>>> PRODUCTION OF "BROAD & HIGH" IS FUNDED IN PART BY THE GREATER COLUMBUS ARTS COUNCIL.

SUPPORTING ARTS, ADVANCING CULTURE, AND CONNECTING THE COMMUNITY TO ARTISTS, EVENTS, AND CLASSES AT COLUMBUSMAKESART.COM.

>> FROM THESE CONTRIBUTING SPONSORS -- AND VIEWERS LIKE YOU.

THANK YOU.

>> THIS TIME ON "BROAD & HIGH" -- A PAINTER WHO FINDS INSPIRATION IN CAUTION SIGNS.

>> I BECAME INTERESTING IN HOW I CAN, KIND OF, SUBVERT THE MEANING OF THESE PATTERNS AND OF THESE SYMBOLS.

AND REORIENT THEM IN WAYS WHERE THEY TAKE ON A NEW MEANING OR A NEW LIFE.

>> FREE-FLOWING HAIR THAT REPRESENTS A FEW-FLOWING SPIRIT.

QUILTS THAT ILLUMINATE THE QUEST FOR FREEDOM.

AND SOME COOL R&B FROM PARKER LOUIS.

THIS AND MORE RIGHT NOW ON "BROAD & HIGH."

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>> HI, EVERYONE.

WELCOME TO "BROAD & HIGH."

I'M YOUR HOST, KATE QUICKEL.

OUR FIRST STORY HITS CLOSE TO HOME.

ANDREW INA HAS BEEN A CELEBRATED ARTIST IN COLUMBUS FOR YEARS.

WHAT YOU MIGHT NOT KNOW IS THAT HE IS PART OF THE WOSU FAMILY.

ANDREW WAS ONE OF OUR "BROAD & HIGH" VIDEOGRAPHERS FOR YEARS.

AND WHILE HE'S SINCE MOVED ON, WE'RE ALWAYS HAPPY TO SHOWCASE HIS TALENTS.

ANDREW'S RECENT EXHIBITION AT OTTERBEIN UNIVERSITY'S FISHER GALLERY WAS INSPIRED BY THE EVERYDAY CAUTION SIGNS AS A WAY TO TALK ABOUT SOME VERY DIFFICULT TOPICS.

TAKE A LOOK.

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>> WE'RE AT THE FISHER GALLERY HERE ON THE OTTERBEIN UNIVERSITY CAMPUS.

I'VE GOT ABOUT 30 PIECES OF ARTWORK THAT WE'RE INSTALLING TODAY.

MY NAME'S ANDREW INA.

I AM A VISUAL ARTIST AND ALSO A FILMMAKER.

THE SHOW IS TITLED "UNINTENDED CONSEQUENCES."

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I'VE ALWAYS WORKED IN THE NONOBJECTIVE REALM.

I FIND THAT THERE'S A LOT OF POWER TO NONOBJECTIVE, OR SOME PEOPLE WILL INTEROPERATE IT AS ABSTRACT WORK.

YOU'RE NOT LOCKED INTO AN IMAGE OR A SPECIFIC ASSOCIATION THAT YOU WILL SEE WITH REPRESENTATIONAL WORK.

WHERE AS I FEEL THE NONOBJECTIVE WORK, IT'S MORE OF A UNIVERSAL LANGUAGE.

SO IT CAN SPEAK IN WAYS THAT SOMETIMES I FEEL LIKE THE REPRESENTATIONAL WORK CAN BE LIMITING.

I FEEL LIKE MY WORK HAS ALWAYS CONFRONTED THE VIEWER.

IT'S NOT A WINDOW THAT YOU GO INTO AND KIND OF LIKE GO INTO A LANDSCAPE OR INTO A PORTRAIT.

THE SURFACE IS COMING TO YOU.

THEY TEND TO BE BOLD.

THEY TEND TO BE DYNAMIC.

THE SURFACES TEND TO BE VERY RICH AND TACTILE.

