COMING UP RIGHT NOW ON "ART ROCKS," SOUTH LOUISIANA, CAROL HALLOCK SHOWS US HOW SHE FINDS INSPIRATION FOR THE TWIN PASSIONS, PAINTING AND THE STATE'S UNIQUE LANDSCAPES, ALL IN THE BAYOUS OF SOUTHEASTERN LOUISIANA.

>> I HAVE TAKEN A LOOSE STYLE WHICH MEAN THERE IS LESS DETAIL, A LOT OF DETAILS LEFT OUT, SO THE VIEWER WILL FILL IN THE BLANKS.

>> THE TRANSFORMATION OF BALLET.

>> MAKING IT FEEL LIKE IT'S A COMMUNITY AND REALLY FEELING LIKE WE'RE HUMANS.

>> AND AN ASTONISHING PROFUSION OF BIRDS AT WHEN WAS WILL SAY, THAT'S ALL RIGHT ABOUT NOW ON "ART ROCKS".

>> "ART ROCKS" IS MADE POSSIBLE BY THE FOUNDATION FOR EXCELLENCE IN LOUISIANA PUBLIC BROADCASTING.

AND BY VIEWERS LIKE YOU.

>> HELLO AND THANK YOU FOR JOINING US ON "ART ROCKS," WITH ME, JAMES FOX-SMITH, PUBLISHER OF COUNTRY ROADS MAGAZINE.

LET'S START AMONGST THE WATERWAYS OF ST. TAMMANY PARISH WHERE YOU WILL FIND CAROL HALLOCK IN HER STUDIO ON THE BANKS OF BAYOU.

FROM THAT VANTAGE POINT CAROL FINDS INVASION JUST A FEW PADDLE STROKES AWAY SETTING OUT IN HER KAYAK TO EXPERIENCE LOUISIANA'S UNIQUE LANDSCAPES.

RIGHT NOW FROM THE WATERLINE HERE'S CAROL TO TELL HER STORY.

>> I PAINT A LOOSE STYLE, WHICH ACTUALLY MEANS THERE IS LESS DETAIL, A LOT OF DETAILS LEFT OUT, SO THE VIEWER WILL FILL IN THE BLANKS, AND THAT KIND OF MAKES YOU FEEL MORE INVOLVED IN THE PAINTING, I THINK IT TALKS TO YOU MORE.

IT'S ALMOST EXPRESSIONISTIC AND BECAUSE I TRIED TO GET A MOOD IN THE PAINTING.

I WANT THE VIEWER TO LOOK AT IT AND FEEL SOMETHING HAPPY OR PEACEFUL.

>> I PAINT MOSTLY LOUISIANA BECAUSE IT'S WHO WE ARE.

IT'S WHAT WE ARE.

IT SURROUNDS US.

THEY ALWAYS SAY PAINT WHAT YOU KNOW.

AND IT'S VERY, VERY TRUE.

I STARTED PAINTING WHAT I KNOW, AND IT'S WHAT THEY KNOW.

IT'S WHAT YOU KNOW THAT ATTRACTS YOU.

A FRIENDS OF MY PAINTED A SCENE THAT I WENT BILL EVERY DAY, EVERY EVERY DAY.

YOU THINK ABOUT IT, SHE PAINTED AND I SAW IT IN ONE OF THE CITY HALL BUILDINGS.

I SAID, I KNOW EXACTLY WHERE THAT IS.

I LOVE THAT.

BUT THEN AT AT LEAST TEN YEARS NOW EVERY TIME I GO BY THAT, I LOVE IT.

WHY I CAN AT ALL BEFORE.

SO THAT'S WHAT ART DOES TO YOU, IT MAKES YOU SEE THINGS IN A NEW WAY.

MY NEW ORLEANS PAINTINGS, I DON'T LIVE THERE SO I AM A TOURIST.

I GO OVER THERE AND IT'S FUN.

