A NEW ORLEANS ORIGINAL WITH AN INTERNATIONAL FAN BASE.

THERE'S THE ARTIST WHO SEES THE CULTURE, AND WHO MIMICS THE CULTURE.

BUT THEN THERE'S ANOTHER ARTIST THAT I'M PARTIAL TO.

THIS ARTIST IS BORN OF THE CULTURE AND WHEN HE PRODUCES SOMETHING, HE PRODUCES IT FROM A PLACE WHERE HE'S NOT TRYING TO MIMIC; HE'S CREATING THE CULTURE.

THE CRAFT OF CRAFTING FANTASTICAL BEASTS.

IT'S KIND OF ONE OF THOSE -- THOSE PROCESSES WHERE YOU BECOME SOMEONE WHO WEARS MANY HATS.

AND BRINGING FOLK MUSIC FULL CIRCLE.

THEY COULD PLAY HERE.

THESE STORIES UP NEXT ON "ART ROCKS."

♪♪ ♪♪ ♪ [ "ART ROCKS" THEME ] ♪ ♪♪ ♪♪ "ART ROCKS" IS MADE POSSIBLE BY THE FOUNDATION FOR EXCELLENCE IN LOUISIANA PUBLIC BROADCASTING, AND BY VIEWERS LIKE YOU.

HELLO.

THANKS FOR JOINING IN.

I'M JAMES FOX SMITH, PUBLISHER OF "COUNTRY ROADS MAGAZINE" AND YOUR HOST FOR THIS EDITION OF "ART ROCKS."

COME MEET A NEW ORLEANS PAINTER WHOSE ORIGINAL PIECES COMMAND PRICES IN THE TENS OF THOUSANDS.

TERRANCE OSBORNE CREATES GLORIOUS, EXUBERANT PAINTINGS THAT CAPTURE THE LIVING ESSENCE OF THE CRESCENT CITY'S UNIQUE PEOPLE, PLACES, AND PASSIONS.

TERRANCE SAYS THAT WHEN HE SITS DOWN TO PAINT, HE STRIVES TO CAPTURE WHAT HIS CITY WILL BE KNOWN FOR IN YEARS TO COME.

FROM HIS MAGAZINE STREET GALLERY, HERE'S TERRANCE TO EXPLAIN HIS WORK AND THE THOUGHT PROCESS BEHIND IT.

♪♪ ♪♪ I AM ONE OF FIVE.

AS KIDS, WE USE TO PLAY UNDER OUR HOUSE, THESE SHOTGUN HOUSES; THEY ARE RAISED.

SO WE USE TO PLAY ARCHEOLOGIST, DIGGING UP BOTTLES AND THINGS LIKE THAT.

I DEVELOPED A LOVE FOR ANTIQUES AND RUSTIC STUFF AND ALL THINGS NEW ORLEANS.

MY MOM COLLECTED A LOT OF ANTIQUES, A LOT OF RUSTIC STUFF SHE LIKED.

SO WHAT I TRY TO DO IS PAINT ABOUT THOSE THINGS.

PLAYING UNDER THE HOUSE GAVE ME A SENSE OF HOW THE HOUSE WAS FORMED BECAUSE I COULD SEE UNDERNEATH.

SO WHEN I STARTED PAINTING THEM AS AN ADULT, I JUST PAINTED FROM MEMORY.

THERE ARE THE ARTISTS WHO SEES THE CULTURE AND WHO MIMICS THE CULTURE.

I AM GOING TO PAINT THE GUY WHO IS PLAYING A TRUMPET OR I AM GOING TO PAINT SOME CRAWFISH OR SOMETHING LIKE THAT.

THAT'S FINE, BECAUSE THAT INTRODUCES PEOPLE TO THE CULTURE AND GIVES THEM SOMETHING TO TAKE BACK.

BUT THEN, THERE IS ANOTHER ARTIST THAT I AM PARTIAL TO.

THIS ARTIST IS BORN OF THE CULTURE.

WHEN HE PRODUCES SOMETHING, HE PRODUCES IT FROM A PLACE WHERE HE'S NOT TRYING TO MIMIC.

HE'S CREATING THE CULTURE.

THAT'S WHAT I DO.

MY JOB IS TO TAKE THE CULTURE AND SHOW WHAT IT IS.

I AM NOT MIMICKING; I AM GIVING BIRTH TO CULTURE.

