>> THIS DOESN'T LOOK LIKE A WHOLE LOT, BUT HAD TO FIND THE CURVES AND ALL THE PIECES, IT LOOKS REALLY GOOD.

>> TO LIVE BY, THERE'S A FEELING OF WHOLENESS WHEN A SOUND COMES TOGETHER.

>> MED INDICATION, SOUND, AND BACK HISTORY >> I SIT AND WORK ON PIECES.

IT'S A LOVELY PLACE TO BE.

>> ON THE ROAD.

>> BEAUTY, POSSIBILITY.

>> AND WEARING SOUND.

>> THE SOUND IS GENERATED FROM MATERIALS THAT MAKE NOISE SUCH AS BOTTLE CAPS.

>> IT'S ALL AHEAD ON THIS EDITION OF ARTS.

>> I'M APRIL ANCIRA AND THANK YOU FOR JOINING US FOR THIS EDITION OF ARTS.

WHAT BETTER WAY TO PAY TRIBUTE TO OUR CITY'S TRICENTENNIAL CELEBRATION THAN THROUGH AN OLD-FASHIONED QUILTING PARTY.

DONNA PARKER VISITS ABBY'S ATTIC WHERE THE COMMUNITY HAS JOINED TOGETHER TO HONOR SAN ANTONIO'S HISTORY.

>> WE WANT THE MOST VISIBLE THING IN SAN ANTONIO, IT'S THE SKYLINE.

WE WANT TO HAVE THE SPURS LOGO.

FIRST RESPONDERS HAVE OFFERED, THE BOY SCOUTS WILL GIVE US SOME, AND THE RIVER WALK IS THERE, SO WE'LL ADD SOME -- PROBABLY THE UMBRELLAS ON THE RIVER WALK.

>> JENNIFER IS HOLDING COMMUNITY PARTIES IN WHICH ANYONE CAN SHOW UP, SHARE THE LATEST NEWS, AND SEW THEIR NAMES INTO A PIECE OF HISTORY.

>> I LOOK AT THESE HAND MADE WORKS OF ART AND THEY MAKE ME HAPPY.

>> IT'S NOT AN END TO A MEANS.

THEY PUT THEIR PHONES DOWN.

ACTUALLY TALKING TO EACH OTHER FACE TO FACE, TAKE IN HISTORICAL CELEBRATION FOR THIS MAGICAL THING TO HAPPEN.

>> IT'S AMAZING THAT PEOPLE COME IN HERE AND THEIR PHONES ARE STILL ACCESSIBLE.

THEY HAVE THEM IN THEY RING AND THEY CHECK THEM, BUT THEY IMMEDIATELY GO BACK IN.

THEY COME TO THE MACHINE OR COME TO OVER HERE AND THEIR HANDS ARE BUSY, THEIR MINDS GET TO WAND R, THEY CHITCHAT.

AND IT'S CRAZY BECAUSE WHEN PEOPLE COME IN HERE AT THE END OF THE DAY, I AM ABLE TO SEE THE STRESS JUST MELT AWAY.

>> USING THEIR HANDS KEEPS THEIR MINDS FOCUSED AND CREATE A LICENSE TO PUTTING THEIR IMMRINT ON A 3 BY 5 PIECE OF QUILT THAT WILL BE 6 FEET TALL AND 10 FEET LONG.

>> THIS IS PART OF THE ALAMO DOME.

ONE LITTLE SQUARE DOESN'T LOOK LIKE A LOT, BUT ALL THE PIECES TOGETHER IT LOOKS REALLY GOOD.

THE DOME IS RIGHT HERE.

THE TOWERS ARE OPEN, SO WE'RE GOING TO DO HAND WORK ON TOP.

SO THESE TOWERS WILL BE PUT IN WITH THE HAND WORK -- THE SAME HANDWORK WE'RE DOING ON THE NAMES AND STUFF.

>> SARAH BEGAN WITH A SKETCH INCORPORATING SAN ANTONIO'S I CONIC SYMBOLS, THE SKYLINE, THE SPUR.

>> I LIKE OUR SKYLINE.

I THINK IT'S UNIQUE, A LOT OF FUN.

AND I LOOK -- YOU KNOW, THE CITY, BUT I WAS THINKING ABOUT WHAT IS ICO ICO ICONICALLY TEXAS.