IT'S BRIGHT, IT'S CHEERFUL.

SO MY PAINTINGS DEPICT THAT.

THEY ARE HAPPY.

TO HELP CREATE THAT HAPPINESS I PAINT THE WHOLE THING IN RED.

AND THAT FORCES BRIGHT COLORS.

I LOVE DOING THE PLEIN AIR.

IT'S ACTUALLY WHAT MADE ME GET MY LOOSE STYLE BECAUSE I PAINT WAS I SEE NOW.

SOME PLEIN AIR PAINTERS WILL PAINT FOR WHAT'S COMING.

THEY WILL PUT THEIR DARKS DOWN AND TOWARDS THE END OF THE DAY THEY WILL PUT ALL THEIR COLOR IN, YOU KNOW, THE SPECIAL COLOR.

BUT I PAINT WHAT I SEE RIGHT NOW.

THE LIGHT AND COLOR CHANGES EVERY 10, 20 MINUTES.

SO YOU HAVE TO REALLY SLAP THAT DOWN.

YOU HAVE TO SIMPLIFY IT.

AND IT COMES OUT WITH A CLEANER LOOK.

YOU CAN SEE A STYLE DIFFERENCE.

YOU CAN SEE THE STROKES, THE ENERGY IN IT.

IF YOU ARE PAINTING ON-SITE, YOU CAN FOCUS ON WHAT IS ATTRACTING YOU, NOT WHAT IS ATTRACTING THE CAMERA, AND PLUS YOU ARE LOOKING TO TURN EVERYTHING INTO A KIND OF 3-D ON YOUR CANVAS, SO YOU ARE LOOKING AT A 3-D, TRYING TO MAKE IT A 3-D WHEREAS WITH THE PHOTO, YOU ARE LOOKING AT 2-G TRYING TO CHANGE IT TO A 3-D. EVERYONE THAT HAS AN EGRET IN IT IS CALLED GERALDINE THIS, GERALDINE GROCERY SHOPPING, MAKING GROCERIES, WHICHEVER.

SO I GET KIND OF A LOT OF FUN OUT OF HER.

SHE'S PEACEFUL AND BEAUTIFUL.

VERY SOFT.

I DO ENJOY PAINTING PEOPLE.

WHAT I FIND REALLY INTERESTING IS, IT'S THE POSTURE OF A PERSON.

YOU DON'T HAVE TO PUT THE DETAIL OR THE FACE IN THERE, BUT THE POSTURE CAN TELL A STORY.

I FIND THAT REALLY INTERESTING.

YOU CAN TELL THEIR AGE, THEIR FEELINGS, AND I WOULD ENJOY PAINTING PORTRAITS OF MY FAMILY FROM OLD PHOTOGRAPHS, I HAVE ONE OF MY DAD THAT WAS A LITTLE BITTY BLACK AND WHITE, THAT WHEN I WAS A KID I SAW IN THE ATTIC AND ABOUT 30 YEARS LATER I FINALLY PAINTED IT AND IT'S THE LITTLE BOY THAT IS THERE.

ENJOY PAINTING PICTURES, EVERYTHING THAT TALKS TO ME, I LOVE THE BEACHES, THE AIR, YOU CAN SMELL THE WIND, THE WAVES, THE SOUND.

YOU TRY TO RECREATE THAT.

ANYTHING THAT TALKS TO ME, IF I AM IN MY CAR, ANYTHING THAT CATCHES MY EYE, ANYTHING.

IF I GO FOR THAT SECOND LOOK, THAT'S A PAINTING.

OF COURSE I CAN'T PAINT IT THEN MAYBE I WILL TAKE A PICTURE OF IT, IT'S ANYTHING THAT IS ATTRACTIVE, ANYTHING WITH GOOD LIGHT, ANYTHING WITH GOOD COLOR.

COMPOSITION.