AND SO WHEN PEOPLE SEE MY WORK, THEY RECOGNIZE THAT.

PEOPLE WHO ARE NOT ARTISTS, THEY EXPERIENCE THE SAME THING THAT I EXPERIENCE WHEN THEY LOOK AT THE CITY.

LOCALS, RIGHT?

THE DIFFERENCE IS THAT I HAVE THE MOTOR SKILLS TO INTERPRET MY PERCEPTIONS.

EVEN THOUGH SOMEONE MIGHT THINK OF WHAT MARDI GRAS IS, I CAN PAINT THE EXPRESSION OF IT, LIKE THERE IS THIS PIECE CALLED THROW ME SOMETHING MISTER.

THIS LADY HAS HER ARMS STRETCHED OUT AND SHE HAS BEADS IN IT.

YOU CAN SEE THE ENTHUSIASM IN HER FACE.

SHE IS MARDI GRAS PERSONIFIED NOW, THAT'S HOW EVERYBODY FEELS, BUT I CAN PAINT ABOUT IT.

MOST OF MY PIECES WERE ABOUT THE HOUSES AND THE NEIGHBORHOOD AND THINGS LIKE THAT, BUT I AM GRADUALLY STARTING TO MOVE INTO PAINTING PEOPLE MORE AND THEN PUTTING HOUSES ON THEIR HEADS OR UMBRELLAS ON THEIR HEADS OR ALLIGATORS OR ANYTHING THAT REPRESENTS THE CULTURE HERE.

I HAVE BEEN PAINTING A LOT OF WOMEN IN SORT OF A REGAL LOOK CENTERED AROUND SOMETHING HAVING TO DO WITH MARDI GRAS OR NEW ORLEANS.

OFTENTIMES, I USE MY WIFE OR MY DAUGHTER AS MODELS.

I WILL TAKE A PICTURE OF THEM WITH THE RIGHT ANGLE AND PAINT THEM IN.

SOMETIMES, IT IS MY WIFE'S EYES AND MY DAUGHTER'S FACE OR VICE VERSA.

I ENJOY THAT.

I'VE PUT MY FAMILY IN MY WORK.

I HAVE ALWAYS DONE THAT.

I DON'T KNOW WHAT ELSE I WOULD PAINT.

FOR ME, THAT'S REAL LIFE.

I DO IMAGINARY THINGS, BUT IT IS ALWAYS GROUNDED IN WHAT'S REAL TO ME.

LADY MARDI GRAS IS MY ABSOLUTE FAVORITE.

I USE THIS IMAGE ON ALL OF MY CARDS AND ADVERTISING AND ALL.

SHE IS A COMBINATION OF MY WIFE'S EYES AND MY DAUGHTER'S FACE.

SHE'S ALSO A COMBINATION OF MARDI GRAS AND THE DAY OF THE DEAD.

YOU COULD EASILY FIND HER AT A BALL OR SOMETHING.

SHE WOULD BE THE LADY THAT STANDS OUT.

WHEN I PAINTED THIS PIECE, I NEEDED SOMETHING TO INTERTWINE HER HAIR THROUGH THE HOUSE, TO LOCK THE HOUSE ON HER HEAD.

SO I ADDED THESE BIRDS.

THEN I ADDED THE CATS BECAUSE I TEND TO ADD SOMETHING THAT DOESN'T BELONG, BECAUSE BIRDS AND CATS DON'T REALLY GET ALONG TO GIVE IT CONTRAST.

ALSO, THE BLACK CAT IS MYSTERIOUS, AS WELL.

IT GIVES HER SORT OF THAT MYSTERY ABOUT HER.

THAT BAYOU ST. JOHN BRIDGE IS ACTUALLY CALLED THE MAGNOLIA BRIDGE, RIGHT?

ONE DAY THIS LADY CALLED ME AND SAID, MY HUSBAND AND I ARE RETIRED.

ONE OF OUR FAVORITE THINGS TO DO IS TO SIT ON THE PORCH, SIP WINE AND WATCH PEOPLE GET MARRIED ON THE BRIDGE.

THAT'S MOSTLY A PEDESTRIAN BRIDGE.

SHE SAYS, HER HUSBAND MENTIONED ONE TIME, HE SAID HONEY, WHEN I DIE, I WOULD LOVE FOR A BAND TO SECOND-LINE ACROSS THAT BRIDGE TO CELEBRATE MY LIFE.