AND WE HAD THE RIVER SO WE HAD TO HAVE THAT.

I HAD SEVERAL SKETCHES WHERE I USE PHOTOS OF THE CITY, OF COURSE, AND I KNEW I HAD TO SIMPLIFY IT ENOUGH TO GET THE SILL WET SILHOUETTE.

THE CULTURE OF QUILTING IS ALL ABOUT THE FABRIC AND PUTS STEPS TOGETHER AND MAKING DO WITH WHEN YOU HAVE.

AND QUILTING HAS ALWAYS BEEN THE BASIS OF THAT ART.

SO WHEN YOU HAVE WOMEN THAT COME IN USING SCRAPS FROM THEIR QUILTING OR FEED BAGS AND FLOWER BAGS, CUTTING THEM OUT, PUTTING THEM TOGETHER, MAKING DO WITH WHAT THEY HAD.

>> WHAT ALL THOSE SQUARES SOMEBODY HAS TO KEEP THEM ORGANIZED SO THE QUILT IS EXACT WITHIN AN INCH >> WE KEEP EVERYTHING ORGANIZED BY COLUMN.

AND EACH ROW OR COLUMN HAS A COLLECTION OF COLORS.

AND IT'S ALL RAINBOW ESSENTIALLY TO MAKE THE SKY, THE BUILDINGS AND THE GROUND.

WE'VE GOT THE CARS AND THE ALAMO DOME.

IT'S THE ALAMO AND THE STRUCTURE OF THAT.

SO IT'LL ALL BE A SILHOUETTE LOOK AND I THINK IT WILL ALL TIE TOGETHER REALLY WELL.

>> WHAT'S THE END DESTINATION FOR THIS BEAUTIFUL ART DESIGN?

HERE'S THE BEST PART.

IT'S ALL ABOUT THE JOURNEY.

>> I'M OKAY IF IT DOESN'T GO ANYWHERE.

I'M PROUD TO DISPLAY IT.

BUT I WANT PEOPLE TO GO INTO A BUILDING AND SAY THAT'S MY SQUARE AND BE PROUD OF IT.

>> OUR NEXT STORY TAKES US TO WINTER GARDEN, FLORIDA TO MEET A TALENTED HIGH SCHOOL STUDENT WHO TAKES HIS MUSICAL TALENTS VERY SERIOUSLY.

JAZZ AND CLASSICAL IDIOM, HE IS ONE WITH HIS CLARINET.

TAKE A LOOK.

>> MY NAME IS JAYDEN CHRISTOPHER AND I'M A SENIOR.

THERE'S A FEELING OF RELAXATION WHEN I PLAY.

IT'S LIKE THERE'S NOTHING ELSE GOING ON AND IT'S JUST ME AND THE MUSIC.

>> WHEN I PLAY, I KIND OF GET IN MY OWN WORLD.

I DON'T REALLY THINK ABOUT ANYTHING ELSE GOING ON AT ALL.

THE CONCENTRATION COMES NATURALLY BECAUSE THERE'S NOTHING ELSE THAT'S REALLY IMPORTANT AT THAT MOMENT.

>> PRETTY MUCH A ONCE IN A CAREER KIND OF A TALENT.

YOU DON'T HAVE STUDENTS COME ALONG THAT CAN UNDERSTAND WHAT YOU'RE PRESENTING TO THEM AS QUICKLY AS HE DOES, THAT WORK AS HARD AS HE DOES AND HAVE BECOME PROFICIENT LIKE HE IS.

AND YOU HOPE THAT YOU HAVE STUDENTS LIKE THAT.

>> I LIKE TO HEAR MYSELF WITH OTHERS AND HOW THE SOUNDS INTERACT.

THERE'S A FEELING OF WHOLENESS WHEN A SOUND COMES TOGETHER.

>> WE DON'T HAVE A LOT OF STUDENTS THAT COME ALONG LIKE HIM BECAUSE HIS LOF FOR MUSIC IS EVIDENT SO IT'S A COLLABORATION THAN A STUDENT-TEACHER-MENTOR KIND OF APPROACH.

>> PLAYING MUSIC IS A PART OF MY LIFE.

IT'S NOT POSSIBLE TO LET THAT GO.

I'LL BE DOING IT UNTIL I DIE.