I CAN GO STRAIGHT DOWN THE ROAD, DOWN TO LAKE PONTCHARTRAIN, THERE IS MARSH ON BOTH SIDES WITH MY CAR, AND IT'S ALL THERE BUT THE BOAT RIDE, THAT'S FUN.

USUALLY IF I AM TAKING A BOAT RIDE I WILL TAKE MY CAMERA.

IT'S WHATEVER CATCHES MY EYE, THAT'S THE PAINTING.

I TRY TO USE THE COLOR WHEEL, I LEARNED FROM A MENTOR FRIEND A LONG TIME AGO.

SHE WAS VERY MUCH INTO COLOR AND TO ME THE SKY WAS BLUE AND THE GRASS WAS GREEN.

AND SHE TAUGHT ME THAT THERE ARE OTHER THINGS TO SEE.

YOU GO AROUND THE COLOR WHEEL TO GET YOUR COLORS, INSTEAD OF USING WHITE, YOU PICK UP COLOR SO IF MY ITEM IS A RED APPLE, IF I WANT TO DO THE HIGHLIGHTS, YOU GO TO ORANGE AND YELLOW FOR THE HIGHLIGHTS INSTEAD OF WHITE.

AND IF YOU WANT IT TALK GO TO PURPLE AND INSTEAD OF BLACK, AND THAT GIVES IT IS A REAL RICHNESS, A PRETTY COLOR.

A BIG DIFFERENCE.

MY PAINTING IS FINISHED WHEN I GO, OH, WHEN IT TALKS TO ME.

ALL OF A SUDDEN EVERYTHING PULLS TO DO AND IT IS JUST I LIKE IT.

WHEN I FILL THAT LITTLE THING IN MY GUT MY PAINTING IS FINISHED.

SOMETIMES WHEN YOU THINK OF PAINTING IS THE COLOR DULL, YOU KNOW, THE PAINTING LOOKS REALLY DULL, IT'S REALLY THE VALUES ARE OFF.

YOU DON'T HAVE ENOUGH CONTRAST.

IF YOU INCREASE THE CONTRAST, THE LIGHT IS LIGHTER AND THE DARK IS DARKER YOUR COLOR WORKS.

ONE WAY TO DETERMINE WHETHER IT'S THE COLOR OR THE VALUES THAT ARE OFF, YOU PUT ON ROSE COLORED GLASSES OR PLASTIC FILM OF RED, AND IT TURNS EVERYTHING ONE VALUE.

IF THE VALUES LOOK GOOD, THEN THE COLOR IS THE PROBLEM.

IF THE VALUES LOOK BAD, THERE IS NOT ENOUGH CONTRAST.

>> I ENJOY HELPING OTHERS WITH THEIR PAINTING AND THEIR MARKING.

I REMEMBER THE STRUGGLE.

AND IT'S ALWAYS A STRUGGLE.

IT'S SOMETHING YOU HAVE TO PLUG YOURSELF AND KEEP GOING AND GOING AND GOING.

THE SUCCESS IS FAR TO OUTWEIGH THE NOS.

>> IF YOU ARE LOOKING FOR OPPORTUNITIES TO GO UP CLOSE AND PERSONAL WITH THE VISUAL AND PERFORMING ARTS, LOUISIANA NEVER LETS YOU DOWN.

EXHIBIT A IS THIS LIST OF JUST SOME OF THE FESTIVALS, CONCERTS AND EXHIBITS HEADED YOUR WAY IN THE WEEKS TO COME.

>> TO LEARN MORE ABOUT THESE AND OTHER EVENTS IN LOUISIANA, PICK UP A COPY OF COUNTRY ROADS MAGAZINE.

ANOTHER RESOURCE, THE ART ROCKS WEBSITE FEATURES EVERY EPISODE OF THE PROGRAM, SO LOG ONTO WWW.LPB.ORG AND FOLLOW THE PROMPTS.