SHE SAID, HIS BIRTHDAY IS COMING AND I WANT TO GIVE HIM THAT GIFT BEFORE HE DIES, RIGHT?

COULD YOU PAINT A SCENE OF A BAND CELEBRATING MY HUSBAND'S LIFE ON THE BRIDGE?

SO I DID AND I PUT THEM ON THE BOAT ON THE SCENE.

ALSO, MY WIFE IS IN THE CENTER OF THAT BRIDGE.

I THOUGHT THAT WAS A SWEET SENTIMENT FOR HER HUSBAND.

♪♪ ♪♪ THE HOUSE IS IN THE SCENE.

IT IS THE HOUSE THAT IS CLOSEST TO THE BRIDGE WITH THE PICKET FENCE AROUND IT, THAT IS THE HOUSE.

UPTOWN BOUND IS ONE OF MY FAVORITE ONES BECAUSE IT HAS ALL OF MY FAMILY'S NAMES IN IT.

ON THE LEFT, IF YOU LOOK AT THE BUILDING, YOU WILL SEE STEPHANIE, MY WIFE.

THE SECOND ONE IS SETH, MY 20-YEAR-OLD.

HE IS THE CULINARY ARTIST IN THE FAMILY.

THEN L.T.

L.T.

STANDS FOR LITTLE TERRANCE.

HES NOT SO LITTLE.

HE'S 26.

HE'S A GRAPHIC ARTIST.

AND THEN THERE IS A SIGN THAT SAYS SIDNEY, MY DAUGHTER.

SHE'S 17 AND SHE IS A VOCAL ARTIST.

AND 524 ON THE STREET CAR IS MY WEDDING ANNIVERSARY DATE.

THAT'S THE ONLY ONE THAT HAS MY ENTIRE FAMILY IN IT.

AND THE STREETCAR IS NICE.

♪♪ ♪♪ THIS PANDEMIC WAS HAPPENING AND YOU SAW ALL THESE WOMEN.

80% OF THE PEOPLE WHO ARE IN THE MEDICAL INDUSTRY, ON THE FRONT LINE, ARE WOMEN.

SO A FRIEND OF MINE SUGGESTED THAT I PAINT ROSIE THE RIVETER, I THOUGHT IT WAS A FANTASTIC IDEA.

HIS WIFE IS A NURSE.

SO I PAINTED HER AND WHAT I ENDED UP DOING WAS DONATING ABOUT 5,000 OF THE POSTERS TO THE HOSPITALS IN NEW ORLEANS AND SOME HOSPITALS AROUND THE COUNTRY.

THE IMAGE WENT VIRAL.

I REALLY FELT LIKE I WAS CONTRIBUTING THROUGH THE PANDEMIC.

THIS PIECE IS CALLED CAJUN AIR B&B.

I'M STILL WORKING ON IT AT THE MOMENT, BUT THE IDEAS IS THAT, YOU KNOW, IN NEW ORLEANS IT IS COMMON TO SEE A REFRIGERATOR ON SOMEBODY'S PORCH.

WE TAKE THINGS THAT ARE INSIDE AND PUT THEM OUT AND VICE VERSA.

THIS IS AN IMAGE OF THAT EXTREME IDEA, WHERE THERE ARE NO WALLS AND THINGS ARE KIND OF OUTSIDE AND INSIDE ON THE BAYOU, SO CAJUN AIR B&B.

THERE IS NO COMPETITION FOR THE JAZZ FEST POSTER.

THIS ONE GUY CALLED AND SAID, I AM THE PERSON RESPONSIBLE FOR PICKING THE ARTIST FOR JAZZ FESTIVAL, AND I WOULD LIKE FOR YOU TO DO THE JAZZ FESTIVAL POSTER.

SO THAT WAS IN '07.

JAZZ FESTIVAL IS THE HIGHEST GROSSING FESTIVAL IN THE WORLD.

THE JAZZ FEST POSTER IS THE HIGHEST GROSSING POSTER IN THE WORLD.

SO IF YOU GET IT, OF COURSE IT IS A HUGE HONOR.

YOUR WORK GOES ALL OVER THE WORLD.

IF YOUR POSTER DOES WELL, THEY CALL YOU AGAIN TO DO ANOTHER POSTER.

SO I HAVE DONE FIVE JAZZ FEST POSTERS SO FAR.

THAT REALLY PUT ME ON THE MAP EARLY ON.

MOST PEOPLE THINK THAT THE ARTIST CREATES IT ALL.