YOU JUST KIND OF WANT TO PUT YOUR HANDS ON THEM.

AND THAT'S THE TYPE OF WORK I TEND TO MAKE AND TEND TO BE ATTRACTED TO.

SO THIS SHOW IS ACTUALLY, UM -- HAS BEEN A LONG TIME IN THE MAKING.

THE WORK SPEAKS TO THE SORT OF NONSENSICAL POLITICAL AND SOCIAL CLIMATE THAT WE FIND OURSELVES IN OVER THE LAST NUMBER OF YEARS.

AND A LOT OF THE WORK IS CHARGED IN THAT WAY.

MY WORK, MOST RECENTLY, HAS BEEN FOCUSING ON SYMBOLISM AND MORE SPECIFICALLY THE CAUTION SIGN, OR THE CAUTION PATTERN.

AND YOU'LL SEE THAT AS A KIND OF A COMMON THREAD THROUGHOUT THE SHOW.

I BECAME INTERESTED IN HOW I CAN, KIND OF, SUBVERT THE MEANING OF THESE PATTERNS AND OF THESE SYMBOLS.

AND REORIENT THEM IN WAYS WHERE THEY TAKE ON A NEW MEANING OR A NEW LIFE.

THIS PIECE IS TITLED "NOTHING TO SEE HERE."

AND LITERALLY, IT'S LIKE A PILE OF DISCARDED CAUTION SIGNS.

I FEEL LIKE EVERY DAY YOU WAKE UP TO THE NEWS CYCLE.

AND IT'S AN OVERWHELMING SERIES OF -- WHETHER IT'S HEADLINES OR STORIES AND -- I DON'T THINK A LOT OF WHAT WE'VE BEEN EXPERIENCING THE LAST FEW YEARS IS NORMAL OR OKAY.

I FIND IT HARD TO RECONCILE THIS FEELING OF WANTING TO JUST KIND OF DISASSOCIATE YOURSELF FROM ALL THIS, OR BE DESENSITIZED TO ALL THIS.

BUT I THINK IT'S VERY IMPORTANT, NOW MORE THAN EVER, TO BE VIGILANT AND TO NOT LOOK AWAY, AND TO NOT ALLOW THIS TO BE NORMALIZED.

SO THIS PIECE IS TITLED "NEITHER HERE NOR THERE."

AND THE FORM THAT I START WITH IS THE SAFETY CONE.

AND WHAT I'VE DONE IS TAKEN WALLPAPER AND COLLAGED OVER THE CONES IN A WAY TO CONCEAL THEIR POWER OR THEIR FUNCTION.

I GREW UP IN THE SUBURBS OF CLEVELAND AND THE WALLPAPER THAT I USED TO WRAP THE CONES WITH WAS THE EXACT WALLPAPER THAT I HAD IN MY KITCHEN GROWING UP.

I THOUGHT THAT THIS TREATMENT WAS APPROPRIATE TO COVER THESE CONES, BECAUSE OFTENTIMES THOSE ARE THE KINDS OF SETTINGS WHERE, YOU KNOW, PEOPLE DON'T LIKE TO GET POLITICAL.

PEOPLE DON'T LIKE TO HAVE THOSE UNCOMFORTABLE CONVERSATIONS.

SO, IT FEEDS BACK INTO THIS IDEA THAT WE'RE MISSING A LOT OF WARNING SIGNS.

SO THE PIECE YOU SEE BEHIND ME IS A LARGE-SCALE PIECE.

AND IT IS MADE UP OF 50 20 BY 20-INCH TILES, OR SURFACES.

THE FRAMEWORK BEHIND THIS PIECE IS THIS IDEA OF TAKING LOTS OF SURFACES OF VARYING CHARACTERISTICS, OR PERSONALITIES AS I LIKE TO SAY.

AND TRYING TO CONFORM THEM INTO A SYSTEM.

SO, IN THIS PARTICULAR CASE YOU HAVE A GRID.