>> HERE'S A LOOK AT SOME ART EVENTS HAPPENING IN SAN ANTONIO.

IF YOU'VE EVER WONDERED WHY IT WAS LIKE TO WORK AT PORCUPINE QUILLS, STAY TUNED.

THIS MINNESOTAN ARTIST HAS BEEN WORKING WITH TEXTILES FOR MORE THAN 30 YEARS, BASKET WEAVING, COMBINES TRADITIONAL AND NONTRADITIONAL MATERIALS ALONG WITH OBJECTS FOR ARTWORK THAT HAVE EXHIBITED ACROSS THE U. S. AND INTERNATIONALLY.

INSPIRATION IS SO PRECIOUS.

IT'LL COME WHEN YOU LEAST EXPECT IT.

SO MUCH OF MY WORK IS ENVIRONMENT, WHERE I AM, WHAT'S HAPPENING THERE.

THAT'S WHERE I GET MY INSPIRATION.

IF I'M SCUBA DIVING, I'M LOOKING AT THOSE PICTURES.

MY FATHER GIVES ME PORCUPINE QUILLS FROM OUR WOODS UP NORTH, I'M USING THOSE.

I DON'T USE SHOCK VALUE.

I'M NOT OUT TO MAKE BIG POLITICAL STATEMENTS.

I THINK ART SHOULD BE BEAUTIFUL.

I THINK IT SHOULD GIVE YOU PLEASURE.

WHEN PEOPLE ASK ME WHAT I DO, I SAY I'M A FIBER SCULPTOR AND I INCORPORATE FIBERS AND METALS IN MY WORK.

OVER A PERIOD OF 30 YEARS OR 35 YEARS, MY WORK HAS EVOLVED.

I BEGAN WITH MY EXPLORATORY PERIOD WHEN I WAS REALLY TRYING OUT ALL THE DIFFERENT TECHNIQUES OF BASKET MAKING.

I FOUND THAT COILING WAS THE ONE I LOVED THE MOST.

I LOVE THE PROCESS OF COILING.

IT IS THE MOST COMFORTABLE PLACE.

IT'S ALMOST AN ESCAPE FROM TELEPHONES RINGING AND HAVING TO DO THIS AND GOING THERE AND JUST TOO MUCH GOING ON.

AND TO GET INTO MY STUDIO AND JUST SIT AND COIL AND WORK ON PIECES IS A LOVELY PLACE TO BE.

YEARS AGO I TOOK A WORK SHOP FROM A FIBER ARTIST WHO DID FLAT PIECES, BEAUTIFUL PATTERNS OF COLOR.

SHE SAID DEVELOP A MYSTICAL SYMBOL OR AN IMAGE AND THEN REPEAT IT MANY, MANY TIMES.

AND THAT'S WHEN I STARTED DOING THE PORCUPINE QUILLS PIECES.

THAT BECAME MY REAL IDENTITY, MY NATIONAL IDENTITY.

AND THAT WAS RECOGNIZED IN MY FIRST MUSEUM.

I INCORPORATE A LOT OF METALS, EITHER METAL WIRE OR FOUND METALS OR MANIPULATED METALS IN SOME WAY .

THIS IS WHERE I DO THE TORCHING OF THE METALS.

I USE A MAP GAS WHICH IS HOT ENOUGH TO MELT THE COPPER AND ALSO TO BLACKEN AND DO GRADATIONS OF THE OTHER METALS THAT I USE.

ALL THE MATERIALS ARE UNTREATED SO THAT THEY WILL OVER TIME OXIDIZE.

COPPER DARKENS A BIT.

THE RUST MAY RUST MORE.

I'M ALSO SORT OF CELEBRATING AGING OF MATERIALS, AND I THINK THAT ADDS SOMETHING THAT CAN BE VERY BEAUTIFUL.

SOMETIMES I MAKE JUST ALL IRON FIGURES, IRON WIRE, AND I LEAVE THEM OUTDOORS FOR A FEW WEEKS AND I GET THIS NICE RUSTY COATING AND I USE THOSE IN SOME OF THE PIECES.

SOMETIMES I BRUSH THEM WITH A WIRE BRUSH AND LOOSEN SOME OF THE OXIDATION.

AND THESE PIECES INCORPORATE INTO OTHER WALL PANELS USUALLY.