BUT IT'S NOT.

IT IS MORE OF A COLLABORATION BETWEEN THE PRODUCER OF IT AND THE ARTIST.

THE MOST EXCITEMENT I GOT WAS WHEN MY THIRD POSTER DID WELL.

THE THIRD ONE IS ONE OF JAZZ FEST'S BESTSELLERS, THE TRUMBONE SHORTY, THE 2012.

THAT ONE, I LIKE HOW IT CAME OUT.

I LIKE THE ENTHUSIASM THAT EVERYONE GOT FROM IT.

I ENJOYED WORKING ON IT.

ARTISTS TEND TO MARRY AN IDEA AND STICK TO IT.

IF IT WORKS, THEN YOU STAY THERE AND YOU KEEP CREATING FROM THAT.

I THINK THAT IS A DANGEROUS PLACE TO BE.

SO I HAVE ALWAYS TAKEN THOSE RULES AND BROKEN THEM AND THAT WAS MY PHILOSOPHY WHEN I WAS TEACHING KIDS.

KIDS HAVE THE INNATE ABILITY TO CREATE.

LIKE, KIDS WILL PAINT A SKY RED, RIGHT?

THEY DO IT WITH NO PROBLEM.

IT'S NOT UNTIL THEY GET A LITTLE BIT OLDER WHERE OTHER KIDS START BEING CRITICAL OF THEM, AND JUDGING, OKAY, YOU CAN'T PAINT A SKY RED.

SO THEY START CHANGING AND MAKING IT BLUE.

EVENTUALLY, THEIR ART LOOKS LIKE ANYBODY ELSE'S ART.

SO MY JOB WAS ALWAYS TO REVERSE THAT.

NO, IF YOU WANT TO PAINT A SKY RED, PAINT IT RED.

AND THEN MAKE IT MAKE SENSE.

IT IS ALMOST LIKE MASTERING THE RULES AND THEN BREAKING THEM TO CREATE SOMETHING NEW, WHICH HAS BEEN MY PHILOSOPHY.

I LIKE ACRYLIC BECAUSE I LIKE FOR MY PAINT TO DRY FAST, SO THAT I CAN ADD THE NEXT LAYER.

I ACTUALLY WORK FROM DARK TO LIGHT.

SO I WILL SKETCH IT OUT.

AND ADD A LITTLE BIT OF PAINT TO IT.

THEN I WILL BLACK THE WHOLE THING OUT.

THEN I START ADDING COLOR ON TOP OF THAT BECAUSE IT IS ALMOST LIKE YOU ARE IN A COMPLETELY DARK ROOM.

THEN THERE IS A DIAL WHERE YOU TURN THE LIGHT UP VERY SLOWLY TO THE POINT WHERE YOU ARE COMFORTABLE.

THAT'S WHAT IT'S LIKE FOR ME.

MY MOM DID ART AS A HOBBY.

I PICKED IT UP FROM HER REALLY EARLY, SO REALLY IN ELEMENTARY.

AND THEN, BY THE TIME I MADE IT MIDDLE SCHOOL, I WAS IN A PROGRAM CALLED TAV, TALENTED ART VISUAL, WHERE A PRACTICING ART PROFESSIONAL WOULD COME AND PULL ME OUT OF CLASS, WORK WITH ME FOR ABOUT AN HOUR, AND THEN PUT ME BACK IN CLASS.

I MET WHAT I CONSIDERED A REAL ARTIST AT THAT TIME.

AFTER MIDDLE SCHOOL, I WENT TO NOCCA.

NEW ORLEANS CENTER FOR CREATIVE ARTS.

THIS IS AN EXCELLENT SCHOOL.

YOU WILL OFTEN HEAR SOMEONE WHO GRADUATED FROM NOCCA SAY THAT THEY LEARNED MORE AT NOCCA THAN THEY DID WHEN THEY GOT TO COLLEGE.

AND IT IS TRUE.

ALL OF THE CLASSES THAT I WENT TO ONCE I GOT TO COLLEGE, I WAS LIKE , OH YEAH, I AM FAMILIAR WITH THIS.

I AM FAMILIAR WITH THAT.

THERE IS THIS ARTIST NAME RICHARD THOMAS IN NEW ORLEANS.

HE HAS BEEN PRETTY SUCCESSFUL.

A FRIEND OF MINE, WHILE I WAS AT NOCCA BROUGHT ME TO HIS GALLERY.

