MAN: LOOK AT THAT BEAUTIFUL PIECE.

THAT'’’S WHAT MAKES THE PIECE SING.

THE LIGHT WIGGLES.

WOMAN: THIS IS WHAT I CHOSE TO MAKE FOR DALE.

WE WERE ACTUALLY MARRIED WITH HIM WEARING A PAIR OF HIDEOUS, CHEAP BOOTS.

SECOND MAN: PARENTS ALWAYS WANT YOU TO BE A DOCTOR OR BE AN ATTORNEY, GET MORE RESPECT.

THAT'’’S IN OUR CULTURE.

TO BE AN ARTIST?

NO.

THIRD MAN: MY FATHER'’’S APPROACH AS AN ARTIST IS MUCH MORE REFINED THAN WHAT MY GRANDFATHER DID.

PEOPLE SEE THE WORK AND THINK IT LOOKS THE SAME, BUT EVERYONE IN THE FAMILY HAS A DIFFERENT APPROACH TO IT.

SECOND WOMAN: I THINK WITHIN THE DYNAMIC OF THE THREE OF US, I AM THE PEACEMAKER, OR I TRY AND BE.

WOMEN: ♪ '’’TIS A GIFT TO BE SIMPLE, '’’TIS A GIFT TO BE FREE ♪ ♪ '’’TIS A GIFT TO COME DOWN WHERE YOU OUGHT TO BE ♪ ♪ AND WHEN YOU FIND YOURSELVES IN THE PLACE JUST RIGHT ♪ ♪ '’’TWILL BE IN THE VALLEY OF LOVE AND DELIGHT ♪ CAPTIONING MADE POSSIBLE BY CRAFT IN AMERICA, INC. MAN: I BEGAN WOODTURNING WHEN I WAS 15.

I WAS ALWAYS CARVING WOOD.

JUST THE IDEA OF WORKING IN WOOD AS A MATERIAL WAS ESPECIALLY APPEALING.

SECOND MAN: MY FATHER WAS ALWAYS VERY ARTISTICALLY INCLINED.

HE WAS AN ARCHITECT AS HIS PROFESSION, BUT IN THE LATE FIFTIES, HE DECIDED TO TRY THE WOODTURNING BECAUSE HE LIKED TO MAKE SCULPTURES OUT OF WOOD.

ED: THIS PIECE IS OBVIOUSLY CUT FROM A SECTION THAT HAD THE ROOT BUTTRESSES COMING OUT, AND SO YOU GET THAT DESIGN.

PHILIP: OUR FAMILY DOES HAVE 3 GENERATIONS OF WOODTURNERS.

OF COURSE, MY FATHER WAS THE FIRST ONE, AND WHEN HE BEGAN DOING THE WOODTURNING, HE JUST BEGAN SELLING LOCALLY.

WOMAN: THE SIGNATURE SHOP WAS OFFICIALLY OPENED IN 1962, AND IT GREW OUT OF BLANCHE REEVES'’’ BUSINESS AS AN INTERIOR DESIGNER.

IT WAS THE BEGINNING OF THE CONTEMPORARY CRAFT MOVEMENT.

MANY OF THE ARTISTS WHO STARTED THAT MOVEMENT HAD OTHER CAREERS.

THE MAKING GREW OUT OF JUST A PASSION THEY HAD OF WORKING WITH THE MATERIAL OR A PASSION TO MAKE SOMETHING.

ED DESIGNED SOME BUILDINGS IN ATLANTA, BUT THE PASSION THAT HE HAD FOR WOOD SEEMED TO OVERTAKE EVERYTHING ELSE THAT HE WAS INTERESTED IN.

AND FROM ATLANTA, IT JUST KIND OF SPREAD ACROSS THE UNITED STATES WITH THE CRAFT MOVEMENT.

PHILIP: WHEN MY FATHER BEGAN TURNING, THE PIECES HE WAS MAKING WERE PROBABLY LITTLE BITTY CUPS AND PLATES, MAYBE 4 INCHES IN DIAMETER.

BUT I THINK HE HAD THIS URGE TO SEE, COULD HE GO BIGGER THAN THAT, AND INSTEAD OF JUST FLAT PIECES OR JUST SHALLOW PIECES, HE WAS ABLE TO MAKE PIECES THAT WOULD ACTUALLY CURVE OVER AND HE COULD HOLLOW OUT.

HE INVENTED HIS OWN TOOLS AND ACTUALLY USED A FORGE AND AN ANVIL TO BEND THESE TOOLS AND MAKE THE TOOLS THAT HE FELT WOULD HELP HIM IN THIS TURNING PROCESS.

MAN: WHEN MY GRANDFATHER WAS CREATING THIS PROCESS, THESE TOOLS DID NOT EXIST, AND SO HE WAS LEARNING ALONG THE WAY.

WHAT YOU SEE US USE TODAY IS AN ADAPTION OF WHAT HE CREATED IN THE BEGINNING.

HE BASICALLY HAD TO FABRICATE HIS OWN DESIGNS, AND I'’’VE ALWAYS MARVELED AT HOW HE CAME UP WITH A LOT OF THESE THINGS.

ED: YOU HAVE TO VISUALIZE THAT YOU HAVE A 500- OR 800-POUND LOG HERE, ROTATING.

PHILIP: HE WAS KNOWN, PROBABLY, BEST FOR THE LARGE PIECES, BECAUSE SOME OF THEM WERE PROBABLY ALMOST 4 FEET IN DIAMETER AND MAYBE 3 1/2 FEET TALL.

ED: SO THIS LOG, I--THE ORIGINAL LOG MOUNTED ON LATHE PROBABLY WEIGHED 2,000 POUNDS.

MATT: AS A CHILD, WE WOULD GO OVER TO MY GRANDFATHER'’’S HOUSE, MY BROTHER AND I.

THERE WAS A PIECE-- WAS PHOTOGRAPHED OF HIS, A LARGE GLOBE SHAPE.

AND IN THE PIECE, YOU COULDN'’’T TELL THE SCALE OF IT, SO THEY PUT AN APPLE NEXT TO THE PIECE, AND IT DIDN'’’T DO IT JUSTICE FOR HOW BIG IT WAS.

PEOPLE STILL DIDN'’’T GET THE CONCEPT THAT THESE WERE REALLY LARGE ARCHITECTURAL-SIZE SHAPES, AND SO HE PUT ME INSIDE THE PIECE.

IT WAS ALMOST UNBELIEVABLE TO SEE A TURNED OBJECT THAT LARGE AND THAT REFINED.

MY GRANDFATHER ACTUALLY POSED IN SOME OF THEM AS WELL, SOME OF THE REALLY GIANT TURNINGS.

[SAW BUZZING] PHILIP: THIS GIVES ME A ROUND SHAPE TO START THE TURNING WITH AND A FLAT BOTTOM TO PUT THE FACEPLATE ON, AND THEN THE WHOLE PIECE WILL BE MOUNTED ON THE LATHE.

MY FATHER ALWAYS HAD SAID HE WOULD TEACH ME WHEN I WANTED TO BE TAUGHT, AND I MADE A FEW PIECES OF FURNITURE, AND THEN I GOT INTO PHOTOGRAPHY AND THEN THOUGHT, "WELL, I SHOULD TRY THE WOODTURNING."

I WAS PROBABLY 30 WHEN I STARTED DOING THIS.

I HAD GONE TO LAW SCHOOL, AND I BEGAN WOODTURNING JUST ABOUT THE SAME TIME.

IT WAS PROBABLY THE EARLY NINETIES WHEN I WENT FULL-TIME INTO WOODTURNING, BUT I HAD SLOWLY KIND OF WEANED MYSELF OFF THE LAW WORK, FROM A 5-DAY-A-WEEK JOB DOWN TO A 4-DAY TO A 3-DAY TO A 2-DAY, AND THEN I FINALLY JUST LEFT.

WOMAN: GETTING OUT OF THE LAW WAS LIKE, "OK, SO HOW FAST CAN YOU DO THIS?"

HA HA!

YOU KNOW?

SO THAT WAS EASY.

THAT WAS WONDERFUL.

SO WE DID THAT WELL, AND IF WE'’’D HAVE STARVED TO DEATH, WE'’’D HAVE STARVED TO DEATH.

HA HA HA!

PHILIP: IS THAT HOLLY?

NO, THAT'’’S JUST-- MATT: THAT'’’S ASHLEAF, ROOT OF ASHLEAF... PHILIP: STUMP, YES.

THIS IS A PIECE OF ASHLEAF MAPLE, WHICH IS--THIS TRULY IS A MAPLE FAMILY TREE, BUT THE COMMON NAME THAT MOST PEOPLE KNOW IT IS BOX ELDER, AND IT'’’S A TREE THAT GROWS ALL THROUGH THE SOUTH, UP THE EAST COAST.