THE FIGURE APPEARED BECAUSE IT WAS PART OF THE TRIBAL STUFF WAS INTERESTED IN.

I'VE STAY WINDOW THAT THEME THE ENTIRE WAY THROUGH.

AND OF COURSE I LIKE MEN, SO THAT'S OKAY WITH ME TOO.

BUT THAT ISN'T THE IDEA.

THE IDEA IS THEY MAKE AN EXCELLENT SYMBOL BECAUSE IN SO MUCH TRIBAL WORK, THE MALE FIGURE WAS RATHER DOMINANT AND THE MEN WERE VERY DOMINANT.

BUT THAT ISN'T BECAUSE I THINK THEY'RE DOMINANT.

I THINK THEY MAKE AN INTERESTING IMAGE.

I KNOW I GET A LOT OF PEOPLE GOING ABOUT MEN, YOU KNOW, AND I'D LIKE TO BE AS NEUTRAL ABOUT THAT AS POSSIBLE BECAUSE I JUST THINK IT'S NOT -- IT'S NOT A BIG DEAL.

BUT MAYBE IT IS A BIG DEAL.

IN SUMMER OF 2015, I HAD A VERY SPECIAL EXHIBIT AT THE TEXTILE CENTER IN MINNEAPOLIS.

THIS WAS A RETROSPECTIVE OF MY WORK IN ABOUT A 45-YEAR CAREER.

IT WAS WONDERFUL TO BE ABLE TO PULL ALL THAT WORK TOGETHER.

I WAS SURPRISED HOW DIFFERENT MY WORK LOOKED FROM EARLY ON TO TODAY.

WE DO GROW, WE DO EVOLVE.

HOPEFULLY IMPROVE IN OUR WORK, AND I HOPE MINE REFLECTS THAT TOO.

BEING RECOGNIZED IN YOUR FIELD IS RARE.

MANY, MANY ARTISTS OUT THERE WHO GET VARIOUS RANGES OF SUCCESS.

BUT I FEEL VERY IMPORTANT TO HAVE THIS WORK.

I LOVE DOING THE WORK SO MUCH, I THINK THERE'S ALWAYS A BIG IDEA JUST WAITING TO COME ALONG.

I KNOW THEY'RE OUT THERE.

I HAVEN'T FINISHED WORKING.

I'LL WORK AS LONG AS I CAN.

THERE'S ALWAYS THE NEXT THING.

>> NEW MEXICO LANDSCAPE, MANY ARTISTS IN THE MIDWEST, AND WE MEET AN ARTIST WHO WILL TRAVEL MILES AND MILES TO FIND THE TRUTH HE STRIVES TO FIND IN HIS WORK OF ART.

>> SUCH AN IMPECCABLE SCALE.

YOU CAN'T HELP BUT SORT OF BE PUT IN FIND OF INFINITY LOOKING AT THE DIFFERENT SHAPES.

RIGHT HERE.

WE KNOW THAT THE MOUNTAINS ARE FINITE, BUT THEY PUT US IN MIND, YOU SEE.

THEY PUT US IN MIND OF SOMETHING EVEN BIGGER THAN THEMSELVES.

AND NEW MEXICO IS A PLACE THAT DOES THAT.

IT'S BIG, BUT IT PUTS YOU IN THE MIND OF REALITIES THAT ARE EVEN BIGGER.

THAT FEELING OF INFINITY IS THE FEELING OF BEAUTY, FEELING OF POSSIBILITIES AND ALL THE POSITIVE THINGS THAT WE ALL WANT AND NEED IN OUR LIVES .

HOPEFULLY THAT'S WHAT GREAT THING PUTS YOU MIND.

WHEN I GOT OUT OF HIGH SCHOOL, EVERYONE EXPECTED ME TO GO TO COLLEGE.

AND I KNEW IT WAS A HOPELESS SITUATION.

LET'S PUT IT THIS WAY.

I'M NOT UP TO NORMAL WHEN IT COMES TO MATHEMATICS.

I DID MEET PETER HEARD, I PHONED HIM UP, OH, YES, MR.

GLENN, COME OUT TOMORROW AT 3:00.

SO I DID.

WHEN I SHOWED UP AT THE RANGE, HE COULDN'T HAVE BEEN NICER, EVEN THOUGH I'M SHOOR HE WAS SURPRISED THAT I WAS AN 18--YEAR-OLD BOY.