I WALK IN AND THERE IS THIS ART WORK ALL OVER.

I HADN'T MET THE GUY YET, REAL COLORFUL STUFF.

AND SO THIS BLACK GUY COMES OUT FROM THE BACK, AND HE INTRODUCES HIM TO ME, AND HE IS THE ARTIST.

I DIDN'T EXPECT IT TO BE A BLACK GUY.

YOU MEET ARTISTS, BUT YOU DON'T MEET ARTISTS WHO OWN GALLERIES, GALLERY OWNERS WHO ARE BLACK.

HE PUT THIS BOOK IN FRONT OF ME THAT WAS THE SIZE OF A THICK ENCYCLOPEDIA AND IT IS FILLED WITH ARTICLES, LIKE NEWSPAPER CLIPPINGS, MAGAZINE CLIPPING ARTICLES OF HIM AND WHAT HE'S SELLING HIS WORK FOR AND ALL.

I REMEMBER READING SOME OF THEM, AND I'M, OH, THAT'S THE GUY.

HE'S RIGHT IN FRONT OF ME, SO I IMMEDIATELY LOOKED AT HIM AND SAW MYSELF IN HIM SO RICHARD THOMAS HAS BEEN THE BIGGEST INFLUENCE IN MY LIFE AS FAR AS ART AND ALSO I BECAME HIS ASSISTANT.

SO ABOUT FOUR YEARS, I ASSISTED HIM IN HIS GALLERY.

HE GAVE ME MY FIRST CANVAS AND BRUSHES AND PRETTY MUCH TAUGHT ME THE ART GAME.

XAVIER PREPARED ME FOR OTHER THINGS.

I TOOK A SPEECH CLASS, WHICH I THOUGHT WAS ABSURD, LIKE I KNOW HOW TO SPEAK ENGLISH.

WHAT I LEARNED BY BEING IN THAT CLASS, LIKE WRITING SPEECHES AND GETTING UP IN FRONT OF THE CLASS AND HAVING TO DO A SPEECH, IN FRONT, THAT WAS A LOT OF PRESSURE AND A LOT OF THOSE THINGS I USE TODAY WHEN I HAVE TO DO SPEECHES, SO XAVIER GAVE ME MORE OF THE CONTENT OF MY WORK.

I MINORED IN THEOLOGY AND SOCIOLOGY THERE.

THAT ENDED UP BEING MORE OF THE SUBJECT MATTER OF MY WORK THAN ANYTHING.

AT ONE POINT, I HAD ORIGINALLED FOR ABOUT $500, RIGHT?

WHICH WAS A BIG DEAL.

I WAS TEACHING AT THE TIME.

I WAS HAVING AN EXHIBITION.

WELL, MY WIFE WHO HAS MOSTLY DONE THE BUSINESS, THROUGHOUT MY WHOLE CAREER, SHE WAS RESPONSIBLE FOR DOING THE LABELS ON MY ARTWORK.

AND THERE WAS THIS PIECE THAT I REALLY LIKED, AND I WANTED TO SELL IT FOR MORE.

SO MY WIFE SAYS, WELL, WHAT DO YOU WANT TO SELL IT FOR.

I THOUGHT, MOST PEOPLE WON'T BUY IT AT $500.

WE SELL IT HERE AND THERE, I REALLY WOULD LIKE $700.

BUT I DON'T THINK ANYBODY IS GOING TO BUY IT FOR THAT.

WHEN SHE MADE THE LABELS, SHE ADDED THE $700 LABEL.

WITHOUT ME KNOWING.

SO THIS GUY WALKS UP TO THE PAINTING AND HE ASKS, HOW COME ALL OF THESE PAINTINGS ARE $500, BUT THIS ONE IS $700?

THE FIRST THING I COULD THINK OF WAS, WELL, I LIKE IT, THAT'S WHY IT IS THAT, WHICH WAS THE TRUTH.

HE SAID, IT IS NOT LIKE YOU ARE FAMOUS OR ANYTHING, WHY DON'T YOU SELL IT TO ME FOR $500, LIKE THE REST OF THEM.

I SAID, NO, NO.

THEN THE NEXT DAY, THIS LADY WALKS UP AND SAYS, SO THIS ONE IS $700?

I'LL TAKE IT AND FROM THAT POINT ON, ALL OF MY WORK WAS $700.