THIS RED COLOR, THAT'’’S CAUSED BY A BACTERIA THAT GETS INTO THE TREE, CAUSING THE COLOR, BUT DOESN'’’T SEEM TO DAMAGE THE TREE AT ALL.

THE TREES THAT WE USE ALL COME FROM TREE CUTTERS WHO HAVE CUT THEM DOWN DUE TO STORM DAMAGE OR CONSTRUCTION.

THEY'’’RE NOT USED FOR FURNITURE OR ANYTHING ELSE, BUT IT DOES WORK WELL FOR WOODTURNING, SO WE HAVE SEVERAL SETS OF TREE CUTTERS THAT WE'’’VE KNOWN OVER THE YEARS AND ALWAYS TELL THEM TO WATCH FOR THIS.

MATT: IT'’’S A VERY SOFT WOOD.

STRUCTURALLY, IT'’’S NOT GOOD FOR ANYTHING.

IT'’’S VERY STRIKING TO THINK A WOOD IN THE UNITED STATES HAS THIS BRIGHT COLOR RED IN IT.

PHILIP: ONE OF THE STYLES THAT I'’’M KNOWN FOR MAINLY IS WHAT I CALL A MOSAIC BOWL.

AND IT'’’S A COMPOSITE.

IT'’’S MADE OF ALL THESE DIFFERENT PIECES OF DIFFERENT TYPES OF TREES.

HERE'’’S THE ASHLEAF MAPLE, THE RED-COLORED PIECES.

HERE'’’S A PIECE OF WHITE PINE IN HERE.

HERE'’’S A PIECE OF PLUM OVER HERE.

THIS STARTS OUT--ALL PIECES ARE GOING TO BE APPROXIMATELY THIS THICK IN A BIG SLAB, AND THEN THE SLAB IS CUT INTO THE CONTOUR THAT I WANT.

THE NEXT ONE IN THE GENERATION OF MOSAIC BOWLS WAS THIS TYPE, WHICH I CALL BUNDLED BECAUSE ALL THESE ARE BUNDLED TOGETHER.

SO THESE ARE ALL CUT TO FIT IN A PAIL THIS SIZE, AND THESE WILL BE PLACED IN HERE.

YOU CAN SEE THEY STAND ON END, BUT I'’’LL EVENTUALLY FILL THIS WHOLE PAIL UP WITH THE DIFFERENT PIECES.

THE RESIN IS POURED IN, IT'’’S SET, AND ONCE IT'’’S SET, IT'’’S GOING TO TAKE THE SHAPE OF THIS FORM.

IN THIS CASE, IT'’’S A SMALL 2-GALLON PAIL.

THIS WHOLE THING WILL BE ROUNDED OFF INTO A ROUND BOWL AND HOLLOWED OUT, AND EACH OF THESE PIECES THAT YOU SEE FROM UP HERE, YOU'’’LL SEE WHERE THEY COME OUT THE BOTTOM BECAUSE THIS WILL ALL BE CUT INTO A SPHERICAL FORM AND THEN SANDED AND COATED, JUST LIKE A NORMAL BOWL.

MATERIAL THAT'’’S FILLING IN BETWEEN THE SPACES IN THE WOOD IS AN EPOXY MATERIAL, AND THE REASON IT'’’S BLACK IS THAT YOU WANT SOMETHING THAT GIVES YOU SOME SORT OF A STRIKING CONTRAST.

THERE IS A NUMBER OF PEOPLE WHO ARE WOOD PURISTS WHO THINK THAT WOOD SHOULD BE MADE OUT OF ONE TYPE OF TREE ONLY, WHICH IS FINE, BUT THIS IS JUST A VARIATION, JUST TO TRY TO GET A DIFFERENT APPEARANCE USING WOOD.

EVEN THOUGH YOU MAY NOT KNOW HOW IT'’’S EXACTLY DONE, BUT YOU CAN TELL IT'’’S MADE OUT OF WOOD, THAT'’’S KIND OF THE MESSAGE I WAS TRYING TO GET ACROSS, THAT THIS IS JUST A NEW WAY OF LOOKING AT IT.

JIMMY CARTER: SOME OF THE MOST BEAUTIFUL TURNINGS THAT'’’S MADE JUST CAME OUT OF OLD STUMPS OF, SAY, POPLAR AND PINE TREES THAT MOST PEOPLE THAT MAKE FINE FURNITURE WOULD NEVER THINK ABOUT USING.

POPLAR WOULD ONLY BE USED MAYBE IN THE BACK END OF A DRAWER OR THE BOTTOM OF A DRAWER, FOR INSTANCE, AND PINE IS ORDINARILY KIND OF DEROGATED AS AN INFERIOR STRUCTURAL PRODUCT.

BUT WHEN IT COMES OUT OF-- OFF THE LATHE OF ONE OF THE MOULTHROP FAMILY MEMBERS, IT BECOMES A PERMANENT THING OF BEAUTY AND A TREASURE IN ITSELF.

PHILIP: NOW FOR OUR THIRD GENERATION, MATT, WHO HAS A MASTER'’’S IN BUSINESS AND FINANCE, WHEN HE FINISHED GRADUATE SCHOOL, HE FELT THAT HE WANTED TO DO THE WOODTURNING BECAUSE HE'’’D BEEN AROUND IT SO LONG BY THAT TIME.

I TOLD HIM, WELL, THERE'’’S NO GUARANTEES HOW THIS WILL WORK OUT, BUT IF YOU WANT TO TRY IT, YOU SHOULD TRY IT.

SO HE'’’S BEEN DOING THAT, AND HE'’’S DONE VERY WELL AT IT.

IT'’’S UNUSUAL TO HAVE IT PASSED DOWN THROUGH 3 GENERATIONS AND STILL BE DOING IT.

MATT: I'’’LL BE OK. MATT, VOICE-OVER: HE'’’S STILL MY FATHER.

I MEAN, HE CAN STILL GET ON MY NERVES, AND I'’’M SURE I DRIVE HIM CRAZY, BUT IT'’’S JUST PART OF THE DYNAMIC OF FAMILY.

MAN: THE MOULTHROP FAMILY ARE 3 GENERATIONS THAT HAVE WORKED WITH WOOD AT THE VERY HIGHEST LEVEL.

BUT WHAT MAKES THEM UNIQUE IN MY MIND IS THE FACT THAT THEY CAME TO WOOD NOT AS A PRIMARY GOAL.

THERE WAS A LOT OF EDUCATION FOR EACH GENERATION.

ED MOULTHROP, THE PATRIARCH OF THE FAMILY, WAS A YALE-EDUCATED ARCHITECT.

HIS SON PHILIP IS AN ATTORNEY, AND HIS SON MATTHEW HAS AN MBA.

BUT THEY HAVE ALL CHOSEN THEIR OWN WAY TO DEVOTE THEIR LIVES TO WOODTURNING, AND I THINK THAT WE HAVE ALL BEEN ENRICHED BY IT.

RENEE: ED, FOR SO MANY YEARS, HAD WORKED ALONE THAT WHEN PHILIP JOINED IN AND THEN, OF COURSE, MATT, THAT WAS--HE WAS SO EXCITED.

IT WAS SO WONDERFUL FOR HIM BECAUSE FINALLY HE HAD SOMEONE HE COULD REALLY SHARE EVERYTHING WITH, SO HE WAS VERY ENTHUSIASTIC ABOUT THAT.

MATT: WHEN I LEFT COLLEGE, I DIDN'’’T HAVE ANY-- I DON'’’T WANT TO SAY I DIDN'’’T HAVE ANY ASPIRATION TO BECOME AN ARTIST.

I DIDN'’’T THINK I COULD MAKE A LIVING AS AN ARTIST.

AND I HAD WORKED FOR MY GRANDFATHER FOR OVER A DECADE, APPRENTICING HIM, SO I KNEW HOW TO CREATE WORK, I KNEW THE PROCESS.

AND IT WASN'’’T UNTIL I'’’D GRADUATED COLLEGE AND I HAD TAKEN MY FIRST JOB, AND I REALLY HATED IT.

AMANDA: MATT WAS MISERABLE IN THE TRADITIONAL WORKING WORLD, SO WHEN HE DECIDED TO BE A FULL-TIME WOODWORKER, I THOUGHT IT WAS REALLY A BLESSING BECAUSE HE WAS SO HAPPY DOING IT.

YOU KNOW, EVERY WEEKEND IN COLLEGE, HE CAME HOME AND WOULD HELP ED AND WORK IN HIS STUDIO, AND HE LOVED IT.