AND I ENJOY THE SOMETIMES HARMONIOUS MOMENTS AND SOMETIMES WHEN THE PIECES DON'T QUITE FIT TOGETHER.

THEY DON'T SPEAK, AND YET THEY'RE COHESIVE BECAUSE THEY'RE MADE TO CONFORM TO THIS SYSTEM.

I LOVE LARGE PAINTINGS AND LARGER ARTWORKS IN GENERAL.

THAT KIND OF VISCERAL, INTERACTIVE NATURE OF IT.

TO TALK UP TO IT AND BE CONFRONTED BY IT.

I'M REALLY EXCITED THAT THIS SPACE COULD ACCOMMODATE A PIECE OF THIS SCALE.

I THINK MY SENSE OF URGENCY TO MAKE THIS WORK HAS BEEN ESCALATING.

BECAUSE I THINK THAT'S THE RESPONSIBILITY IN MANY WAYS OF ARTISTS, IS TO SHINE A LIGHT ON THINGS THAT WE MAY OTHERWISE MISS OR FEEL UNCOMFORTABLE TALKING ABOUT.

AND SO I HOPE THIS WORK CAN START THOSE TYPES OF CONVERSATIONS AND MAKING PEOPLE COMFORTABLE BEING UNCOMFORTABLE, AS CLICHE AS THAT SOUNDS.

I THINK THAT'S THE FUNCTION OF ART AND MY HOPE IS THAT THIS WORK CAN KIND OF CONTINUE THAT IN THAT DIRECTION.

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>> FIND ANDREW INA'S WORK AND HIS LATEST EXHIBITIONS AT ANDREWINA.COM.

APRIL SUNAMI IS A HIGH-ACCLAIMED ARTIST HERE IN COLUMBUS.

THE CLOTHING LINE LANE BRYANT TAPPED HER TO DESIGN A T-SHIRT FOR BLACK HISTORY MONTH THAT WAS SOLD ACROSS THE COUNTRY.

APRIL WILL TELL YOU THAT HER PAINTINGS ARE LIKE A SPIRITUAL EXERCISE, MAYBE A WAY TO MEDITATE OR PRAY.

SEE WHAT YOU THINK.

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>> THIS THEME, IT'S WHAT WE CALL PSYCHENWELIC ART AND IT'S FROM THE GREEK ROOT PSYCHE, MEANING MIND OR SPIRIT, AND THEN ALSO THE SWAHILI WORD NYWELE, WHICH MEANS HAIR.

SO IT'S KIND OF -- THE IDEA IS IT'S THE COMBINATION OF THE SPIRIT AS EXPRESSED THROUGH THE PHYSICAL REPRESENTATION OF THE HAIR.

>> IT CAPTURES LIKE THE FEELING AND THE MOOD.

AND IT'S ALL EXPRESSED THROUGH THE BACKGROUND, THROUGH THE HAIR.

FOR ME, I JUST THINK THE HAIR JUST IS SO NUANCED AND HAS SO MANY DIFFERENT MEANINGS.

AND JUST TO EXPLORE THAT IS -- IT'S JUST REALLY FUN AND COMPELLING AND IS VERY MOTIVATING FOR ME.

I JUST KIND OF DESCRIBE MYSELF AS A PERSON WHO'S JUST TRYING TO EXPLORE AND EXPERIMENT AND SEE HOW FAR I CAN TAKE A PARTICULAR THING.

EVERYTHING THAT LAYING AROUND MY STUDIO THAT I COLLECT OFF OF THE STREETS, I PUT IT IN MY ARTWORK.

AND EVERYTHING USUALLY KIND OF HAS A STORY -- A BACKSTORY OR SOME KIND OF PERSONAL SIGNIFICANCE.

FOR INSTANCE, SOME OF THE BREAKAWAY GLASS IS FROM SEVERAL TIMES MY CAR WAS BURGLARIZED AND I ACTUALLY USED IT IN MY PAINTINGS.

I'VE USED CREDIT CARDS.

