>>> PRODUCTION FOR BROAD & HIGH IS FUNDED IN PART BY THE GREATER COLUMBUS ARTS COUNCIL, SUPPORTING ARTS AND CULTURE, CONNECTING THE COMMUNITY TO ARTISTS, EVENTS AND CLASSES AT COLUMBUSART.COM.

>>> FROM THESE CONTRIBUTING SPONSORS.

AND VIEWERS LIKE YOU.

THANK YOU.

>> THIS TIME ON BROAD & HIGH, WE MEET AN ARTIST WHOSE WORK EXPLORES OUR RELATIONSHIP WITH NATURE.

LEARN ABOUT A HISTORICALLY RICH TECHNIQUE THAT ANOTHER ARTIST INCORPORATES INTO HER CREATIONS.

EXPLORE HOW LIFE EXPERIENCES FEED MORE THAN THE SOUL.

AND WE HEAR A TOUCHING SONG BY A LOCAL SINGER SONG WRITER.

THIS AND MORE RIGHT NOW ON BROAD & HIGH.

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

IN THIS WEEK'S EPISODE, WE HEAT THREE VISUAL ARTISTS WHO WORK IN DIFFERENT MEDIUMS, HAVE VARIED APPROACHES BUT ALL WITH THE SAME FOCUS.

IN OUR FIRST STORY, WE MEET CASEY BRADLEY, WHO IS AN ARTIST WITH MANY TALENTS.

ALTHOUGH HE IS INSPIRED BY NATURE, CASEY REALIZES OUR SOCIETY IS BECOMING MORE AND MORE REMOVED FROM IT.

IN HIS CURRENT WORK, HE EXPLORES BOTH OUR RELATIONSHIP AND CONFLICT WITH NATURE.

LET'S TAKE A LOOK.

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>> MY INSPIRATION FOR MOST OF MY WORK IS DERIVED FROM NATURE, FOUND MATERIALS, BUT MORE DEEPLY ROOTED IN THE TEXTURES AND SOME OF THE RELATIONSHIPS THAT WE HAVE WITH NATURE THAT I THINK, YOU KNOW, MAYBE GO LESS RECOGNIZED TODAY THAN THEY USED TO SINCE WE'VE DISTANCED OURSELVES.

THEY DO STUFF WITH HANDS AND FEET WITH THOSE, THERE'S THAT INTERESTING CONNECTION, OUR FEET AND HANDS ARE OUR INTERFACE WITH THE WORLD.

I MEAN, THEY'RE SOME OF OUR MOST IMPORTANT BODY PARTS IN THAT WAY.

SO THE DIALOGUE BETWEEN THOSE AND THESE ARCHITECTURAL KIND OF ELEMENTS THAT I JUXTAPOSE THEM OR HYBRIDIZE THEM WITH IN THE SCULPTURE KIND OF CREATES SOME OF THAT SURREAL KIND OF AIRS.

I CAME TO CCAD IN THE MID-'90s TO STUDY ILLUSTRATION.

I WANTED TO DO COMIC BOOKS OR FANTASY ART.

SO THAT OBVIOUSLY CHANGED.

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I'VE ALWAYS MADE THREE DIMENSIONAL OBJECTS, WALKING STICKS, JEWELRY, I DID ALL THIS KIND OF STUFF AND FIGURED OUT HOW TO DO IT BEFORE I EVEN CAME TO COLLEGE, I STARTED DOING 3D THINGS, SO IT'S THE VERY BEGINNING OF ME DABBLING IN MAKING ACTUAL OBJECTS.

SOME OF THEM WERE FUNCTIONAL, TOO, BECAUSE THAT WAS A VEHICLE TO GET TO THE EXPERIENCE OF THE MATERIAL, TO LEARN ABOUT THE MATERIAL.

TO HAVE THAT FUNCTION AS A DRIVER.

I ACTUALLY STARTED CASTING METAL.

I THINK THAT WAS ONE OF THE BIGGEST IMPETUSES TO ME STUDYING SCULPTURE.

METAL CASTING IS WHAT I WAS REALLY REALLY EXCITED ABOUT.

I BASICALLY NEVER LOOKED BACK AFTER MY FIRST BRONZE CAST.

I WENT TO GRADUATE SCHOOL TO CAST IRON BECAUSE I WANTED TO MAKE SCULPTURES THAT WOULD ACTUALLY PHYSICALLY DEGRADE, THEY WOULD RUST, AND YOU COULD PUT THEM OUTSIDE AND DO THINGS WITH THEM THAT WAY.