HE TOLD ME HE WAS ONCE AWAY, WHICH I'LL NEVER FORGET HIM SAY TO GO ME.

IT WAS VERY RADICAL ADVICE FOR 1962.

HE SAID THE ONLY TIME YOU WASTED WAS AT THE TIME YOU WERE AT COLLEGE.

NOBODY WAS TALKING THAT WAY TO ME.

HE SAID IF YOU REALLY WANT TO BE AN ARTIST, GO TO THE ART SCHOOL.

HE SAID I WENT TO THE PENNSYLVANIA ACADEMY OF FINE ART.

I REMEMBER FOLLOWING MR.

HEARD OUT TO HIS -- HE WAS TREATING ME LIKE AN ADULT.

WE WERE GOING OUT TO HAVE A DRINK, WHICH WE DID.

BUT AS WE DID, IT WAS -- IT HAD BEGUN TO SNOW, AND I PUT MY FOOT IN HIS FOOTSTEPS AND I THOUGHT TO MYSELF, I HOPE I CAN BE AN ARTIST LIKE THIS.

I REMEMBER THAT.

AND SO I WAS ON MY WAY TO THE PENNSYLVANIA ACADEMY OF FINE ART ABOUT TWO OR THREE MONTHS LATER, AND THAT'S WHAT I DID.

BUT IT WAS ON WHATS REALLY STIRRING AND FOCUSING IN ON WHAT IT WAS THAT DID EXCITE YOU AND INTEREST YOU, SOMETIMES ALMOST INVARIABLY IN THE CREATIVE PROCESS, AT LEAST FOR ME, I HAVE PERIOD OF REAL DESPAIR WHICH I THINK OH, NO, THIS IDEA ISN'T GOING TO WORK AT ALL.

THAT'S A CRUCIAL MOMENT, A GOOD MOMENT, BECAUSE INVARIABLY THAT'S THE MOST THAT YOU GIVE UP AND YOU REALLY ARE OPEN TO NEW SOLUTIONS OR SOME -- SOMETHING THAT YOU WEREN'T EXPECTING.

I THINK ONCE SOMETHING IS A PRISM OF EXPRESSION, HUMAN THOUGHT, THAT USUALLY SOMETHING HAS SORT OF HAPPENED, THERE'S BEEN A TRANSFORMATION, YOU KNOW, I THINK.

I'M IN THE A CATHOLIC, BUT ANYWAY, PART OF THE DOCTRINE IS TRANSSUBSTANTIATION, THE IDEA OF ONE SUBSTANCE TURNING INTO ANOTHER SUBSTANCE.

THAT'S A VERY EXCITING THOUGHT TO ME.

AND LIKE THE PAINTING, THAT HELPED INSPIRE ME THE IDEA THAT IT WAS LIKE THE SUBSTANCE OF WATER WAS TURNING INTO ANOTHER SUBSTANCE OF LIFE.

THE GREATEST DANGER OF ABSTRACT ART IS THAT IT ENDS UP BEING NOT ANYTHING BEYOND DECORATION.

WELL, THE SAME THING WITH REALISM.

THE GREAT DANGER IN REALISM IS THAT CONTENT, THE EMOTIONAL IMPACT OF THE QUALITY OF THE WORK IS SUCH THAT IT DOES NOT GET BEYOND ILLUSTRATION.

I LIKE ABSTRACTION BY THE WAY THAT SEEMS ROOTED IN REALITY, AND REALISM IS THINGS ROOTED IN ABSTRACTION.

THAT'S WHY I LIKE SO MANY OF THESE ABSTRACTIONS BECAUSE THEY CAME OUT OF REAL EVENTS IN YOUR LIFE.

IT WOULD BE WONDERFUL TO PAINT A PAINTING OF JUST A BLUE WITH REALLY NO OBJECTS INVOLVED BUT A MRU THAT WAS SO PROVOCATIVE OF LOOKING, LET'S SAY, NEW MEXICO THAT IT MAKES YOU FEEL THE WAY THAT YOU FEEL WHEN YOU LOOK AT A NEW MEXICO SKY.

BUT THAT IS MUCH EASIER SAID THAN DONE.