THAT WAS ALWAYS WHERE HE WAS HAPPIEST, AND SO WHEN HE DECIDED THAT'’’S WHAT HE WANTED TO DO FULL-TIME, YOU KNOW YOU HAVE TO JUMP IN WITH BOTH FEET.

RENEE: NOW, BE SURE IT DOESN'’’T COME BACK AND HIT YOU.

MATT: MY WIFE AMANDA WAS IN LAW SCHOOL, AND SHE HAD A JOB AS A FULL-TIME ATTORNEY UPON GRADUATION, AND SO THAT WAS-- SHE WAS WILLING TO SUPPORT ME IN THE BEGINNING.

McCUISTON: THEIR CLOSE-KNIT FAMILY IS PROBABLY RESPONSIBLE FOR PHILIP AND MATT HAVING THE SAME PASSION ABOUT WORKING WITH WOOD THAT ED DID.

THEY GREW UP LOOKING AT THINGS DIFFERENTLY BECAUSE OF THEIR FATHER AND THEIR GRANDDAD, LOOKING AT THINGS WITH A DESIGNER'’’S EYE OR AN ARTIST'’’S EYE.

THE IDEA FOR THIS MACHINE CAME TO ME FROM WATCHING A PROGRAM ON THE ASTRONAUTS AT NASA ON HOW THEY MAKE THEIR GLOVES.

THEY WOULD MAKE A--LIKE A PLASTER CAST OF THE PERSON'’’S HAND, AND THEN THEY WOULD TAKE THAT PLASTER HAND, THEY WOULD PUT IT ON A MACHINE AND SPRAY IT WITH LATEX.

AND THIS MACHINE TURNED JUST ABOUT THIS FAST, AND IT SPRAYED, AND BY DOING THAT, YOU'’’D END UP WITH THIS PERFECTLY EVEN COATING, SO THERE'’’S NO THICK PLACES ANYWHERE.

THEY'’’RE ALL THE EXACT SAME THICKNESS, AND WHEN I SAW THAT, I SAID, THAT WOULD WORK WELL WITH WHAT WE'’’RE DOING HERE.

SO I CAME UP WITH A MOTOR AND SOME GEAR RATIOS, AND THIS DOES ABOUT 7 TO 8 RPMs, WHICH IS AS FAST AS YOU WANT TO GO WITH THIS.

MATT: EACH PIECE HAS 4 TO 6 COATS OF FINISH.

THE FIRST COAT IS USUALLY AS THIN AS WATER.

IT'’’S ALMOST AS IF IT'’’S A PRIMER COAT.

WE CAN CONTROL THE FINISH AS TO HOW THICK OR THIN WE WANT IT.

WE CAN MAKE IT SET UP IN 7 MINUTES OR 7 DAYS, DEPENDING ON WHAT WE'’’RE TRYING TO COAT.

BUT AFTER THE FINAL COAT, THAT'’’S WHEN WE DO THE POLISHING OF THE PIECES.

HELLER: MATT HAS ENHANCED THE QUALITY OF THE WOOD BY EXPERIMENTING WITH DIFFERENT POLISHING TECHNIQUES, MANY OF WHICH ARE USED IN THE GLASS THAT WE SHOW IN THE GALLERY, AND THEY HAVE GIVEN A DIFFERENT-- A DISTINCTLY DIFFERENT QUALITY TO THE WORK.

HIS FATHER DEVELOPED A WAY OF APPLYING FINISHES THAT MADE THEM VERY, VERY BEAUTIFUL, AND MATT HAS NOW FOUND WAYS OF POLISHING THOSE FINISHES THAT ENHANCE THE WORK EVEN FURTHER.

MAN: PEOPLE IN ATLANTA, IN GEORGIA, REALLY HAVE A GREAT RESPECT AND AFFECTION FOR PHILIP MOULTHROP AND FOR HIS FATHER ED, WHO DEVELOPED THE TECHNIQUE OF THE WOOD CARVINGS OF THESE ELEGANT BOWLS.

AND NOW HIS SON HAS TAKEN UP THE TRADITION AS WELL.

THESE BOWLS ARE IN THE SMITHSONIAN, THE MUSEUM OF MODERN ART IN NEW YORK.

GUMP'’’S IN SAN FRANCISCO HAS A SALE OF MOULTHROP BOWLS EVERY YEAR AND OTHER THINGS, SO WE'’’RE VERY PROUD OF THE MOULTHROPS, THE CREATORS OF A PROUD TRADITION, AND WE'’’RE VERY PLEASED TO HAVE THEM HERE IN ATLANTA.

ED: AS AN ARCHITECT AND A TEACHER AT GEORGIA TECH, YOU MAKE VERY LITTLE MONEY, AND WE WERE DESTITUTE MOST OF THE TIME.

AND WHEN I WENT INTO WOODTURNING, THE MARKET HAD OPENED UP, AND I WAS ABLE TO SELL THEM.

AND FOR THE FIRST TIME IN OUR LIVES, WE ACTUALLY MADE MONEY.

PHILIP: IT'’’S ALMOST HARD NOT TO PICK UP A PIECE OF WOOD AND JUST HOLD IT IN YOUR HANDS AND HAVE THIS NICE FEEL ABOUT IT, AND I GET THAT EVERY TIME I PICK ONE UP.

RENEE: HE LOVES PEOPLE TO APPRECIATE THEM.

HE LOVES PEOPLE TO BUY THEM, AND HE JUST ENJOYS THAT SO MUCH.

AND THEN WHEN I COME ALONG WITH MY DISH RAG AND SAY, "I THINK I WANT THIS ONE, SWEETIE," AND HE SAYS, "OK!"

HA HA!

PHILIP: IT HAS THIS FEELING OF STILL BEING ALIVE IN YOUR HAND, AND YOU CAN--SOMETIMES YOU LOOK AT A PIECE OF WOOD AND YOU CAN IMAGINE SOMETHING ABOUT THE LIFE OF THE TREE.

AMANDA: IT'’’S CONSTANTLY WORK, AND BECAUSE HE LOVES IT, HE DOESN'’’T MIND.

I'’’M THE ONE WHO HAS TO PULL HIM OFF THE PHONE.

HA HA!

MATT: ONE OF THE ASPECTS THAT I LOVE ABOUT THE WORK THAT I DO IS BEING ABLE TO EXTEND THE LIFE OF A TREE.

THIS BEGAN WITH MY GRANDFATHER, WHO CREATED A PIECE FROM A TREE THAT THOMAS JEFFERSON HAD PLANTED.

HELLER: THEY HAVE, I THINK, TRANSFORMED, TO A LARGE EXTENT, THE WOODTURNING FIELD BY THEIR LEVEL OF SOPHISTICATION, WHICH IS, IN CERTAIN RESPECTS, VERY DECEIVING WHEN YOU FIRST LOOK AT THE WORK BECAUSE THERE'’’S A REAL SIMPLICITY TO IT.

BUT IN THAT SIMPLICITY, THERE'’’S AN EXQUISITE QUALITY.

WOMAN: COWBOY BOOTS ARE AN AMERICAN ICON.

YOU CAN SHOW COWBOY BOOTS TO ALMOST ANYONE IN THE WORLD AND THEY INSTANTLY CONNECT THAT WITH AMERICA.

THEY REPRESENT AMERICA IN A WAY THAT NO OTHER FOOTWEAR DOES.

SO THIS IS THE FIRST PAIR OF COWBOY BOOTS THAT I EVER HAD.

WHEN I WAS 20, MY HUSBAND AND I MARRIED, AND WE MOVED FROM MISSOURI TO OKLAHOMA--TO GUTHRIE-- AND I ANSWERED AN AD IN THE PAPER FOR STITCHING BOOT TOPS.

I HAD NO IDEA WHAT THAT WAS, AND IT WAS WITH AN OLD MAN NAMED JAY GRIFFITH.

HE WAS AN OLD ALCOHOLIC, AND HE SCREAMED AND CUSSED, AND I HAD NEVER BEEN AROUND ANYONE WHO DRANK OR CUSSED.

I WAS RAISED IN A VERY CONSERVATIVE LITTLE CHURCH, WHERE THE LADIES ALL WEAR LONG HAIR AND LONG DRESSES, SO I WASN'’’T COWBOY AT ALL.

I HAD NEVER OWNED A PAIR OF COWBOY BOOTS UNTIL I GOT MY JOB WITH JAY.

WE MADE THIS PAIR OF BOOTS AT JAY'’’S.

AT THE TIME, I WAS ONLY STITCHING TOPS, JUST DOING THE DECORATIVE WORK.

BUT NOW I THINK THESE BOOTS ARE JUST REALLY OVERWHELMINGLY FEMININE.

I WOULD NEVER, EVER WANT A PAIR OF BOOTS LIKE THAT AGAIN, BUT THAT WAS MY FIRST PAIR.