BUT THE THING ABOUT CASTING METAL THAT TIES INTO WHERE WE ARE RIGHT NOW WITH THE WORK, THE METAL HAS ALWAYS BEEN MY WAY TO MEET NATURE IN THE MIDDLE, TO RECREATE A FORMAL ELEMENT TO COMBINE WITH THE NATURAL ELEMENTS THAT I FIND OR NATURAL MATERIALS OR OBJECTS THAT I FIND.

AND HELP TO BRING THAT MESSAGE OR CONCEPT OR IDEA OUT BY PARTNERING WITH THOSE NATURAL MATERIALS.

SO BONE COLLECTOR COMES FROM THIS IDEA OF I'VE ALWAYS FOUND SYCAMORE BRANCHS AND THEIR KNOT WORK THAT HAPPENS WHEN THEY SCAR TO BE VERY BONE LIKE, KIND OF LIKE A FEMUR.

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I'VE ALWAYS THOUGHT OF THEM AS LOOKING LIKE BONES, SO I JUST DECIDED ONE DAY THAT I'M GOING TO START PICKING THESE UP STRICTLY TO DO A PIECE ABOUT COLLECTING THESE TREE BONES, AND TOUCH ON THE BEAUTY OF THE NATURAL WEATHERING THAT THEY HAVE AND THE PROCESS THAT GOT THEM THERE, BUT ALSO WHERE I MEET NATURE IN THE MIDDLE, AND BASICALLY HAVE THAT MATERIAL ADOPT ANOTHER IDENTITY IN VOCABULARY.

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I DO THINK WE'RE IN CONFLICT WITH NATURE QUITE A BIT, WITH OUR CHOICES.

AND WE DON'T THINK LONG TERM, AND NATURE IS LONG TERM.

I DO THINK THAT SOMETIMES WE MAKE CHOICES WITHOUT ACTUALLY WORKING ON WHAT THE OUTCOME WILL BE AND UNDERSTANDING WHAT THE OUTCOME WILL BE, AND A LOT OF THE CHOICES WE MAKE SERVE A MEANS TO AN END.

EVER SINCE, EVEN MY EARLIEST WORK, I WAS BRINGING NATURE INTO THE GALLERY, AND I THINK THERE'S A MAGIC TO THAT.

GOING BACK TO PEOPLE WHO REALLY LIVE IN THE CITY AND THEY'RE CITY DWELLERS, AND YOU KNOW, THEY'RE -- ALL THEIR EXTRACURRICULARS IN THEIR LIFE ARE SOCIAL, GOING TO THE RESTAURANT OR BAR OR, YOU KNOW, ANOTHER EVENT AROUND TOWN.

IT'S LIKE GET OUT OF TOWN.

GET INTO THE WOODS.

GET IN NATURE, AND CONNECT WITH THAT.

I THINK MAKING WORK LIKE THIS HELPS SOME PEOPLE RECONNECT WITH NATURE IN A DIFFERENT WAY.

AND MY JOB AS THE ARTIST IS TO KIND OF RECREATE THOSE MATERIALS AND REASSEMBLE THEM AND COMPOSE THEM IN A WAY THAT SPEAKS TO THAT.

>> TO SEE MORE OF CASEY'S WORK CHECK OUT CASEYBRADLEYART.COM.

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>>> ANITA MAHARJAN GREW UP IN NEPAL BUT HAS LIVED AND WORKED IN THE UNITED STATES FOR MORE THAN A DECADE.

HER ART PRACTICE REFLECTS HER MULTICULTURAL IDENTITY WHILE HIGHLIGHTING CONSUMERISM AND ITS ECOLOGICAL IMPACT.

LET'S LEARN MORE ABOUT HER VERY PERSONAL AND POWERFUL WORKS OF ART.

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I WAS STILL PAINTING DURING MY UNDER GRAD AND AT THE TIME ONE OF MY PROFESSORS CHALLENGED ME LIKE WHAT CAN YOU BRING SOMETHING NEW IN THE ART WORLD.

I WAS TAKING FIBER ART AS AN ELECTIVE AND DOING ONE OF THE PROJECTS, I USED RECYCLED GROCERY BAGS FROM MY KITCHEN PANTRY, AND I STARTED WEAVING LIKE HOW IT IS DONE IN MY CULTURE IN NEPAL.

WEAVING REALLY TOOK ME BACK HOME TO MY PEOPLE, MY COMMUNITY.

SO IN THAT SENSE, TAKING SOMETHING FAMILIAR, HISTORICALLY RICH TECHNIQUE FROM MY CULTURE AND BLENDING IT WITH THE METAL I FIND EVERY DAY BECAME A WAY FOR ME TO EXPLORE MY ART.

RECENTLY MY WORK HIGHLIGHTS THE CONSUMERISM-BASED SOCIETY IN WESTERN CULTURE.

AND ITS ECOLOGICAL IMPACT.