AND THEN I MOVED ONE UP TO $1,000 SO I KEPT PLAYING THIS GAME, WHERE THE NEXT ONE WAS $1,200 AND EVENTUALLY MY WORK IS UP -- I HAVE SOLD PIECES FOR ABOUT $75,000 SO FAR.

I AM WILLING TO DISCUSS MONEY BECAUSE I LIKE TO TELL ALL SECRETS.

I WOULD HAVE KNOWN WHEN I WAS STARTING WHAT ARE THE FUNDAMENTALS OF SUCCESS?

THEY DON'T TEACH YOU IN THAT SCHOOLS.

I DON'T GET EXCITED BY THE MONEY.

I'M MORE EXCITED BY THE EXCHANGE OF THE PERSON WHO GETS MY ARTWORK AND APPRECIATES IT THAN THE MONEY.

WHEN I SELL A PIECE, I KNOW I CAN PAY SOME BILLS.

AND I KNOW WE CAN TAKE A VACATION.

THAT'S WHAT'S FUN ABOUT IT.

♪♪ ♪♪ IF YOU'VE EVER CONSIDERED ART TO BE OPTIONAL, JUST IMAGINE HOW BLAND LIFE WOULD BE WITHOUT THE MUSIC, FILM, LITERATURE AND VISUAL ARTS THAT WE HAVE TO KEEP US COMPANY?

SO KEEP THE INSPIRATION ALIVE BY EXPLORING THESE NOBLE EXHIBITS HAPPENING IN PERSON AND ONLINE IN OUR MUSEUMS AND GALLERIES IN OUR PART OF THE WORLD.

♪♪ ♪♪ FOR MORE ABOUT THESE AND LOADS MORE EVENTS IN THE ARTS, VISIT LPB.ORG/ARTROCKS.

WHILE YOU'RE THERE, YOU'LL FIND LINKS TO EVERY EPISODE OF THIS PROGRAM, SO TO SEE OR SHARE ANY SEGMENT AGAIN, VISIT LPB.ORG/ARTROCKS.

NOW WE'RE OFF TO ROCHESTER, NEW YORK, TO MEET ROB ROGALSKI, WHOSE WHIMSICAL WORK TRANSMOGRIFIES ALL WHO DARE TO SET FOOT IN HIS STUDIO.

MINIATURE MOVIE SETS, STEAMPUNK PUPPETS, AND OTHER-WORDLY SCULPTURES WHISK THE UNSUSPECTING TO A FANTASY WORLD SO STRANGE, IT MIGHT OPERATE BY DIFFERENT LAWS OF PHYSICS.

HERE'S ROB TO TELL US WHAT ON EARTH IS GOING ON.

♪♪ ♪♪ MY NAME IS ROBERT ROGALSKI.

I'M A LOCAL ARTIST HERE IN ROCHESTER, NEW YORK.

THE WORK I DO IS WHIMSICAL AND FANCIFUL, I HAVE A LOVE OF PUPPETRY AND ALL THINGS GEEKY.

PEOPLE ARE ALWAYS ASKING ME, WELL, WHAT MEDIUM DO YOU WORK IN?

AND I WORK IN MULTIPLE MEDIUMS, I'M A SCULPTOR, I DO ILLUSTRATION.

MY BACKGROUND WAS, OF COURSE, I WANTED TO GET INTO VISUAL EFFECTS WHEN I WAS YOUNGER.

I WAS DESPERATE TO WORK FOR A CREATURE SHOP FOR HOLLYWOOD.

SO THAT INVOLVED LEARNING ALL THESE DIFFERENT DISCIPLINES, SUCH AS ILLUSTRATION, DESIGN, SCULPTING, MODEL MAKING, ALL OF THESE KIND OF THINGS, SO IT'S KIND OF ONE OF THOSE PROCESSES WHERE YOU BECOME SOMEONE WHO WEARS MANY HATS.

I HAVE TWO AREAS THAT I FOCUS IN ON THE MOST RIGHT NOW, WHICH IS DOING ILLUSTRATION WORK, AND THAT'S USUALLY MY BREAD AND BUTTER, KIND OF A LOT OF FUN DOING POSTER WORK AND THINGS ALONG THOSE LINES.

BUT THEN THE OTHER ONE IS, OF COURSE, SCULPTURAL.