OK, WHAT I'’’M DOING HERE IS I'’’M TRANSFERRING THE PATTERN ONTO THE LEATHER SO I'’’LL KNOW WHERE TO STITCH.

I ONLY DREW IT ON HALF.

I FOLDED IT IN HALF, AND I STITCHED IT WITH NO THREAD IN THE NEEDLE, AND THAT GAVE ME A SERIES OF HOLES.

I'’’VE APPLIED A REALLY THIN COAT OF RUBBER CEMENT, AND THAT WILL HOLD MY PATTERN ON.

SO I'’’M GONNA LAY THIS PATTERN HERE AND LINE IT UP CAREFULLY.

NOW, THIS IS AN OLD SOCK FILLED WITH BABY POWDER... AND THERE'’’S MY PATTERN FOR STITCHING.

MAN: LISA AND I FIRST MET IN SPRINGFIELD.

I HAD WENT TO THE CHURCH THERE, AND AFTER CHURCH, THEY HAD PING-PONG.

AND LISA SHOWED UP, AND I DIDN'’’T KNOW HER AT THE TIME.

LISA: I NOTICED HIM AND MANUFACTURED AN OPPORTUNITY TO MEET HIM.

WE ACTUALLY MET PLAYING PING-PONG IN THE BASEMENT AFTER CHURCH.

DALE: SO SHE PLAYED ME, AND I ACTUALLY HAD TO PLAY TO KEEP FROM GETTING BEAT.

LISA: THIS IS CALLED INLAY.

WHERE YOU SEE THE RED, I'’’VE ACTUALLY-- I'’’VE CUT A LEAF-SHAPED HOLE OUT OF THE BROWN, AND I'’’VE PUT A DIFFERENT COLOR LEATHER-- IN THIS CASE, RED--BEHIND, AND THAT'’’S CALLED INLAY.

EVERY COLOR IS A DIFFERENT PIECE OF LEATHER, AND EVERY PIECE OF LEATHER HAS TO BE STITCHED.

THE THING WITH LEATHER IS, ANY TIME YOU STITCH SOMETHING, YOU HAVE A HOLE... AND SO YOU CAN'’’T MAKE MISTAKES.

I USED 2 SKINS OF NAVY ALLIGATOR, AND THEY WERE MATCHED SKINS.

THEY WERE THE SAME SIZE, THE SAME TILE PATTERN AND EVERYTHING BECAUSE I WANT MY VAMPS TO MATCH.

THE VAMP IS THE FOOT PART OF THE BOOT.

AND THE NAVY ALLIGATOR IS AMERICAN ALLIGATOR.

IT'’’S FARM-RAISED.

SO I WAS CUTTING OUT THE VAMPS.

YOU WON'’’T REALLY SEE THAT WHITE LEATHER, THE LINING LEATHER, BECAUSE IT'’’S WHAT'’’S TOUCHING YOUR FOOT.

AND THEN THE NAVY ALLIGATOR IS WHAT YOU WILL SEE, BUT THERE'’’S ACTUALLY 2 LAYERS OF LEATHER IN THERE-- THE LINING LEATHER AND THE VAMP LEATHER.

I PUT THEM IN WATER BECAUSE I'’’M GOING TO CRIMP THE VAMPS NEXT.

THIS RIGHT HERE IS CALLED THE LAST.

THIS IS THE FORM THAT THE BOOT IS BUILT AROUND, AND THIS IS A COMPLETELY 3-DIMENSIONAL SHAPE.

IT HAS TO MAKE THIS CURVE AND SNUG IN HERE AND WRAP AROUND HERE AND MAKE THAT TOE.

AND SO THE VAMP THAT I WAS CUTTING IS A FLAT PIECE OF LEATHER, BUT IT HAS TO BECOME THIS COMPLETELY 3-DIMENSIONAL SHAPE.

AND SO I'’’M GOING TO TAKE THAT VAMP AND I'’’M GOING TO CRIMP IT.

I'’’M GOING TO PUT IT ON A-- STRETCH IT OVER A BOARD AND BEGIN GIVING IT THAT SHAPE.

AND SO THE LEATHER ALWAYS NEEDS TO BE WET WHEN YOU'’’RE WORKING IT IN THAT WAY, OTHERWISE IT WILL HAVE A TENDENCY TO TEAR.

I PUT THE BABY POWDER IN BECAUSE IT HELPS THE WET LEATHER SLIDE AND NOT STICK TOGETHER.

I'’’M CRIMPING THE VAMPS WRONG SIDE OUT...

SO THAT I CAN USE THE HAMMERHEAD TO RUB ON THOSE WRINKLES AND MAKE SURE I GET THEM OUT.

NOW, THIS PAIR OF BOOTS-- THIS IS A PAIR OF BOOTS THAT I TOOK TO GERMANY FOR A COMPETITION.

I ENTERED A COMPETITION CALLED THE INTERNATIONAL SHOEMAKING DAYS IN WIESBADEN, GERMANY.

I WAS THE ONLY BOOT OR SHOEMAKER FROM AMERICA, AND--SO TO ENTER IN THAT SYSTEM AND THEN TO WIN A GOLD MEDAL IN THAT SYSTEM WAS VERY MEANINGFUL FOR ME BECAUSE IT KIND OF VERIFIED THAT, YES, I REALLY HAVE LEARNED SOME THINGS BECAUSE THERE IS NO FORMAL WAY TO KNOW THAT HERE.

I LOVE THE MOOD OF THIS BOOT.

THE COLORS ARE KIND OF SUBDUED, BUT YET THE THEME IS SPRING.

THE NAME OF THIS BOOT IS "IF WE MAKE IT THROUGH DECEMBER."

I NAME ALL OF MY BOOTS AFTER CLASSIC COUNTRY SONGS.

SINGERS: ♪ LET'’’S DO IT AGAIN ♪ ♪ LET'’’S FALL IN LOVE ♪ ♪ ALL OVER AGAIN ♪ ♪ SPEND THE TIME ♪ ♪ THAT WE SHOULD SPEND ♪ ♪ JUST TO DO IT AGAIN... ♪ DALE: AS LISA WAS WORKING FOR JAY, SHE DISCOVERED THAT BOOTMAKING WAS WHAT SHE WANTED TO DO, SO SHE WORKED FOR JAY FOR ABOUT A YEAR AND A HALF, AND THEN I FOUND A SEWING MACHINE FOR SALE, AND SHE STARTED STITCHING TOPS OUT OF OUR BACK ROOM.

SHE DIDN'’’T EVEN KNOW HOW TO MAKE THE TOTAL BOOT.

SHE WAS JUST STITCHING THE TOPS.

THE OTHER BOOTMAKERS TOLD HER ALL THE WORK WAS ALWAYS DONE IN-HOUSE.

THEY WAS NOT GOING TO FARM BOOT TOPS OUT TO SOMEBODY ELSE TO STITCH.

WELL, LO AND BEHOLD, SHE WAS SO GOOD AT STITCHING TOPS, THE WORD GOT AROUND.

PEOPLE WOULD ACTUALLY GO TO THE BOOTMAKER AND SAY, "I WANT YOU TO MAKE ME A PAIR OF BOOTS BUT HAVE LISA STITCH THE TOPS."

SHE DID THAT FOR 3 YEARS UNTIL SHE WAS ABLE TO HIRE A FORMER STUDENT OF JAY'’’S TO TEACH HER TO MAKE BOOTS.

SO IN THE BEGINNING, IT WAS A LOT OF FAITH AND TRUST THAT IT WOULD WORK OUT.

LISA: MOST OF MY LASTS ARE FROM THE 1940s.

THE REALLY GOOD ONES ARE FROM THE 1940s.

THE OLD LASTS FOR HAND-LASTING ARE JUST BEAUTIFUL.

ANYONE CAN SEE HOW BEAUTIFUL THESE ARE.

MY FAVORITE BRANDS ARE THE KRENTLER BROS AND THE WESTERN BOOT LAST.

EACH LAST IS CUSTOMIZED FOR THE PERSON'’’S FOOT, SO IF SOMEONE HAS--LET'’’S SEE.

IF SOMEONE HAS... A HIGH INSTEP OR THEY HAVE A BUNION OR THEY DON'’’T LIKE THE TOE SHAPE OF THE LAST, WE CAN CHANGE THE TOE, SO EVERY LAST IS CUSTOMIZED FOR EACH PERSON.

I DO HAVE TO MEET AND PERSONALLY MEASURE EVERY CUSTOMER, AND SO THAT'’’S HOW THE PROCESS BEGINS.