I'VE USED -- I DO POTTERY, BROKEN SHARDS OF POTTERY.

PAPER THAT I'VE PICKED UP FROM DIFFERENT PLACES THAT I'VE TRAVELED TO.

I USE EVERYTHING.

IF I COULD PUT A KITCHEN SINK ON A PAINTING, I WOULD.

>> YOU KNOW, FOR A LONG TIME IN ART THERE WAS THIS TREND TOWARDS MORE ABSTRACT ART.

SO THINGS THAT WEREN'T REPRESENTATIONAL.

AND YOU KNOW THERE'S A CERTAIN AMOUNT OF VITALITY TO THAT.

BUT IT WAS ALSO -- IT COULD BE SORT OF EMOTIONALLY DISTANCED.

BUT THIS KIND OF BRINGS BACK KIND OF THE MORE HUMAN ELEMENT.

AND IT COMBINES IT WITH SORT OF THE VITALITY OF ABSTRACT ART, WITH KIND OF THE EMOTION OF THE HUMAN ELEMENT.

THE HUMAN FIGURE IS MORE REALISTIC, MORE FROM KIND OF A CLASSIC TRADITION.

AND THEN THE HAIR IS KIND OF MORE FANCIFUL, MORE ABSTRACT, AND MORE DYNAMIC.

SO FOR ME, THAT'S WHAT'S EXCITING ABOUT IT.

BECAUSE IT'S REALLY SEEING THESE TWO TRADITIONS IN ART THAT DIVERGED AND FOR A LONG TIME WEREN'T REALLY COMMUNICATING WITH EACH OTHER.

IT'S REALLY SEEING THOSE COME BACK TOGETHER.

>> REALLY IT'S A SPIRITUAL EXERCISE FOR ME.

WHEN I, YOU KNOW, COME TO A CANVAS IT'S REALLY MY FORM OF MEDITATION, MY FORM OF PRAYER.

AND THIS IS HOW I EXPRESS MYSELF.

I THINK MY GOAL IN EVERY WORK OF ART IS FOR THE VIEWER TO HAVE LIKE A VISCERAL REACTION.

I KIND OF LIKE TO THINK ABOUT MY ART AS AKIN TO A GOSPEL SONG, YOU KNOW.

I JUST REALLY WANT PEOPLE TO FEEL IT AND TO REALLY RESPOND TO IT AT A VERY DEEP LEVEL.

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>> CHECK OUT APRIL SUNAMI'S WEBSITE APRILSUNAMI.COM FOR HER LATEST WORK.

AND GOOGLE SEARCH APRIL SUNAMI PLUS LANE BRYANT TO CHECK OUT APRIL'S AMAZING T-SHIRT DESIGN FOR 2021'S BLACK HISTORY MONTH.

ON TO CINCINNATI FOR OUR NEXT ARTIST.

CYNTHIA LOCKHART LOVES TO BUILD A STORY.

LAYER AFTER LAYER OF TEXTILES GO INTO HER QUILTS THAT FOLLOW A JOURNEY OF AFRICAN-AMERICANS TO FREEDOM.

LAST SUMMER, HER QUILTS WERE ON DISPLAY AT THE TAFT MUSEUM OF ART IN CINCINNATI.

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>> ELLEN AND ANN FROM THE TAFT CALL ME UP ONE DAY AND SAID WE'D BE INTERESTED IN COMING OVER TO LOOK AT YOUR ARTWORK.

THE TAFT IS INTERESTED IN YOU.

SO I PREPARED THE VISIT FOR THEM.

THEY CAME BY, THEY LOOKED AT MY ARTWORK IN THE HOUSE, VISITED MY STUDIO.

AND THEN PROBABLY ABOUT A MONTH LATER I GET A CALL AND -- WITH AN INVITATION TO DO A SHOW.

OBVIOUSLY THE TITLE OF THE SHOW AND THE DESIGN AND THE DEPICTING OF THE SHOW WAS UP TO ME TO COME UP WITH.

