>>> PRODUCTION OF "BROAD & HIGH" IS FUNDED IN PART BY THE GREATER COLUMBUS ARTS COUNCIL, CELEBRATING EXPRESSION, FOSTERING TALENT AND CONNECTING THE COMMUNITY TO COLUMBUS ARTISTS, PERFORMANCES, EXHIBITIONS, CONCERTS, PUBLIC ART AND MORE AT COLUMBUSMAKESART.COM.

>> FROM THESE CONTRIBUTING SPONSORS.

AND VIEWERS LIKE YOU.

THANK YOU.

>>> THIS TIME ON "BROAD & HIGH," MEET AN ARTIST WHOSE PAINTINGS ARE VIBRANT AND MOODY.

DISCOVER HOW ARTISTS TRANSFORM PAY PHONES INTO TIME CAPSULES AND WE LEARN ABOUT AN ORGANIZATION THAT HAS BEEN OFFERING CLASSIC AND CONTEMPORARY DANCE EXPERIENCES FOR ALMOST 50 YEARS.

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

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>> WELCOME TO "BROAD & HIGH," I'M YOUR HOST, KATE QUICKEL.

CLINTONVILLE RESIDENT JESSICA WOJTASEK STARTED PAINTING AS A YOUTH IN AN OLD SCHOOLHOUSE WITH SOMEONE SHE CONSIDERS A GREAT MENTOR, EVEN TO THIS DAY.

SHE PAINTS THE NEIGHBORHOODS SHE KNOWS AND LOVINGLY CALLS THEM THE OILS OF THE GREAT MIDWEST, THESE INCLUDE DOWNTOWN COLUMBUS, GERMAN VILLAGE, THE SHORT NORTH AND OF COURSE CLINTONVILLE WHERE HER UNCLE PEDRO AND COUSIN SYLVIA RUN AN ANTIQUE STORE THAT'S BEEN IN THE FAMILY SINCE THE 1980s.

WE MET UP WITH HER BOTH IN HER HOME STUDIO AND IN STUDIOS ON HIGH GALLERY WHERE YOU CAN WATCH HER PAINT AND SEE THESE NEIGHBORHOODS COME TO LIFE.

>> I LIKE TO PAINT PLACES THAT I'M CLOSE TO, THAT I KNOW.

WHEN IT'S RAINING I LIKE TO PAINT REFLECTIONS SO I WILL GO IN THE SHORT NORTH, FOR EXAMPLE, WITH MY CAMERA.

I WILL GO GET A BUNCH OF REFERENCE SHOTS OF AREAS OF TOWN THAT I THINK ARE ICONIC AND KIND OF RESONATE WITH ME OR I HAVE HAD A GOOD EXPERIENCE AT.

I FOCUS MOSTLY ON LIKE NEIGHBORHOODS LIKE THE SHORT NORTH, CLINTONVILLE, GERMAN VILLAGE, AREAS WHERE I SPEND A LOT OF TIME.

FOR SOME OF MY PHOTOS I WILL ASK LIKE A BUILDING OWNER IF I CAN GO AND GET REFERENCE SHOTS LIKE, FOR EXAMPLE, THE FOLKS AT THE HILTON LET ME GO ON THE TOP FLOOR OF THE HOTEL TO GET SOME REFERENCE SHOTS.

I DO USE ALL OF MY OWN LIKE ORIGINAL PHOTOS, IT'S NOT A DRONE OR ANYTHING, I WILL GO HIGH UP AND GET PHOTOS, IF I CAN GET THE TOP STORY OF A BUILDING OR ON A ROOFTOP.

THE VIEW FROM THE JOSEPH IS FROM THE TOP FLOOR OF THAT HOTEL AND THE MIDDLE ONE IS FROM THE CATWALK IN BETWEEN THE HILTON AND THE CONVENTION CENTER.

WHEN I GET HOME I KIND OF LOOK THROUGH THOSE AND PIECE THEM TOGETHER AND FIGURE OUT WHAT I KIND OF WANT TO BUILD FROM THERE, AND THEN, YEAH, I JUST KIND OF SELECT A FEW AND JUST SKETCH THEM OUT AND WORK FROM THERE.

SO I USUALLY LIKE TO START WITH A BASIC GRID JUST TO GET THINGS INTO PERSPECTIVE SO I DON'T REALLY COMPLETELY OVERWORK IT AND REDRAW IT.

LIKE THE UNDERDRAWING IS REALLY JUST A SUGGESTION AND SOME GUIDELINES, BUT I LIKE TO MAKE SURE I GET THE PERSPECTIVE LIKE PRETTY ACCURATE, JUST TO GIVE MYSELF KIND OF A HEAD START.

SO A LOT OF PEOPLE USE GRIDS, SOME PEOPLE ARE OPPOSED TO THEM.

I REALLY LIKE IT JUST BECAUSE IT HELPS ME GET A FRAME OF REFERENCE AND GET THINGS INTO PERSPECTIVE FROM THE GET-GO.