SOMEONE COMES IN, AND I SIT THEM DOWN AND I MEASURE THEIR FEET, I TALK TO THEM ABOUT THEIR FEET, IF THEY HAVE ANY FITTING ISSUES, AND THEN I USE THAT INFORMATION TO CHOOSE THEIR LAST AND TO FIT IT FOR THEIR FOOT.

COWBOY BOOTS DON'’’T HAVE ANY LACING OR BUCKLES OR ANY WAY TO ADJUST THE FIT AFTER YOU PULL THEM ON, AND SO YOU HAVE TO HAVE AN AREA THAT FITS PROPERLY.

AND YOU CAN'’’T PINCH IN THE BALL, OR THE NEXT MEASUREMENT WILL BE THE INSTEP, AND SOME PEOPLE ARE VERY SENSITIVE THERE.

DALE: WELL, THE CHURCH THAT WE GO TO IS QUITE SMALL.

IT USED TO BE A ONE-ROOM SCHOOLHOUSE, AND SO IT HAS A LOT OF HISTORY, AND IT'’’S JUST VERY INTIMATE AND CLOSE.

CONGREGATION: ♪ HALLELUJAH, GOD IS LOVE ♪ ♪ PARADISE NOW HELPS TO SWELL IT ♪ ♪ SAINTS ON EARTH AFAR GO TELL IT ♪ ♪ SATAN'’’S HOST CAN NEVER QUELL IT ♪ ♪ FOR THE LORD OUR GOD IS LOVE ♪ LISA: I'’’M QUITE PROUD OF MY TWO DAUGHTERS.

I HAVE MORGAN, MY 16-YEAR-OLD, AND PAIGE, MY 13-YEAR-OLD.

THEY'’’VE BOTH GROWN UP IN A BOOT SHOP, AND I'’’VE TRIED TO RAISE THEM TO BE VERY STRONG AND CONFIDENT.

IN THE CHURCH I WAS RAISED IN, THE WOMEN DON'’’T HAVE JOBS, AND I WANTED MY GIRLS TO BE CONFIDENT AS WOMEN.

MORGAN: YES, PAIGE.

I'’’LL EVEN HELP YOU... DALE: MORGAN IS A NOVELIST AND AN ARTIST, AND I THINK SHE GETS THAT FROM LISA'’’S SIDE, AND LISA AND I, WE'’’RE JUST WAITING TO GET THE NEXT CHAPTER TO READ IT AND SEE WHAT'’’S GOING TO HAPPEN TO THE CHARACTERS.

MORGAN: I'’’M VERY, VERY PROUD OF MY MOTHER.

ALL HER LIFE, DUE TO THE WAY SHE WAS RAISED, SHE WAS TOLD, "NO, YOU'’’RE A WOMAN.

YOU CAN'’’T DO THIS.

NO, YOU'’’RE NOT SMART ENOUGH."

SHE STARTED OUT STITCHING AND MAKING DRESSES, AND SHE TOOK WHAT SHE LEARNED FROM THAT AND PUT IT INTO STITCHING BOOT TOPS, AND SHE TURNED THAT INTO BEING A BOOTMAKER AND A SUCCESSFUL BUSINESSWOMAN.

LISA: PAIGE, YOU WANT TO COME HERE?

PAIGE: YEAH.

LISA: ALL RIGHT.

TAKE IT AWAY.

PAIGE: I STARTED BECOMING INTERESTED IN WORKING WITH MY MOM WHEN I WAS HAVING A SLEEPOVER WITH MY BEST FRIEND.

WE WERE BOTH SO BORED, AND WE WERE JUST ANNOYING MY MOM TO NO END, SO SHE DECIDED WE SHOULD MAKE A BRACELET.

SO SHE CUT OUT 3 STRIPS OF LEATHER AND HELPED US BRAID IT AND HELPED US SEW THE ENDS TOGETHER AND EVERYTHING, AND AFTER THAT, I DECIDED I REALLY LIKED MAKING BRACELETS, SO SHE TAUGHT ME HOW TO PATTERN AND HOW TO CUT OUT LEATHER, AND FROM THERE I JUST DECIDED I REALLY LIKED WORKING WITH LEATHER.

I'’’M 13, SO THE FACT THAT MY MOM AND MY SISTER ARE BOTH ARTISTS IS REALLY NICE BECAUSE IT'’’S EASIER TO EXPRESS MYSELF AND THEY UNDERSTAND WHY I LIKE TO BE CREATIVE.

MY DAD HAS A BUSINESS DEGREE, SO WITH MARKETING AND THINGS LIKE THAT, HE IS VERY SUPPORTIVE AND HELPFUL.

LISA: WHEN I FOUND BOOTMAKING, IT WASN'’’T LIKE DISCOVERING WHAT I WANTED TO BE.

IT WAS LIKE FINDING OUT WHO I'’’D BEEN ALL ALONG AND I JUST HADN'’’T KNOWN.

I GOT TO SEW AND BE CREATIVE AND BE ARTISTIC, BUT AT THE SAME TIME, I GOT TO HAMMER.

AND IT WAS A VERY PHYSICAL THING, AND THAT APPEALED TO ME GREATLY, THAT IT HAD THIS CRAFT ASPECT TO IT, THIS VERY HARD PHYSICAL LABOR, AND I LOVE THAT ASPECT OF IT.

DALE: I THINK IT'’’S BEEN SAID ABOUT COWBOY BOOTS, THEY'’’RE TIMELESS.

IT'’’S NOT A THROWAWAY PRODUCT.

WITH CUSTOM-MADE ANYTHING-- COWBOY BOOTS, BASKET, POTTERY, CLOTHES--IT'’’S JUST A SENSE OF OWNERSHIP AND PRIDE, AND I JUST FEEL LIKE YOU TREAT IT DIFFERENTLY THAN JUST SOMETHING THAT YOU PICKED UP OFF THE SHELF.

LISA: I THINK CRAFT IS EMPOWERING.

I THINK WHEN PEOPLE HAVE THE ABILITY TO MAKE SOMETHING OR TO FIX SOMETHING, THEN THEY ARE COMPLETELY EMPOWERED.

IT'’’S POSSIBLE FOR ONE PERSON TO MAKE A PAIR OF COWBOY BOOTS.

MAN: I GREW UP IN CINCINNATI, OHIO, WHICH IS A BEAUTIFUL PLACE, BUT 5 DAYS AFTER I GRADUATED FROM HIGH SCHOOL, I PACKED THE CAR UP WITH ALL MY STUFF AND DROVE TO SAN FRANCISCO.

WORKED FOR A WHILE AND STARTED GOING TO SCHOOL, AND THAT'’’S WHEN I DECIDED TO BECOME AN ARTIST.

TWO OF MY BROTHERS WERE ARTISTS, AND I COULD SEE THAT THEY WERE THE ONLY PEOPLE I KNEW IN SOCIETY THAT WERE ALLOWED TO DO WHATEVER THEY WANTED TO DO.

BUT AT THE SAME TIME, I HAD MET THIS WOMAN TRYING TO DO SOMETHING AS AN ARTIST WITH STAINED GLASS, AND AS AN EXCUSE TO GET TO KNOW HER, I ASKED HER TO SHOW ME HOW TO WORK WITH GLASS.

SHE'’’D SHOWN ME HOW TO CUT GLASS AND SOLDER, AND THEN SHE KICKED ME OUT OF HER STUDIO, AND SHE GAVE ME THE BEST ADVICE POSSIBLE.

SHE SAID, "GO HOME AND DO WHATEVER YOU WANT TO DO."

SO I STARTED WORKING IN GLASS WITH NO REAL TRAINING OR IDEA, AND I MADE A LOT OF WEIRD, WONDERFUL STUFF AND GOT MY FIRST SHOW AT THIS GALLERY IN SAN FRANCISCO.

BY SHEER CHANCE, CECILE McCANN OF "ART WEEK" TOOK A LIKING TO ME AND GAVE ME 2 FULL PAGES WITH 7 PHOTOGRAPHS, AND MY CAREER WAS LAUNCHED.

I MEAN, IT JUST--OVERNIGHT BECAUSE "ART WEEK" WAS READ ALL OVER THE UNITED STATES.

MAN: I GOT INTO GLASS AS A YOUNGSTER.

MY FATHER, PAUL MARIONI, STARTED WORKING WITH GLASS IN ABOUT 1970.

HE WOULD BRING HOME THESE LUMPY LITTLE FORMS THAT HE MADE, AND I WAS SO...INTRIGUED.

I HADN'’’T SEEN ANYTHING HANDMADE.

I HADN'’’T SEEN SOMETHING THAT WAS GOOPY AND AMORPHOUS, I KNEW I WAS GOING TO HAVE TO TRY IT.

AND WHEN WE MOVED HERE IN 1979 TO SEATTLE WHEN I WAS 15 YEARS OLD, I DID HAVE AN OPPORTUNITY TO START BLOWING GLASS.