AND SO THAT JOURNEY TO BE ASSOCIATED WITH THE TAFT STARTED.

"JOURNEY TO FREEDOM" IS A QUILT THAT I DID YEARS AGO, BUT IT'S REALLY AT THE HEART OF A STORY THAT I BELIEVE IN.

I BELIEVE IN A STORY OF PEOPLE WHO WERE SLAVES, OF PEOPLE WHO WERE BROUGHT TO THIS COUNTRY UNBEKNOWNST TO WHAT WOULD HAPPEN TO THEN.

LEFT THEIR HISTORY, CAME HERE, AND OVER A SERIES OF 400 YEARS BECAME A VIBRANT AND EXCITING PART OF THIS AMERICA.

WITHIN MY WORK, I BUILD A STORY.

I RESEARCH THE PROJECT, I READ UP ON.

I WILL LOOK AT THE HISTORY OF IT AND READ SEVERAL ADAPTATIONS, BOOKS AND WHAT HAVE YOU.

MAYBE EVEN LOOK AT A MOVIE.

AND THEN I START PUTTING THAT TOGETHER IN TERMS OF SKETCHING.

AND SO I COME UP WITH THE IMAGINES THAT RESONATE IN ME THAT ARE STRONG, THAT ARE POWERFUL.

AND I GET A NUDGE, AND IT'S LIKE, OKAY, THIS IS WHAT YOU DO.

THIS IS WHAT YOU PUT TOGETHER.

AND I BEGIN TO PUT THE COLORS TOGETHER FOR THE MOOD THAT I'M CREATING WITHIN THE ARTWORK.

AND I WILL EITHER MAKE THE FABRIC -- I'VE DONE SOMETHING CALLED FABRICATION, WHERE I'M LITERALLY PUTTING TINY LITTLE PIECES, BITS AND PIECES LIKE A COLLAGE, TO CREATE A VERY DYNAMIC LOOK.

OR I WILL DYE THE FABRIC, OR I'LL DO SYMBOLS AND I'LL SILK SCREEN AS WELL.

I'M SO IMPRESSED WITH THE STORY THAT THE TAFT HAS WITH ROBERT DUNCANSON.

I'M VERY PROUD OF THE HISTORY OF THE TAFT BEING ABLE TO EMBRACE AN AFRICAN-AMERICAN ARTIST, AND ALSO BEING INVOLVED IN THE ABOLITIONIST MOVEMENT.

AND THE INTEGRITY OF THE TAFT TO STILL CONTINUE TO HAVE A PROGRAM IN PLACE THAT WILL SUPPORT THE AFRICAN-AMERICAN COMMUNITY WITH THEIR DUNCANSON.

AGAIN, I HAD TO RESEARCH THE DUNCANSON MURALS.

AND YOU HAVE TO SELECT A PIECE OF ART IN THE TAFT -- AND I LOOKED VIGOROUSLY FOR MANY THINGS, AND I WAS ATTRACTED TO MANY THINGS, BUT YOU HAVE TO NARROW IT DOWN.

SO LOOKING AT DUNCANSON'S WORK, HE DOES A PHENOMENAL DEPICTION OF THIS ENVIRONMENT THAT JUST LOOKS LIKE A PLACE THAT YOU WANT TO BE.

THAT YOU COULD JUST WALK INTO THIS PLACE.

AND SO THAT'S CRITICAL FOR AN ARTIST, THAT THE VIEWER CAN ACTUALLY FEEL THAT.

AND THEN HE DID SOMETHING VERY WHIMSICAL, WAS TO PUT A TROMPE L'OEIL FRAME AROUND THE ARTWORK.

I THOUGH THAT RESONATED WITH ME, THAT SORT OF PLAYING TRICKS WITH THINGS.

I CAN TRICKSTER WITH MY ARTWORK.

SO I SAID, WITH THAT WHIMSY AND WITH THAT -- THE BEAUTIFUL COLOR, MUTED TONES THAT HE USED, I CAN WORK WITH THAT.