MY TEACHER ASKED ME WHAT I WANTED TO BE WHEN I GREW UP AND I SAID, OH, I WANT TO BE A BOOK ILLUSTRATOR, AND THEN MY INTEREST SHIFTED AWAY FROM DOING TWO-DIMENSIONAL WORK AND WORKING IN THREE-DIMENSIONAL WORK.

SOMETIMES, I DON'T HAVE A CLUE WHAT I'M GOING TO DO.

OTHER TIMES, I HAVE A VAGUE IDEA AND THEN THERE ARE THE MOMENTS THAT, YES, YOU KNOW EXACTLY WHAT YOU WANT TO DO, WHAT YOU WANT TO CREATE, BUT YOU OFTEN, FIND OUT THAT, ESPECIALLY IF YOU'RE WORKING WITH FOUND OBJECTS, LIKE I DO, THAT THE OBJECTS WILL DICTATE WHAT YOU'RE GOING TO MAKE.

IT'S A VERY ORGANIC PROCESS.

YOU PICK SOMETHING UP AND LOOK AT IT FROM DIFFERENT ANGLES AND YOU CAN SUDDENLY SEE, WELL, WAIT A SECOND, THIS SHOULD BE PART OF A HEADSET FOR A CHARACTER OR THIS SHOULD BE A PISTON OR MAYBE THIS WILL BE A PART OF A LASER RIFLE, I DON'T KNOW.

THERE'VE BEEN TIMES TOO WHEN I'VE STARTED WORKING ON A PROJECT AND MID-WAY THROUGH I'M LIKE, THIS IS GOING TO BE HORRIBLE, THIS ISN'T WORKING AND THEN SUDDENLY I'M DONE WITH IT AND I LOOK AT IT AND I'M LIKE, I LOVE THIS, THIS TURNED OUT BETTER THAN I THOUGHT IT WOULD.

I STARTED OUT WANTING TO GET INTO ANIMATION AND THEN I THOUGHT WAIT A SECOND I CAN ACTUALLY BUILD THESE THINGS, THAT WILL BE REAL CREATURES RIGHT THERE.

I LOVE PRACTICAL EFFECTS, I STILL LOVE PUPPETS AND SCULPTURES AND MINIATURE LANDSCAPES AND MODELS AND ALL THAT KIND OF STUFF AND THAT'S WHY I KIND OF BECAME OBSESSED WITH MAKING IT.

YOU KNOW, I COULD PROBABLY FOCUS IN ON FIGURE SCULPTURE OR OTHER KINDS OF THINGS, BUT THIS IS A LOT MORE FUN.

ONCE UPON A TIME, BEFORE TV AND RADIO ARRIVED TO KEEP US ENTERTAINED, PEOPLE WENT TO GREAT LENGTHS TO MAKE A SONG AND DANCE AT HOME.

DOWN IN ORLANDO, FLORIDA, ONE COUPLE ARE CHAMPIONING A HOME-GROWN APPROACH OF MAKING MUSIC AND INVITING OTHERS TO DO THE SAME.

EACH MONTH, CONNIE AND ROY BRAND OPEN THEIR HOME, INVITING AREA FOLK MUSICIANS AND THEIR FANS TO AN OLD-FASHIONED JAM SESSION HOUSE PARTY.

ALL TOGETHER NOW!

MY DOG IS BLACK AND WHITE.

SINGS TO ME AT NIGHT.

NEVER QUITE REMEMBERS THE WORDS, BUT HE KNOWS IT'S ALL RIGHT.

LEANS UP AGAINST MY DOOR AND HE SINGS MORE.

AND I ASK HIM FOR.

HIS HOWL IS HOWLING FREE, BUT HE NEVER QUITE REMEMBERS ABOUT THE MELODY.

ONE REASON WE CONTINUED TO HAVE THESE CONCERTS IS BECAUSE WE FEEL LIKE WE WANT TO PRESERVE FOLK.

IT'S ACOUSTIC, IT'S BLUEGRASS, IT'S AMERICANA.

BUT MAINLY IT'S THE SINGER, SONGWRITERS.

HE RAISES A BROW AND MAKES IT CLEAR, LET ME OUT OR I'LL GO RIGHT HERE.

A LOT OF PEOPLE COME FOR THE FIRST TIME SAID, "WE HAD NO IDEA IT WAS GOING TO BE THIS GREAT."

WE ARE MOTIVATED BY OUR DESIRES TO PROMOTE CULTURE.