BUT I WAS PRETTY DETERMINED I WASN'’’T GOING TO FOLLOW IN HIS FOOTSTEPS, UM, OR ANYBODY'’’S HIPPIE GLASS FOOTSTEPS, FOR THAT MATTER.

IT JUST DIDN'’’T LOOK LIKE A VERY EASY WAY TO MAKE A LIVING.

AND I WAS RIGHT.

IT REALLY ISN'’’T.

WHEN I WAS STILL IN HIGH SCHOOL, I HAD MET BENJAMIN MOORE.

I WORKED WITH HIM RIGHT WHEN I GOT OUT OF HIGH SCHOOL AS AN ASSISTANT ON A GLASS-BLOWING TEAM, AND I JUST REALLY LIKED HIS APPROACH.

HE HAD A DESIGN-SPECIFIC APPROACH TO GLASSMAKING THAT NOBODY ELSE DID AT THAT TIME.

HE COULD BLOW GLASS ON CENTER AT WILL.

FROM THERE, I CONTINUED TO WORK WITH BENNY THROUGHOUT THE EIGHTIES AND NINETIES, AND I STILL DO.

WOMAN: EVERYBODY, OF COURSE, EXPECTED ME TO BE A GLASS ARTIST, AND IT REALLY HELD NO FASCINATION TO ME.

IT'’’S HOT, IT'’’S DIFFICULT, IT'’’S BORING, AND I WAS ALSO PRETTY REBELLIOUS, YOU KNOW, AS MUCH AS I COULD REBEL AGAINST THE MOST LENIENT PARENT EVER, WHO, YOU KNOW-- BASICALLY THERE WAS VERY LITTLE THAT WE COULDN'’’T DO.

SO PEOPLE WOULD SAY, YOU KNOW, "OH, SO YOU'’’RE A GLASS BLOWER, TOO," AND I WOULD SAY, "NO," AND USUALLY WITH PROFANITY INCLUDED.

I CAN'’’T GET AWAY FROM IT.

IT'’’S THERE, YOU KNOW, AND I WORK WITH MY FATHER SO MUCH, AND I KNOW HOW TO DO IT.

IT NEVER HELD ANY...ANY DRAW TO ME WHATSOEVER.

I'’’M DOING EMBROIDERY ON COTTON, AND I EMBROIDER TINY LITTLE PICTURES THAT I THEN EMBED EITHER IN RESIN OR BEHIND A WATCH CRYSTAL.

I'’’LL SET THEM THE WAY YOU WOULD SET A STONE IN A BEZEL.

I MAKE ALL OF MY OWN RINGS AND STRUCTURES THAT I EMBED IN.

RIGHT NOW, I'’’M WORKING ON A COUPLE OF BRACELETS USING THESE LITTLE PICTOGRAM IMAGES.

MY FATHER ONE DAY CAME TO ME AND SAID, YOU KNOW, "YOU HATE WORKING FOR PEOPLE.

IT'’’S TIME YOU JUST EMBRACED BEING AN ARTIST," BECAUSE I HAD NEVER WANTED TO BE AN ARTIST BEFORE, LIKE HIM, AND WORK FOR MYSELF BECAUSE I SAW HIM STRUGGLE SO MUCH.

JEWELRY, I JUST STARTED TO DO BECAUSE AT THE TIME I WAS BARTENDING, AND I WAS THINKING ABOUT THIS RING THAT I HAD SEEN ONE TIME, AND I REALLY WANTED IT, BUT I KNEW THAT I COULDN'’’T FIND IT ANYWHERE.

SO I WENT AND BOUGHT JUST THE BASICS OF WHAT I NEEDED AND STARTED WITH JUST A LITTLE, YOU KNOW, HANDHELD TORCH AND TAUGHT MYSELF HOW TO MAKE JEWELRY.

SINCE THEN, I'’’VE WORKED FOR MYSELF, AND, YOU KNOW, I'’’VE BEEN ABLE TO MAKE A LIVING.

I'’’VE BEEN VERY FORTUNATE.

[DANTE SPEAKING INDISTINCTLY] DANTE: COME ON.

COME ON.

I MAINTAIN A STUDIO HERE IN THIS BUILDING, AS DOES MY DAD, AND MY DAD ACTUALLY RESIDES HERE AS WELL, AND MY SISTER MARINA HAS A STUDIO SPACE WITHIN DAD'’’S STUDIO.

SO, YEAH, WE SEE EACH OTHER PRETTY MUCH EVERY DAY NOW.

[INDISTINCT CONVERSATION] WHERE'’’D YOU SEE THAT, POP, THAT I WAS GOING THERE?

PAUL: GOT AN AD FOR IT IN THE MAIL TODAY.

SO I LOOKED TO SEE WHO WAS GOING TO BE THERE, AND I SAW YOUR NAME.

MARINA: SERIOUSLY?

PAUL: MM-HMM.

MARINA: WHAT DID IT SAY?

"MY PARENTS WERE HIPPIES, CUT ME SOME SLACK"?

PAUL: "CUT ME SOME SLACK.

MY PARENTS WERE HIPPIES."

MARINA'’’S GOT A BUTTON.

MARINA: MOM SENT ME THAT.

DANTE: YOU KNOW, MOM AND DAD GOT DIVORCED WHEN WE WERE LITTLE, AND AFTER THAT, IT WAS-- I DON'’’T KNOW.

THAT'’’S KIND OF A...

STRANGE THING TO TALK ABOUT, BECAUSE, YOU KNOW, I HAD A RATHER ALTERNATIVE UPBRINGING, I GUESS YOU COULD SAY.

MARINA: DANTE AND I GREW UP IN MARIN COUNTY EARLY IN THE MID-SEVENTIES, AND IT WAS A PRETTY FREE AND EASY TIME.

THERE WAS A LOT OF...YOU KNOW...

I THINK OUR FAMILY MOTTO IS "MISTAKES WERE MADE."

HA HA HA!

THERE WAS A LOT OF, YOU KNOW, A LOT OF HIPPIES AND FREE LOVE.

AND WHEN MY MOM LEFT, I WAS 4 AND DANTE WAS 6.

I REMEMBER WHEN MY FATHER SAID TO US, "HELP ME THROUGH THIS," BECAUSE, YOU KNOW, HE WAS IN HIS TWENTIES AND HAD 2 LITTLE KIDS AND NO HELP, AND HE WAS JUST STARTING HIS CAREER AS AN ARTIST, WHICH IS DIFFICULT UNDER ANY CIRCUMSTANCES.

BUT DANTE WAS A LOT MORE DISCIPLINARIAN, YOU KNOW.

DANTE WAS THE ONE WHO WOULD SAY, "YOU'’’RE NOT DOING THAT," AND I'’’D SAY, "YOU'’’RE NOT MY FATHER."

HE'’’D SAY, "I DON'’’T CARE.

YOU'’’RE NOT DOING THAT."

PAUL: I WORKED FOR MAYBE 14, 15 YEARS WITH DALE CHIHULY, PUTTING THE PROGRAM TOGETHER AT PILCHUCK, WHAT I CALLED THE FLAT GLASS PROGRAM.

DANTE: WHEN I FIRST WENT TO PILCHUCK, I'’’D BEEN HEARING ABOUT IT FOR YEARS FROM DAD.

I COULD TELL FROM HOW ENTHUSIASTIC HE WAS ABOUT IT EXACTLY WHAT WAS GOING ON UP THERE.

AND, SURE ENOUGH, THE FIRST TIME I WENT UP THERE, I WENT ON MY MOTORCYCLE.

I WAS 15, I THINK, AND AS I CAME RIDING UP THE DRIVEWAY, THERE WAS THE POND.

IT WAS ON A HOT SUMMER DAY, AND THERE WAS EVERYBODY, NAKED AT THE POND, HANGING OUT, INCLUDING MY DAD.

AND HE WAS RIGHT.

IT WAS AN AMAZING PLACE.

THE VIBE THERE WAS PRETTY EXCITING.

PAUL: AND THEN LINO TAGLIAPIETRA CAME TO PILCHUCK WHEN DANTE WAS THERE, AND THEN LINO MENTORED DANTE, SO HE GOT THE BEST TEACHERS.

DANTE: I AM COGNIZANT OF HOW GENEROUS LINO TAGLIAPIETRA WAS TO ME--HE'’’S SHOWN ME EVERYTHING--AND DICK MARQUIS.

I MEAN, THERE'’’S NO SECRETS, YOU KNOW?

THE ONLY WAY YOU LEARN HOW TO DO THINGS LIKE THIS IS BY OBSERVING THEM.

PAUL: THIS ONE ROCKS PRETTY GOOD, PROBABLY ABOUT 10 MINUTES.