SOUTH FLORIDA IS ANOTHER PART OF THE COUNTRY KNOWN FOR PUSHING BEYOND BOUNDARIES.

AND SOUTH FLORIDA IS WHERE JUSTIN PECK, RESIDENT CHOREOGRAPHER WITH THE NEW YORK CITY BALLET IS REDEFINING EXPECTATIONS ABOUT BALLET.

BOTH TRADITIONAL AND MODERN FORMS.

INSPIRED BY THE UNIQUE URBAN NEIGHBORHOOD OF SOUTH FLORIDA, PECK DIRECTED THE MIAMI CITY BALLET TO EXPLORE THEMES OF STREET ART AND STREET DANCE.

LET'S TAKE A LOOK.

>> SO TONIGHT IS AN OPEN BARRE SERIES, WHICH IS AN ART AND STUDIO UP CLOSE AND PERSONAL, VERY INTIMATE SETTING PERFORMANCE.

WE'RE BOTH, I THINK, A LITTLE NERVOUS BECAUSE WE'RE GOING TO BE WORKING SHOPPING BASICALLY PART OF OR EXCERPTS OF JUSTIN PECK'S NEW BALLET CALLED HEATSCAPE.

AND THE GREAT THING ABOUT THIS IS THAT HE'S COLLABORATED WITH A STREET ARTIST NAMED SHEPARD FAIREY WHO YOU CAN SEE OVER THE WYNWOOD WALLS AND IN MANY PLACES ACTUALLY IN MIAMI, HE'S A PHENOMENAL STREET ARTIST.

THE TWO OF THEM, SHEPHERD AND JUSTIN COLLABORATED AND COME TOGETHER.

SHEPHERD CREATED THE BACKDROP FOR JUSTIN'S BALLET AND JUSTIN HAS CREATED THE CHOREOGRAPHY.

>> ART IS FOR EVERYONE, AND IT'S NOT JUST FOR THE ELITE.

>> WHEN I WAS FIRST COMING DOWN TO MIAMI TO WORK WITH THE COMPANY HERE I STARTED TO EXPLORE THE WIN WITH ARTS DISTRICT.

WHICH HAS A REALLY AMAZING STREET ART SCENE LIKE IT'S SUCH A MECCA FOR THAT KIND OF ART WORK.

SO THEN I FOUND THAT SHEPHERD'S WORK WAS REALLY AT THE HEART OF EVERYTHING THAT WAS GOING ON THERE AND YOU KNOW, BEYOND THAT I THOUGHT THAT SHEPHERD'S WORK COULD TRANSLATE REALLY WELL INTO A THEATER, THEATRICAL SETTING.

>> JUSTIN WAS INSPIRED WHEN HE SAW SHEPARD FAIREY THERE.

AS AN ARTIST HE HAD A REACTION TO SHEPHERD'S WORK, AND THAT'S THE FIRST THING YOU NEED WHEN YOU ARE A CHOREOGRAPHER SPECIFICALLY BECAUSE YOU WANT TO BE ABLE TO PUT THAT REACTION OR THAT RELEVANCY ACTUALLY ON THE STAGE.

AND THE OTHER THING THAT'S INTERESTING IS THAT JUSTIN IS A BALLET CHOREOGRAPHER, SHEPHERD IS A STREET ARTIST.

ONE COMES FROM A VERY TRADITIONAL BACKGROUND IN TERMS OF AN ART FORM.

BALLET HAS A LOT OF PARAMETERS, HAS A LOT OF PROTOCOL, IT'S ABOUT SOCIAL MANNERS, A LOT OF TRADITION.

AND STREET ART IS ROGUE.

IT'S TODAY.

IT'S THE LATEST THING THAT'S HAPPENING.

SO TO HAVE THESE TWO ART FORMS COME TOGETHER FROM COMPLETELY OPPOSITE SIDES OF THE RAILROAD TRACK, ACTUALLY IT'S JUST VERY COOL.