>> AND LAST BUT NOT LEAST, AND NEVER UNFORGETTABLE, WE MEET WITH NICK CAVE WHO HAS BEEN DESCRIBED AS AN UNCATAGORIZABLE ARTIST BECAUSE OF HIS MYRIAD FORMS OF ART.

MR.

CAVE SHARE WITH HIS STUDENTS AT THE DETROIT SCHOOL OF ART.

>> I CAN CREATE ART THAT'S DEFENSIVE OR I COULD CREATE ART THAT IS ACCESSIBLE.

I THINK MY CHOSEN ART FORM IS REALLY SORT OF SCULPTURE BUT ONE THAT IS BROUGHT TO THE BODY AND UTILIZED IN A SERIES OF PERFORMANCE ACTIVITIES.

I'M A GRADUATE FROM CRANBROOK WHICH I THINK WHAT I RECEIVED FROM THAT WAS KNOWING HOW TO TRUST MYSELF.

SO I THINK THAT THAT WAS THE GUARDIANSHIPING OF ME AFTER GRADUATION TAKING CHARGE OF MY LIFE AND RECOGNIZING THAT THIS IS HOW I WANT TO GO ABOUT EXISTING IN THE WORLD AND USING ART AS A VEHICLE TO ARRIVE AT DIFFERENT PERSPECTIVES.

THIS IS A SCULPTURE OBJECT THAT IS WORN ON THE BODY BUT THE SOUND IS GENERATED FROM MATERIALS THAT MAKE NOISE SUCH AS BOTTLE CAPS, TWIGS , RAS PI BUTTONS.

SO THE BODY BECOMES A CARRIER FOR THIS INSTRUMENT.

THE INTERESTING THING ABOUT THE WORK IS ONE'S IDENTITY IS HIDDEN, SO IT HIDES GENDER, RACE, CLASS.

SO WE'RE FORCED TO LOOK AT THE WORK WITHOUT JUDGMENT.

WHEN YOU GET DOWN TO WHAT IT CRITICALLY MEANS, IT REALLY IS ABOUT REMOVING ALL OF IT SO WE CAN THEN COME TO A POINT WHERE WE HAVE TO BE OPEN TO SOMETHING THAT IS UNFAMILIAR.

IT'S REALLY INTERESTING FOR ME AS AN ARTIST TO COME INTO A SCHOOL SETTING AND TO PROVIDE A DIFFERENT POINT OF VIEW TO THESE STUDENTS AND, YOU KNOW, ALLOW THOEM BE PART OF BUILDING -- THEM TO BE PART OF BUILDING AND EXPERIENCE.

>> TO BE ABLE TO TAKE WHAT THEY HAVE LEARNEDED IN THE CLASSROOM AND APPLY IT TO AN ACTUAL PERFORMANCE WHERE THEY'RE STILL SHARING THEIR TALENTS WITH OTHER PEOPLE AND WORKING WITH A PROFESSIONAL ARTIST IS JUST A GREAT COMBINATION, ESPECIALLY BEING A PERFORMING ARTS SCHOOL.

HE'S LOOKING TO WORK WITH OUR DANCE STUDENTS WHO DO A PERFORMANCE THAT INCORPORATE HIS SOUND SUITS AND A PERFORMANCE AT THE LIVER DAY FESTIVAL.

>> FOR ME THE PROJECT HERE IS A PROJECT THAT GETTING ME CLOSER AND CLOSER TO HOW I WANT TO FUNCTION AS A CITIZEN IN AMERICA.

AND SO I THINK THAT, YOU KNOW, THIS PROJECT OFFERS ME AGAIN ANOTHER AMAZING PLATFORM TO SPEAK ABOUT WHAT I STAND FOR AND WHAT I STAND BEHIND.

SO I'M EXCITED ABOUT IT.

AND REAL EXCITED ABOUT COMING HERE AND WORKING AND BEING EFFECTIVE AND LEAVING WITH A PURPOSE BEING DELIVERED.

>> AND THAT WRAPS IT UP FOR THIS EDITION OF ART.

FOR MORE ARTS AND CULTURE, VISIT KLRN.ORG/ARTS WHERE YOU CAN FIND UPCOMING ARTS EVENTS.

I'M APRIL ANCIRA AND I'LL SEE YOU WITH MORE ARTS NEXT WEEK.