BASICALLY IT'’’S KINETIC ENERGY THAT I'’’VE FOUND THROUGH EXPERIMENTS.

THE SHARPER THE CURVE, THE SLOWER IT ROCKS.

TEND TO LIKE TO MAKE FACES, SO THIS IS THE PATTERN.

I USE A PINK FOAM.

THAT'’’S THE PATTERN FOR THE FINISHED PIECE HERE, SO YOU CAN SEE I WAS ABLE TO SLUMP THIS TO THIS 3-DIMENSIONAL CURVE.

LET ME SHOW THE WHISTLING VASE.

THIS ONE WIGGLES ITS BUTT.

HEH HEH!

I THOUGHT TO MYSELF, HOW FAR CAN I REDUCE THE HUMAN FORM AND STILL MAKE IT IMMEDIATELY RECOGNIZABLE?

WELL, THE LIPS WILL DO IT--HEH HEH!-- AND THE BUTT.

HEH!

MARINA: THE DIFFERENCE BETWEEN MY BROTHER AND MY FATHER, AS I SEE IT, IS THAT FOR MY FATHER, HE LOVES GLASS BECAUSE, AS HE SAYS, IT CAPTURES LIGHT.

BUT TO HIM, IT DOESN'’’T HAVE TO BE BLOWN GLASS.

IT CAN BE, YOU KNOW, WHATEVER--KILN-CAST OR SAND-CAST OR WHATEVER WAY TO BEST CONVEY THE MESSAGE HE'’’S TRYING TO CONVEY, BECAUSE HIS WORK IS ALL ABOUT CONTENT, AND MY BROTHER'’’S WORK IS ALL ABOUT DESIGN.

MY BROTHER BELIEVES HIS CRAFT IS CONVEYED IN GLASS.

HE'’’S USING HIS INFLUENCE OF ITALIAN GLASS-- SHAPE AND FORM AND ALL OF THAT AND COLOR.

DANTE: JUST THAT PROCESS OF STRETCHING IT OUT DOWN THE HALLWAY, IT LOOKS SO SIMPLE, AND IT REALLY IS, BUT STILL, THERE'’’S JUST A WHOLE BUNCH OF DIFFERENT WAYS YOU CAN MESS IT UP AND HAVE IT PULLED TOO SKINNY OR REALLY SKINNY ON ONE END AND REALLY FAT ON THE OTHER.

YOU KNOW, IT'’’S JUST-- IT'’’S LIKE ANYTHING.

YOU JUST HAVE TO REALLY PAY ATTENTION.

AND I'’’M JUST LAYING THESE OUT SO THAT THEY ALL INTERLOCK, AND THEN WE'’’LL PICK THEM UP ONTO THE PIPE, AND I'’’LL JUST MAKE A SIMPLE CYLINDRICAL SHAPE AND MAKE A PIECE OUT OF IT.

PICKING THIS UP ONTO A BLOWPIPE ISN'’’T REALLY AS DIFFICULT AS IT LOOKS.

YOU NEED TO HAVE SOMEBODY WHO KNOWS WHAT THEY'’’RE DOING HELPING YOU OUT.

I COULD NOT DO IT BY MYSELF.

YOU JUST HAVE TO BE REALLY CONSCIENTIOUS OF THE TEMPERATURE THAT IT'’’S AT.

IF YOU DO IT TOO HOT, IT'’’S GOING TO WANT TO FLOP RIGHT OVER ONTO ITSELF.

IF YOU DO IT TOO COLD, YOU'’’RE IN DANGER OF IT BREAKING BEFORE YOU CAN GET IT BACK INTO THE FIRE.

IT CAN BE A DISASTER, AND THAT'’’S HAPPENED BEFORE.

PAUL: PEOPLE ASK ME ALL THE TIME IF I TAUGHT HIM HOW TO BLOW GLASS.

I LAUGH, BECAUSE OF COURSE NOT.

AS A TEENAGER, HE HAD THE ATTENTION SPAN OF A GNAT, AND I HAD A QUIBBLING AMOUNT OF PATIENCE.

I'’’VE BEEN WATCHING HIM BLOW GLASS SINCE HE WAS 17.

30 YEARS I'’’VE BEEN WATCHING HIM.

I STILL COME DOWN EVERY DAY, AND I CAN'’’T BELIEVE IT, YOU KNOW, HE'’’S JUST SO GOOD.

HIS EYE-HAND COORDINATION IS PHENOMENAL.

HIS SKILL LEVEL IS--I MEAN, I'’’M STILL AMAZED.

I WATCH HIM AND GO, "HOW CAN HE DO THAT AND WORK ON THAT SCALE?"

EVERYTHING'’’S GOT TO BE PERFECT WITH DANTE, AND HE GETS IT PERFECT.

I MEAN, OF COURSE, HE HAS TENS OF THOUSANDS OF HOURS EXPERIENCE.

WOMAN: AS A YOUNG PERSON, I HAD SUCH A DIVERSE BACKGROUND, AND I SPENT A LOT OF TIME IN ASIA, IN TAIWAN.

MY FIRST EXPERIENCE IN THE ARTS WAS CHINESE BRUSH PAINTING, AND THAT WAS A WONDERFUL EXPERIENCE FOR ME.

CLIFF: I CAME TO UNITED STATES, GO TO SCHOOL, I MAJOR IN BIOLOGY... AND THEN LATER ON WENT TO MEDICAL SCHOOL, AND I NEVER THOUGHT I WOULD BECOME A POTTER.

WOMAN: WHAT KIND OF GLAZE IS THIS?

CLIFF: THAT'’’S GREEN TEA DUST.

I WAS A NEUROSURGEON, YOU KNOW, AND THEN ONE OF MY PATIENTS, HAPPENED SHE WAS A POTTER.

ONE DAY WE WERE TALKING.

I TOLD HER I NEED A HOBBY BECAUSE I'’’M VERY, VERY TIRED.

I'’’VE GOT LONG HOURS.

I NEED SOMETHING TO RELAX.

SHE TOLD ME, "WHY DON'’’T YOU LEARN HOW TO MAKE POTS?"

AND I GOT SO MUCH FREEDOM.

I'’’M ABLE TO DO WHATEVER I WANT IN THIS COUNTRY, SO I HOOK ON CLAY.

FIRST TIME I TOUCH THE CLAY, I JUST FALL IN LOVE WITH IT.

EVERY TIME I TAKE CARE OF MY PATIENTS AND LOOK AT THEIR SKULL, I THINK ABOUT POTS, HOW TO MAKE A POT LIKE IT.

SO MY SECOND SABBATICAL, I'’’M STILL ON SABBATICAL.

I NEVER GO BACK.

HOLLY: I FEEL VERY FORTUNATE THAT I HAD THIS EXPERIENCE WITH THE ASIAN CULTURE BECAUSE IT MADE MY RELATIONSHIP WITH MY HUSBAND, CLIFF, A LOT EASIER.

I UNDERSTOOD THE CULTURE.

I UNDERSTOOD THE LANGUAGE, THEIR ART.

I THINK IT'’’S DIFFICULT FOR 2 CULTURES TO COME TOGETHER AND CO-EXIST, NOT TO MENTION MAN AND WOMAN COMING TOGETHER AND CO-EXISTING.

WHEN CLIFF AND I FIRST MET, ACTUALLY, THERE WAS AN INSTANT DISLIKE OF EACH OTHER, AND I THINK PART OF IT WAS THOSE 2 EGOS COMING TOGETHER.

THEN WE SLOWLY STARTED TO TALK MORE, AND THAT'’’S WHEN HE STARTED TO APPRECIATE THE FACT THAT I WAS SO UNDERSTANDING OF HIS CULTURE, AND SO WE HAD SOMETHING TO TALK ABOUT.

THERE BECAME AN EASE BETWEEN US.

BUT THE THING THAT I THINK REALLY GLUED US TOGETHER WAS OUR TOTAL DEDICATION TO WHAT OUR FOCUS WAS.

FOR HIM IT WAS THE CERAMICS, AND FOR ME IT WAS THE JEWELRY.

CLIFF: FOR MANY YEARS...

I LOSE TOUCH WITH MY PARENTS BECAUSE I WAS AFRAID.

I CHANGED WHAT THEY WANT ME TO BE.

AND THE DAY AFTER MY OLDEST SON, DOUGLAS, WAS BORN, I SAY, IT'’’S TIME FOR ME TO TELL MY PARENTS THEY ARE GRANDPARENTS NOW.

SO I CALLED THEM, AND THEN MY FATHER SAID, "BEING ARTIST IS VERY, VERY DIFFICULT LIFE, AND YOU MUST, REALLY, REALLY POOR."

HA HA HA!