>> I THINK THAT DANCERS REALLY APPRECIATE HAVING THE CHOREOGRAPHER'S PRESENCE IN THE STUDIO, AND DEMANDING CERTAIN THINGS FROM THE DANCERS, SOMETHING THAT THEY REALLY VALUE.

AND I AM ABLE TO USE MY OUTLOOK AND MY EYE TO BRING OUT CERTAIN QUALITIES WITHIN THESE DANCERS THEMSELVES.

SO I THINK THAT I AM ABLE TO HARNESS THEIR ABILITIES AND CHALLENGE THEM IN A WAY THAT EXCITES THEM.

>> HE'S REALLY SPECIFIC ABOUT GIVING YOU CERTAIN ANALOGIES AND CERTAIN DETAILS ABOUT THE MOVEMENT THAT KIND OF OPEN YOUR EYES AND SEE IT IN A NEW WAY.

SO THEN YOU FIND YOURSELF DANCING IN NEW WAY, AND I EVEN SEE THAT WHEN I WATCH OTHER DANCERS DO HIS WORK.

I FEEL LIKE I AM WATCHING DANCERS FOR THE FIRST TIME, AND I THINK THAT THAT'S SOMETHING REALLY SPECIAL ABOUT HIS WORK.

>> I FOUND THEM TO BE REALLY INSPIRING.

I THINK THAT THEY HAVE A QUICKNESS AND ATHLETICISM AND A REALLY NICE SENSE OF CAMARADERIE AMONGST THEM THAT WORKS IN THE COMPANY'S FAVOR TO REALLY PRODUCE GREAT WORK.

>> ONE OF MY FAVORITE THINGS ABOUT WORKING WITH HIM IS HIS ABILITY TO USE THE ENTIRE COMPANY TO FEEL SO MUCH LIKE A TEAM.

SOMETIMES YOU KNOW WHEN YOU ARE THE PRINCIPLE DANCER, YOU WORK A LOT INDIVIDUALLY AND YOU ALSO COME BACK TOGETHER, AND YOU REALLY DON'T INTERACT AS MUCH.

AND HE HAS A REALLY SPECIAL WAY OF MAKING IT FEEL LIKE THIS COMMUNITY AND THIS PLAY AND REALLY FEELING LIKE WE'RE HUMANS WHO ARE DANCERS.

>> I LIKE THE FACT THAT I WAS ABLE TO GIVE THEM A PLATFORM FOR THEM TO EXPRESS THEMSELVES, YOU KNOW, IN REGARDS TO WHO THEY ARE AS OPPOSED TO THEM PORTRAYING A ROLE.

>> NOT SO MUCH YOU KNOW, PUTTING ON THE TIARA AND TUTU AND DOING WHAT HAS BEEN DONE IN THE PAST AND I THINK THE WHOLE COMPANY IS FEELING SO ENERGIZED BY THIS PROCESS OF WORKING TOGETHER TO CREATING SOME BRAND NEW.

>> THERE'S LIKE A LIFE WITHIN IT, THERE'S LIKE A VITALE WITHIN THE ART FORM SO I THINK THIS PIECE ENCAPSULATES A LOT OF THAT.

I THINK THERE'S A CERTAIN ENERGY IN THE MUSIC AND A CERTAIN ENERGY IN THE CHOREOGRAPHY.

IT'S SOMETHING THAT'S ALSO BROUGHT OUT THROUGH THE DANCERS THEMSELVES.

>> THERE ARE THREE MOVEMENTS TO THE BALLET, AND IT'S FUN BECAUSE JUSTIN LIKES TO USE EVERY DANCER IN ALL MOVEMENTS.

SO A LOT OF TIMES IN CERTAIN BALLETS WHEN YOU HAVE A SPECIAL PART YOU WAIT FOR THE FIRST AND THE SECOND MOVEMENT TO GO BY AND ALL OF A SUDDEN YOU HAVE TO GO OUT AND DANCE IN THE THIRD.