SO WHAT I DECIDED WHEN I STARTED SKETCHING WAS THAT I -- IN HIS, IN DUNCANSON'S MURALS, I FOUND AN AREA WHERE I FELT A SLAVE COULD HAVE PASSED THROUGH ON OF HIS MURALS.

THEREFORE I DECIDED TO HAVE A RUNAWAY SLAVE PASSING THROUGH THE IMAGE, THE INSPIRATION OF THE DUNCANSON.

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THE TITLE OF IT IS "RUNAWAY: SWING LOW, SWEET CHARIOT," WHICH IS AN AFRICAN-AMERICAN HYMN, WHICH DEPICTS AND GUIDES THE TRAVELERS TO FREEDOM.

SO IT WAS A SONG THAT WAS INVENTED TO GIVE THEM INSTRUCTIONS OF WHERE THEY WOULD GO TO SEEK FREEDOM.

SO WITH THAT, THEN I SAID, OKAY, NOW I HAVE TO COME UP WITH SOME TYPE OF WHIMSY, AND SOME TYPE OF FLIGHT.

AND I DID THAT BY USING A FIGURE THAT ALMOST WAS LIKE A CAMOUFLAGE FIGURE, THAT IS ESCAPING THROUGH THE FIELDS.

AND AGAIN, ABOVE HIM THERE ARE THE THREE FACES THAT ARE SINGING "SWING LOW, SWEET CHARIOT."

I ALSO CREATED SOME ORBS.

SO THE ORB STRUCTURES ARE JUST THE ROUND CIRCLES THAT YOU SEE IN THE WORK, ARE REPRESENTATIVE OF TRAVELERS, REPRESENTED PEOPLE WHO ARE NO LONGER WITH US.

BUT IT'S A WAY TO REMEMBER THEM, THE CIRCLES.

SO INSIDE THE CIRCLE IS ALWAYS A PRAYER, IT'S ALWAYS AN ASPIRATION.

AND SO THE ORBS SURROUND THE SLAVE AS THE SLAVE RUNS TOWARDS FREEDOM.

WHAT'S ALWAYS IN MY WORK IS THE ATTITUDE OF HOPE AND JOY AND UNLIMITED POSSIBILITIES OF BEING ABLE TO BE FREE AND TO BE YOURSELF.

FREEDOM IS A VERY PRECIOUS THING.

AND AS A PART OF THE SHOW, I SAID, WHOA I TOOK ON A BIG TASK.

THIS IS MY PERSPECTIVE ABOUT FREEDOM.

"JOURNEY TO FREEDOM" DEPICTED THROUGH MY ANCESTORS.

WHAT DOES EVERYBODY ELSE FEEL ABOUT FREEDOM?

AND LOTS OF WRITING TALKING ABOUT FREEDOM, LOTS OF WRITING.

AND THEN IT DAWNED ON ME, WHAT DO PEOPLE THINK ABOUT FREEDOM?

IT'S A HUGE SUBJECT.

IT'S ONE OF THE MOST IMPORTANT SUBJECTS THAT WE HAVE, OUR INDIVIDUAL RIGHTS AS HUMAN BEINGS TO BE FREE, TO BE TREATED FREE AND EQUALLY.

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>>> AND NOW WE HEAD OVER TO THE WOSU STUDIO FOR A MUSICAL TREAT.

THE MUSIC OF PARKER LOUIS IS A COLUMBUS FAVORITE, WITH A MIX OF R&B AND A WHOLE LOT OF FUN.

ENJOY.

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BABY THIS RIDE AIN'T SLOW !

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NOBODY TOLD ME SO !

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WE'LL NEVER SHARE THAT LOAD !

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HOLD ONTO TO MY YOUTH !

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CAN'T I HOLD ONTO MY YOUTH !

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NO LOVE LATELY !

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NO LOVE LATELY !

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NO LOVE LATELY !

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DON'T GO !

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DON'T GO !

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FEELS LIKE I'M LOSING TURNS !