FOLLOWING YEAR, MY MOTHER COMES.

WE WERE DRIVING A VW BUS.

WE NEED IT--HOLDING OUR CLAY, HOLDING DIFFERENT THINGS, YOU KNOW?

MY MOTHER SAY, "I DON'’’T FEEL THIS CAR IS SAFE FOR YOU GUYS GET IN THERE."

NEXT DAY, TOOK HOLLY SHOPPING, CAME HOME WITH MERCEDES.

POOR POTTER DRIVING MERCEDES.

HA HA HA HA!

THAT'’’S MY LIFE.

HOLLY: WE WERE YOUNG, STRUGGLING ARTISTS, NO MONEY.

HA!

AND THEN DOUGLAS CAME, AND, BOY, DID THAT CHANGE MY LIFE A WHOLE LOT.

NOW I HAD A BUSINESS, I'’’M A JEWELER, AND NOW A MOM.

YOU HAVE A CRYING BABY, CUSTOMERS COME INTO THE STORE, AND SO WHAT WE WOULD DO TO ENTERTAIN HIM--WE WOULD ACTUALLY GIVE HIM A BIG POT.

AND HE WOULD TAKE THAT POT AND HE WOULD PUSH IT TO ONE END OF THE GALLERY AND PUSH IT BACK TO THE OTHER END OF THE GALLERY, AND HE'’’D JUST GO BACK AND FORTH, BACK AND FORTH.

AND, YOU KNOW, OF COURSE IT WOULD GET BROKEN AT SOME POINT IN TIME--HA HA!--BUT THAT'’’S HOW WE ENTERTAINED HIM WHEN CUSTOMERS CAME TO THE STORE.

[WATER SLOSHES] CLIFF: NOW WHOLE WORLD KNOW HOW I MAKE THIS NOW.

[CHUCKLES] HOLLY: ALRIGHTY.

WELL, CHEERS.

CLIFF: CHEERS.

HOLLY: CHEERS, CHEERS.

DOUGLAS: I THINK THE FREEDOM IN THIS COUNTRY AND THE ABILITY TO TAILOR WHAT YOU WANT TO DO AS A PROFESSION INTO YOUR PASSION REALLY GAVE MY FATHER THE ABILITY TO FORGO HIS PREVIOUS PROFESSION AND REALLY BECOME ENGULFED IN THE ART PROFESSION.

AND HE REALLY INSPIRED THAT INTO US.

HE BASICALLY JUST SAID, "DO WHATEVER YOU GUYS WANT TO DO.

"YOU DON'’’T HAVE TO FOLLOW US IN OUR FOOTSTEPS.

"YOU CAN BECOME AN ASTRONAUT IF YOU WANT.

"YOU CAN BECOME AN ENGINEER IF YOU WANT, YOU KNOW.

JUST WORK HARD AND DO WHATEVER YOU'’’RE PASSIONATE ABOUT."

I ACTUALLY DID COMMERCIAL PHOTOGRAPHY IN PHILADELPHIA FOR 3 YEARS, AND THEN I DECIDED, TO EARN A MORE STABLE PAYCHECK, I WENT INTO COMPUTER PROGRAMMING, AND THAT'’’S WHAT I'’’M CURRENTLY INVOLVED IN.

CLIFF: BEFORE I PUT A PIECE OF CLAY ON MY POTTER'’’S WHEEL, I ALREADY KNEW WHAT SHAPE, WHAT STYLE POT I WANT TO MAKE.

AND, ALSO, I KNEW WHAT KIND OF PATTERN I WANT TO CARVE ON.

IN THE BEGINNING, I DID NOT DO THAT.

HAPPY GO LUCKY.

NOW, AFTER PRACTICE FOR SO MANY YEARS, I KNOW EXACTLY WHAT I'’’M DOING.

PEACE VASE.

I HAD ONE OF THESE IN THE WHITE HOUSE, PERMANENT COLLECTION.

NOW RESIDES IN ARKANSAS, CLINTON LIBRARY.

I THROW THIS VASE ON THE POTTER'’’S WHEEL.

AFTER THAT, I CARVE, AND THEN I ADD THE BRANCHES ON, AND THEN I ADD THE LEAF ON, AND THE LEAF-- SOMETIMES I USE MY KNIFE TO CARVE OUT, CUT IT, AND THEN FLIP OVER.

[DOG WHIMPERS INSIDE] HOLLY: HA HA HA!

NOW YOU WANT TO COME OUT.

DOUGLAS'’’ BROTHER: MY BROTHER AND MYSELF BOTH LIKE TO DO WORK WITH OUR PARENTS.

I ENJOYED MORE THE PHYSICAL ASPECT OF METAL-- THE FORMING OF METAL, THE BENDING OF METAL.

DOUG ENJOYED THE FREEFORM ASPECT OF POTTERY, SO WE KIND OF HAD THE PERFECT SET-UP FOR DOUG AND I TO PLAY WITH.

HE WENT THERE AND PLAYED WITH CLAY, I WENT UP TO MY MOM'’’S AND PLAYED WITH METAL.

CURTIS: I DIDN'’’T REALLY EVER THINK ABOUT BEING AN ARTIST BECAUSE MY PARENTS, WHEN YOU SEE WHAT THEY WENT THROUGH, IT WASN'’’T REALLY FOR ME.

IT WASN'’’T THE TYPE OF STYLE THAT I WANTED.

I WOULD PROBABLY SAY THAT.

BUT IT WAS SOMETHING THAT WAS OBVIOUSLY INTERESTING TO ME, AND I CAN SEE THEIR ARTISTIC NATURE COME OUT IN THE WORK THAT I DO TODAY.

IT'’’S JUST A COMPLETELY DIFFERENT WORLD; I'’’M AN ENGINEER, SO I LIKE TO WORK WITH MY HANDS, I LIKE TO BUILD STUFF AND SEE MY CREATIVITY COME TO LIFE.

BUT I DON'’’T KNOW IF I COULD BE AN ARTIST FOR MY LIFE.

IT'’’S A BIT TOO DIFFERENT AND ECCENTRIC FOR MY TASTE.

HOLLY: I GOT THIS INSPIRATION FROM THE OPENING AT THE RENWICK THAT MY HUSBAND JUST RECENTLY HAD.

HE WAS WEARING THIS BEAUTIFUL BOUTONNIERE, AND TO ME IT JUST SCREAMED LIKE IT NEEDED TO BE A PIECE OF JEWELRY.

[TOOL TAPPING] MY POOR HUSBAND.

I'’’M SO SORRY.

HA!

MY STUDIO IS ABOVE HIS, AND WHEN I POUND, THE SOUND JUST REVERBERATES THROUGHOUT HIS STUDIO.

HIS WORK IS PEACEFUL AND QUIET.

AND THE HUM OF THE WHEEL, AND THEN THERE'’’S BAM, BAM, BAM!

DOESN'’’T GO TOGETHER AT ALL.

WE TAKE PIECES OF MY HUSBAND'’’S WORK THAT HAS NOT BEEN SUCCESSFUL-- IT HAS CRACKED IN THE KILN OR THE GLAZE HAS CRAWLED-- WE'’’LL TAKE A HAMMER TO IT AND BREAK IT UP.

AND SOMETIMES THESE SHARDS BREAK IN REALLY LOVELY WAYS, AND THEN I'’’M ABLE TO TAKE AND ACTUALLY MAKE A PIECE OF JEWELRY OUT OF THEM.

I LOVE THE PROCESS OF TAKING SOMETHING THAT IS USELESS BUT YET STILL BEAUTIFUL, AND BEING ABLE TO TURN IT INTO SOMETHING THAT PEOPLE CAN ENJOY.

IF YOU BELIEVE IN DESTINY, IF YOU BELIEVE THAT THERE IS A PATH IN LIFE, AND IF YOU FOLLOW IT AND NOT RESIST IT, IT LEADS YOU SOMEPLACE, AND THIS IS WHERE IT LED ME.

CLIFF: CRAFT ARTISTS ARE JUST LIKE FAMILY.

WE KNOW EACH OTHER.

THEY SEE OUR CHILDREN GROW UP.

WE'’’RE ALL IN THE SAME BOAT, FINANCIALLY, PERSONALLY.

NOW MY KIDS ARE GROWN.

WHEN THEY WERE YOUNG, THEY GO TO SHOW WITH US.

EVERYBODY, THEY KNOW THEIR NAMES, THEY KNOW HOW OLD THEY ARE, WHAT THEY LIKE.

WHEN THEY GET OLDER, THEY ASK THEM, "CAN YOU STAY IN MY BOOTH FOR A FEW MINUTES, I CAN TAKE A BREAK?"

MY KIDS SAY, "OF COURSE!"

JUST LIKE A FAMILY.