BUT I SPECIFICALLY HAVE MORE TO DO IN THE THIRD AND IT'S A LOT OF EXCITING TURNS AND FUN INTERACTING WITH AND WEAVING IN AND OUT OF THE GROUP AND SO IT'S CHALLENGING BUT VERY FUN.

>> HEATSCAPE IS YOUNG.

IT'S FAST.

IT'S EDGY, BUT THE INTERESTING THING IS THAT IT'S A CLASSICAL VOCABULARY SO IT'S THE SAME STEPS THAT YOU SEE IN SWAN LAKE AND GISELLE.

IT'S THE SAME EXACT STEPS AND SHAPES AND GESTURES BUT JUST IN A VERY CONTEMPORARY, MODERN FORMAT.

>> IT'S INTERESTING TO SEE HOW THE BALLET IS DEVELOPING BECAUSE WE KIND OF DON'T KNOW WHEN IT'S A PREMIERE OF A BRAND NEW BALLET, WHERE IT'S GOING TO GO.

AND I DON'T KNOW IF JUSTIN KNEW WHERE HE WAS GOING TO GO WHEN HE STARTED.

IT'S FUN TO SEE HOW IT EVOLVES.

>> ONE OF THE BIGGEST CHALLENGES OF WORKING ON THIS SPECIFIC COMMISSION WAS KIND OF MAKING SURE IT ALL COMES TOGETHER IN THE RIGHT WAY.

WE'RE STILL KIND OF MAKING SURE THAT HAPPENS.

I'M REALLY HAPPY TO BE HERE WORKING WITH THE MIAMI CITY BALLET AND CONSIDER THEM TO BE ONE OF THE MOST EXCITING COMPANIES AROUND TODAY.

>> IT'S A VERY MIAMI PIECE, AND THAT'S WHAT ARTISTS DO.

ARTISTS TAKE FROM THEIR ENVIRONMENT AND PUT IT OUT IN THEIR ART FORM.

SO I THINK IT'S GOING TO BE A DIRECT CONNECTION.

THE CURTAIN WILL GO UP AND I THINK PEOPLE ARE GOING TO FEEL THE ENERGY AND THE VIBE OF THE CITY BUT ON THE STAGE.

>> IF YOU WERE HANDED A BUNCH OF PORCUPINE QUILLS, WHAT WOULD YOU DO WITH THEM?

FIBER ARTIST AND NATIVE MINNESOTAN MARY GILES USES THE QUILLS PLUS MATERIALS INCLUDING METAL AND VARIOUS KINDS OF FABRIC TO MAKE EARTH INSPIRED SCULPTURES THAT HAVE BEEN EXHIBITED ACROSS THE U.S. AND INTERNATIONALLY.

HAVE A LOOK AT THESE.

>> INSPIRATION IS SO PRECIOUS, IT WILL COME WHEN YOU LEAST EXPECT IT.

SO MUCH OF MY WORK IS ENVIRONMENT.

WHERE I AM, WHAT IS HAPPENING THERE.

AND THAT'S WHERE I GET MY INSPIRATION.

IF I AM SCUBA DIVING I AM LOOKING AT THOSE CREATURES.

IF MY FATHER GIVES ME PORCUPINE QUILLS FROM OUR WOODS UP NORTH I AM MISSING -- USING THOSE.

I DON'T DO SHOCK VALUE THINGS.

I AM 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 AM A FIBER SCULPTOR.

AND I INCORPORATE FIBER 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 OF THE DIFFERENT TECHNIQUES OF BASKET-MAKING AND 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 TO JUST SIT AND COIL AND WORK ON A PIECE IS A LOVELY PLACE TO BE.