WE'VE HAD PERFORMERS FROM ALL OVER THE WORLD COME HERE AND IT'S VERY INTERESTING TO LEARN THE INDIVIDUAL'S PERCEPTION ON LIFE THROUGH THEIR MUSIC AND THROUGH THEIR SONGS.

MY SECOND WIFE AND I MADE VOWS TO LOVE AND TO PROTECT.

IF ONLY SOMEONE AT THE CHURCH WOULD HAVE STOOD UP TO OBJECT.

OH, BUT HOW THE HECK COULD ANYONE HAVE KNOWN WHAT SHE'D BECOME?

BECAUSE INSTEAD OF BEING BETTER, SHE WAS WORSE THAN NUMBER ONE.

AND IF I WASN'T SO... WITH A PLACE LIKE THIS, IT'S JUST FANTASTIC.

I MEAN THE RECEPTION YOU GET IT JUST MAKES YOU FEEL SO GOOD.

IT'S JUST REALLY SPECIAL.

IT'S ALWAYS WARM.

IT'S ALWAYS GREAT.

IT'S ALWAYS REALLY, REALLY COMFORTABLE.

NO PRESSURE.

YOU KNOW THAT FIRST ROUND OF APPLAUSE IS JUST LIKE "YEAH!"

IT WAS JUST REALLY GOOD.

I'VE BECOME SO BITTER I CAN'T BE SWEET ON YOU.

FEW AND FAR BETWEEN ARE THE ACOUSTIC VENUES AROUND THE STATE THESE DAYS IT SEEMS.

SO IT'S SUCH A TREAT TO FIND A PLACE LIKE THIS WHERE PEOPLE CAN GET TOGETHER AND HEAR LIVE MUSIC AND HAVE FUN TOGETHER.

I AM A COMMERCIAL BUILDER AND I DESIGN HOUSES BASED ON FRANK LLOYD WRIGHT, FORM FOLLOWS FUNCTION.

WE'RE ALWAYS LOOKING FOR PLACES TO PLAY OUR KIND OF MUSIC, FOLK MUSIC, CONTEMPORARY FOLK, AND IT'S RARE TO COME ACROSS A PLACE LIKE VILLA CONROY.

IT'S SUCH A TREASURE TO HAVE HERE IN ORLANDO.

NOW THE YEARS HAVE PASSED, THE KIDS HAVE GROWN AND THEY'VE MOVED ON OUT, BUILT LIVES OF THEIR OWN.

WE STILL HAVE THOSE QUITE NIGHTS SITTING IN THIS SWING AND THE SOFT MOONLIGHT.

THIS PORCH SWING MIGHT'VE SEEN BETTER DAYS.

WHAT I LOVE ABOUT THESE CONCERTS IS THE COMMUNITY AND THE FEELING OF FAMILY-NESS AND WE'VE REALLY FEEL LIKE WE'VE BEEN BROUGHT INTO IT AS A PART OF THE FOLK COMMUNITY OVER THE YEARS WE'VE BEEN ATTENDING.

IT'S LIKE A BIG FAMILY.

MOST VENUES ARE DYING OUT THAT FEATURE THIS TYPE OF MUSIC.

AND WE ARE BASICALLY A MUSIC LISTENING AUDIENCE.

WE ARE NOT ARTISTS.

HOWEVER, WE KNOW ART, SHE BROUGHT ME INTO THE WORLD.

SHE BROUGHT ME -- SHE DROVE ME INTO IT.

UP THE MOUNTAIN, COMES THE PLEA OF SOMEONE WHO'S BEEN BLESSED WITH IT ALL.

TOO CLOSE TO THE EDGE IN SEARCH OF THE MEANING.

LOST IN THE RHYME I'M STARTING TO FALL.

EVERYBODY!

HELP ME.

HELP ME.

HELP ME.

SO THAT'S THAT FOR THIS EDITION OF "ART ROCKS."

AS ALWAYS, THOUGH, YOU CAN SEE, AND SHARE, SHOW EPISODES AT WWW.LPB.ORG/ARTROCKS, AND IF YOU'RE WONDERING WHAT ELSE YOU MIGHT BE MISSING, "COUNTRY ROADS MAGAZINE" MAKES A GREAT RESOURCE FOR FINDING OUT WHAT'S GOING ON IN ARTS AND CULTURE, ALL OUT THERE IN THE PELICAN STATE.

SO UNTIL NEXT WEEK, I'M JAMES FOX-SMITH AND THANK YOU FOR WATCHING.

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

♪♪ ♪♪