THEN I COMPLETELY PAINT OVER IT.

I ALSO LIKE TO TONE MY CANVAS EITHER LIKE A BURNT SIENNA OR A GRAY OR RED, JUST AS AN INITIAL BASE LAYER TO START THE PALLET AND SET THE TONE.

SOMETIMES I WILL PAINT THE SAME SCENE MULTIPLE TIMES WITH DIFFERENT PALLETS, JUST TO REALLY EXPLORE WAYS OF STUDYING COLOR.

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FOR ME LIGHT, SHADOW, COLOR PERSPECTIVE ARE ALL REALLY IMPORTANT COMPONENTS OF THE PAINTING AND I DO PLAN OUT MY COLOR PALLETS PRETTY INTENTIONALLY.

FOR SOME I CHOOSE A MORE LIMITED COLOR PALLET.

IF IT'S LIKE A MOODIER SCENE OR LIKE A DAY SCENE WHERE IT'S REALLY RAINY.

FOR SOME LIKE AT NIGHT IN THE SHORT NORTH ESPECIALLY, IT'S REALLY VIBRANT AND ENERGETIC SO I WILL USE SOMETHING THAT'S A LITTLE MORE EXPRESSIVE, JUST TO KIND OF CONVEY THE ENERGY AND THE MOOD.

I AM REALLY INTERESTED, TOO, IN LIGHT TEMPERATURE, THERE'S DIFFERENT TEMPERATURES FROM A COOL LIGHT VERSUS A WARM LIGHT, SO IT'S REALLY FUN TO CONVEY LIKE WARM LIGHT FROM AN INTERIOR VERSUS LIKE COOL LIGHT FROM A STREETLIGHT.

THOSE ARE JUST THINGS I LIKE TO PAY ATTENTION TO AND THE LITTLE DETAILS THAT ARE REALLY REWARDING FOR ME.

I FIGHT WITH IT A LITTLE IN THE BEGINNING AND REALLY JUST FIGURING OUT THE RIGHT BALANCE OF WARM, COOL, LIGHT, DARK.

I WOULD SAY IT'S NOT REALLY A STRUGGLE BUT IT IS.

IT'S KIND OF THE PROBLEM SOLVING AND STRIKING A BALANCE.

SO I WOULD SAY THAT'S WHAT'S REWARDING ABOUT IT TO ME.

WHAT I WANT PEOPLE TO TAKE AWAY IS THE CONNECTION TO A PLACE AND A SPACE.

I WANT PEOPLE TO HAVE THE SAME CONNECTION AND THE SAME WARM FEELINGS.

LIKE COLUMBUS IS A BIG SMALL CITY, SO A LOT OF THE PLACES I TO AND KNOW SO THAT'S WHAT I WANT PEOPLE TO TAKE AWAY IS JUST THE WARMTH AND SENSE OF PLACE.

COLUMBUS IS JUST A REALLY GREAT PLACE TO GROW AS AN ARTIST AND THERE ARE SO MANY OPPORTUNITIES HERE TO SHOW YOUR WORK AND REALLY ENGAGE WITH THE COMMUNITY.

>> TO SEE MORE CHECK HER OUT ONLINE AT JESSWO.COM.

>>> NEXT, WE TRAVEL TO HOUSTON, TEXAS, WHERE A GROUP OF ARTISTS COLLABORATED ON AN INTERACTIVE PROJECT.

THEY USED DECOMMISSIONED PAY PHONES TO HELP TELL THE STORY OF A HISTORIC NEIGHBORHOOD.

WATCH AND LISTEN HOW IT'S ENRICHING THOSE WHO ARE ENGAGING WITH IT.

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>> I PERSONALLY CONSIDER THIRD WARD THE CULTURAL EPICENTER OF HOUSTON.

IT'S A PREDOMINANTLY AFRICAN AMERICAN AREA.

YOU HAVE TO LOOK AT THIRD WARD AS LIKE THE HARLEM OF TEXAS OR THE BROOKLYN OF TEXAS.

YOU KNOW, IT'S A PLACE WHERE EVERYBODY COMES, YOU EAT, YOU GO TO SCHOOL, YOU MEET PEOPLE AND THAT SORT OF THING.

THERE'S ALL KIND OF COOL THINGS TO DO ON THE STRIP AND EMANCIPATION CORRIDOR STRIP.

A LOT OF THRIVING BUSINESSES AND THAT SORT OF THING AND A LOT OF ARTISTS LIVE HERE.

>> SO THE TRES PHONOS PROJECT IS A COLLABORATION OF 24 ARTISTS AND RESIDENTS IN THE THIRD WARD.

THE REPURPOSED PAY PHONES THAT HAVE BEEN HACKED AND PROGRAMMED TO FEATURE AUDIO THAT IS FROM THE THIRD WARD.

>> IT IS A BEAUTIFUL DREAM REALIZED.

>> THERE'S THREE VISUAL ARTISTS, THERE'S THE THREE AMBASSADORS