YEARS AGO I TOOK A WORKSHOP FROM DIANE ITTER WHO IS A FIBER ARTIST WHO DID FLAT PIECES, BUT IN BEAUTIFUL PATTERNS OF COLOR.

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

THAT'S WHEN I STARTED DOING THE PORCUPINE QUILL PIECES.

THAT BECAME MY REAL IDENTITY AND REAL NATIONAL IDENTITY.

AND THAT WAS RECOGNIZED IN MY FIRST MUSEUM PURCHASE.

SAY INCORPORATE A LOT OF METALS EITHER HAMMERED MELTS OR 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 AM ALSO SORT OF CELEBRATING AGING OF MATERIALS, AND I THINK THAT THAT'S SOMETHING THAT CAN BE VERY BEAUTIFUL.

SOMETIMES I MAKE ALL IRON FIGURES, IRON ARMATURE WRAP AND IRON WIRE AND LEAVE THEM OUTDOORS FOR A FEW WEEKS.

I GET THIS NICE RUSTIC COATING, AND I USE THOSE IN SOME OF THE PIECE, SOMETIMES I NEED TO BURNISH THEM A LITTLE BIT WITH A WIRE BRUSH AND JUST LOOSEN SOME OF THE OXIDATION AND THEN THESE PIECES INCORPORATE INTO THE OTHER WALL PANELS USUALLY.

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

I'VE JUST STAYED WITH THAT THEME THE WHOLE WAY THROUGH.

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

BUT THAT ISN'T THE IDEA.

THE IDEAS, 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 THAT THEY ARE DOMINANT, I THINK IT'S JUST 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 THINK IT'S NOT A BIG DEAL.

BUT MAYBE IT IS A BIG DEAL.

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

THIS WAS A RETROSPECTIVE OF MY WORK, AND ABOUT A 35-YEAR CAREER.

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

I WAS SURPRISED AT 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 REFLEX THAT, TOO BEING RECOGNIZED IN YOUR FIELD IS RARE.

MANY, MANY ARTISTS OUT THERE WHO GET VARIOUS RANGES OF SUCCESS BUT I FEEL VERY FORTUNATE 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 ARE OUT THERE.

I HAVEN'T FINISHED WORKING.

I WILL WORK AS LONG AS I CAN.

THERE IS ALWAYS THE NEXT THING.

>> THIS LOUISIANA TREASURE IS A LITTLE KNOWN BONANZA OF NATURAL HISTORY NESTLED RIGHT UNDER OUR NOSES, THE MUSEUM IS ONE OF THE LARGEST COLLECTIONS OF BIRD AND BIRD DNA IN THE WORLD.

173,000 SPECIMENS AND COUNTING.

HERE'S JUST A GLIMPSE OF SOME OF WHAT YOU WILL FIND THERE.

>> THIS IS THE GEORGIA LOWERY GALLERY OF LOUISIANA BIRDS, THERE IS ONE OF EVERY SPECIES HERE, BUT WHERE WE'RE GOING TO GO NEXT IS THE RESEARCH COLLECTION WHERE THE REAL TREASURES ARE.

>> THE NINTH LARGEST BIRD COLLECTION IN THE WORLD NOW RANKS THIRD AMONG UNIVERSITY-BASED COLLECTIONS.

SECOND ONLY TO HARVARD AND MICHIGAN.

>> THAT IS A HUGE WING.

>> ISN'T THAT AMAZING?

>> IT IS.

>> THE WING SPAN OF ONE OF THESE BIRDS -- >> THAT'S AS TALL AS ME.

>> IT'S GOING TO BE A CLOSE CALL.

>> COMING FACE-TO-FACE WITH A GIANT MONKEY EATING EAGLE WASN'T ENOUGH I WAS MORE SHOCKED WHEN THE DOCTOR REVEALED THAT.

>> WE HAVE THE LARGEST COLLECTION OF BIRD DNA.

>> BUT PERHAPS MOST ASTONISHING IS JUST HOW MUCH BIRD DATA LSU HAS EMASSED.