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MAYBE I'M NOT IN LOVE !

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I CAN'T FIND THE TRUTH !

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AND I DON'T WANT THE TRUTH !

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LEAVING THE SEA INSIDE !

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REMEMBER THE RIGHTS !

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THE WRONGS !

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NOW TOKEN WORDS ARE COMING ON !

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AND I DON'T KNOW !

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AND THAT'S WHY !

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YOUR LOVE LATELY !

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LOVE LATELY !

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LOVE LATELY !

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NO LOVE LATELY !

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LOVE LATELY !

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NO LOVE THE WAY YOU LEFT MY DOOR OPEN WIDE !

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NO NO !

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NO NO !

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THAT'S WHY THEN !

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NO LOVE LATELY !

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LOVE LATELY !

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LOVE LATELY !

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NO LOVE LATELY !

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LOVE LATELY !

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HOPE I DON'T TURN INTO STONE !

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INTO STONE !

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NO LOVE LATELY !

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LATELY !

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NO LOVE LATELY !

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LOVE LATELY !

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NO LOVE THE WAY THE WAY YOU LEFT MY DOOR OPEN WIDE !

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YOUR DOOR !

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THAT'S WHY THERE'S !

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NO LOVE LATELY !

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LOVE LATELY !

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LOVE LATELY !

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NO LOVE LATELY !

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LOVE LATELY !

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NO LOVE LATELY !

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LOVE LATELY !

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HOPE I DON'T TURN INTO STONE !

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INTO STONE !

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>>> WELL, THAT'S OUR SHOW.

REMEMBER, YOU CAN FIND ALL OF OUR STORIES ONLINE AT WOSU.ORG, AS WELL AS ON OUR YOUTUBE CHANNEL.

FOR ALL OF US HERE AT WOSU, I'M KATE QUICKEL.

THANKS FOR WATCHING.

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>>> I WANTED TO WORK WITH MIRRORS.

BECAUSE MIRRORS IS THIS SORT OF DEVICE, THOUGH IT LOOKS LIKE A DEVICE OR MATERIAL, IT'S ACTUALLY VERY MENTAL BECAUSE IT DEMANDS A COMPREHENSION AND UNDERSTANDING OF HOW THE DEVICE WORKS TO UNDERSTAND WHAT YOU'RE SEEING.

THE EFFECT IS SORT OF UNPREDICTABLE BECAUSE IT IS A MULTIPLYING DEVICE.

AND IT SORT OF SURPRISES.

I'M IN THE PROCESS OF MOUNTING AND MORE THAN MOUNTING AND INSTALLING, IT COMES FROM THE PRESENCE OF THE WORK IN THE PLACE WITH PEOPLE INTERACTING WITH IT OR JUST BEING AROUND IT.

WITH THE USE OF IT, WHEN IT'S DONE, IT STARTS TO EXIST IN A WAY THAT YOU COULDN'T PREDICT.

WHEN YOU ADD SOMETHING THAT AFFECTS THE PRESENCE OF LIGHT, THEN IT'S LESS SUBLIMINAL.

THEN YOU HAVE TO SEE IT.

YOU CAN'T TAKE IT FOR GRANTED.

THEN YOU START TO SPECULATE AND TO TRY TO UNDERSTAND ITS PRESENCE.

>>> CATCH COLUMBUS AT ITS CREATIVE BEST ON "BROAD & HIGH."

THURSDAY NIGHTS AT 8:00 ON WOSU-TV.

>>> PRODUCTION OF "BROAD & HIGH" IS FUNDED IN PART BY THE GREATER COLUMBUS ARTS COUNCIL.

SUPPORTING ARTS, ADVANCING CULTURE, AND CONNECTING THE COMMUNITY TO ARTISTS, EVENTS, AND CLASSES AT COLUMBUSMAKESART.COM.

>> FROM THESE CONTRIBUTING SPONSORS -- AND VIEWERS LIKE YOU.

THANK YOU.