FROM THE BLOCK.

IT'S NOT MEANT TO BE PHOTO REALISTIC.

IT'S SORT OF THE NATURE OF THE PROCESS THAT YOU GET THAT LOOK WITH THINGS.

I ACTUALLY LIKE THAT EVEN WITHIN THE EDITION, EACH PIECE HAS ITS OWN UNIQUE QUALITIES TO IT.

I HAVE AN IDEA OF WHAT I WANT AS A FINAL PIECE BUT EVEN I DON'T KNOW WHAT IT'S GOING TO LOOK LIKE UNTIL USUALLY THE FINAL COLOR.

I HAVE TO GIVE OVER TO THE MYSTERY OF THAT PROCESS WHETHER IT'S IN MY ART OR IN LIFE THAT YOU HAVE TO JUST SLOW DOWN AND ENJOY THE JOURNEY AS WELL AS THE DESTINATION.

THERE'S SO MUCH IN L.A.

THAT I FIND, I MEAN, THERE'S SO MANY PIECES THAT I STALE HAVE TO DO.

IT'S AMAZING HOW EACH AREA OF LOS ANGELES HAS ITS OWN CHARACTERISTICS.

WHEN I LOOK BACK OVER MY WORK I CAN SEE IT WILL DEFINITELY CONTINUE TO BE MY MUSE.

♪ ♪ ♪ IF YOU WANT IT YOU GOT IT LIFE ANTEHERE IF YOU WANT SOME TROUBLE IF YOU WANT TROUBLE BABY TROUBLE IF YOU WANT TROUBLE TROUBLE OH IF YOU WANT TROUBLE IF YOU WANT TROUBLE ♪ COME ON YOU KNOW ♪♪ ♪ TROUBLE IF YOU WANT TROUBLE GIRL OH IF YOU WANT TROUBLE TROUBLE OH IF YOU WANT TROUBLE TROUBLE ♪♪ [APPLAUSE] >> THANK YOU.