>> I THINK THAT WE HAVE MORE DATA ON BIRDS IN THIS COLLECTION THAN ANY OTHER COLLECTION IN THE WORLD.

>> THIS IS THE BARBETTE FAMILY, AND IN THIS FAMILY IS A SPECIES OF BIRD DISCOVERED BY ONE OF OUR STAFF RESEARCH ASSOCIATES DAN LANG.

HE KNEW IT WAS A NEW SPECIES OF BIRD, THE MINUTE HE SAW IT.

>> I SAT DOWN WITH DAN WHO REVEALED THAT HIS WAS A CASE OF SERIOUS BEGINNER'S LUCK.

NOT ONLY WAS IT HIS FIRST TRIP TO PERU BUT SINCE HE WAS RECORDING BIRD SOUNDS HE HAPPENED TO CAPTURE THE WHOLE THING ON TAPE.

>> YOU HEAR THE SOUNDS THAT THE BIRD IS MAKING.

BARELY AUDIBLE THAT DEEP RUMBLING.

>> ONLY HARVARD, CAL BERKELEY AND THE UNIVERSITY OF MICHIGAN HAVE LARGER COLLEGE-BASED COLLECTIONS OF BIRDS.

LET'S WRAP THINGS UP WITH SOME TUNES FROM A MUSICIAN WHO MAKES HIS HOME IN WINTER GARDEN, FLORIDA.

AS LONG AS HE HAS A CLARINET IN HIS HANDS, JADEN CHRISTOPHER-MUENCH IS EQUALLY AT HOME PLAYING PIECES FROM THE CLASSICAL REPERTOIRE OR STRETCHING HIS CREATIVE MUSCLES WITH JAZZ.

♪ | >> MY NAME IS JADEN CHRISTOPHER-MUENCH AND I AM A SENIOR AT WEST ORANGE HIGH SCHOOL.

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.

>> IT'S PRETTY MUCH A ONCE IN A CAREER KIND OF A TALENT.

YOU DON'T HAVE STUDENTS COME ALONG THAT CAN UNDERSTAND WHAT YOU ARE PRESENTING TO THEM AS QUICKLY AS HE DOES THAT WORK AS HARD AS HE DOES.

AND THAT THEN BECOMES AS PROFICIENT AS HE IS.

AND YOU HOPE THAT YOU HAVE STUDENTS LIKE THAT.

>> WHAT I LIKE ABOUT PLAYING THE CLARINET IS HOW I CAN HEAR MYSELF WITH OTHERS AND HOW THE, THE SOUNDS INTERACT.

THERE IS A FEELING OF WHOLENESS WHEN A SOUND COMES TOGETHER.

>> WE DON'T HAVE A LOT OF STUDENTS THAT COME ALONG LIKE JAYDEN BECAUSE HIS LOVER FOR MUSIC IS EVIDENT, SO IT REALLY BECOMES MORE OF A COLLABORATION THAN A TEACHER-STUDENT MENTOR APPROACH.

>> PLAYING MUSIC IS A PART OF MY LIFE.

IT'S NOT POSSIBLE TO LET THAT GO.

I'LL BE DOING THAT UNTIL I DIE.

♪ >> AND THAT IS THAT FOR THIS EDITION OF "ART ROCKS."

BUT REMEMBER YOU CAN ALWAYS WATCH EPISODES OF THE SHOW AT LPB.ORG/ARTROCKS.

IF YOU WANT MORE COUNTRY ROADS MAGAZINE MAKES A GREAT RESOURCE FOR GETTING CONNECTED WITH SOUTH LOUISIANA'S UNIQUE CULTURAL TREASURES, IN PRINT AND ONLINE AT COUNTRYROADMAG.COM.

UNTIL NEXT WEEK I'M JAMES FOX-SMITH.

THANKS FOR WATCHING.

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