I GREW UP IN AN AGRICULTURAL SOCIETY COLLECTING GARBAGE IS NOT A THING IN OUR CULTURE.

WE PRODUCE VERY FEW NONDEGRADABLE.

A STRAW THAT IS AN AGRICULTURE WASTE AFTER HARVESTING THE RICE, WE USE THAT IN THIS KIND OF WEAVING.

IT'S VERY SPECIFIC TO MY ETHNIC BACKGROUND, WHICH IS NAWARI.

WEAVING IS DONE PRIMARILY BY UNEDUCATED HOME STAYING WOMEN.

IT'S VERY COMMUNAL ACTIVITIES WHERE THEY ALL CHITCHAT AND TALK AND THEN WEAVE ALL DAY.

IT DOESN'T REQUIRE, LIKE, LOOM OR ANY KIND OF SUPPORT.

THE HUMAN BODY SUPPORTS THE RIBBON.

IT IS PASSED FROM GENERATION AND GENERATION, AND MY MOM TAUGHT ME THIS, MY MOM USED TO WORK ALL DAY BECAUSE SHE'S A SINGLE MOM, AND SHE WORKED IN A BRICK FACTORY, AND THEN SHE WOULD COME HOME AND AFTER DINNER THIS WAS ANOTHER JOB THAT SHE WOULD DO TO MAKE EXTRA INCOME, AND YOU KNOW, I GREW UP SEEING HER WEAVE, PUT THAT INTENSE LABOR TO FEED OUR BELLY, AND SO IN THAT SENSE, IT'S VERY PERSONAL TO ME, AND ACROSS FROM WHERE I COME FROM, IT'S VERY POWERFUL TO ME.

WHERE I LIVE HERE IN WESTERN CULTURE, ALMOST EVERYTHING COME IN A PLASTIC PACKAGE.

REPRESENT HOW MANY TRIPS I'VE MADE TO THE STORES.

WE ARE VERY GOOD AT GENERATING THE WEST.

THE PLASTIC BAGS AGAIN, AND I ALSO USE THE TISSUE PAPER THAT PEOPLE USE FOR LIKE BABY SHOWER AND SOME OTHER STUFF, I'M LIKE GIVE ME ALL OF THAT.

I CAN USE THAT.

AND I ALSO HAVE FAMILY AND FRIENDS WHO DONATE THE BAGS TO ME.

SO, AGAIN, IT STARTS WITH COLLECTING THE MATERIAL FIRST.

THE PLASTIC BAG, I CUT INTO THE STRIPS TO MAKE IT LONG, WHICH ALSO IT'S VERY INTENSE LABOR OF WORK.

AND THEN I TWIST THE STRIPS ON LIKE A BALANCED STRING TO MAKE LIKE ONE ROPE, KNOT.

AS I HAVE THE QUANTITY I WANT, I START WEAVING WITH THE PLASTIC.

I USE MY LEGS TO KIND OF HOLD IT, AND AS IT GROWS, I SIT ON IT, AND THEN MOVE FROM RIGHT TO LEFT, LEFT TO RIGHT.

AT FIRST, I WAS USING IT AS A CANVAS TO PAINT ON IT, WHICH PROBABLY SLOWLY TO MORE TWISTED DIFFERENT FORMS, AND DIFFERENT SHAPES, AND SO IT SHIFTED FROM TWO DIMENSIONAL TO MORE DIMENSIONAL WORK, AND NOW MY WORK COMES IN DIFFERENT SHAPES AND SIZE, AND THEY ARE MORE INTERACTIVE INSTALLATION PIECES.

AND EVEN THOUGH BAGS COMES IN A DIFFERENT SHAPE.

DIFFERENT SHAPE IN A SENSE LIKE IT REPRESENTS DIFFERENT BRAND FROM HIGH END BRAND TO DISCOUNTED STORES.

AND, YOU KNOW, THAT RESEMBLES THE INFORMAL HIERARCHY OF CLASS AND THE VALUE WE PUT IN OBJECTS AND OURSELVES.

MY WORK REPRESENTS MY MULTICULTURAL IDENTITY AS A NEPALI AND AS AN AMERICAN, HOW IT IS SHAPING ME AND HOW I'M SHAPING IT.

I SEE MYSELF WOVEN TOGETHER INTO BOTH CULTURE AND IN THAT SENSUOUS MY WORK IS AN HOMAGE TO PEOPLE, SPECIFICALLY WOMEN FROM MY CULTURE TO REPRESENT THE ART, CRAFT, AND THE LABOR OF THOSE UNDER PRIVILEGED WOMEN.

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SEE MORE OF HER WORK AT ANITAMAHARAJAN.COM.

>>> DEREK DESCRIBES HIMSELF AS AN IDEA AND PROCESS GUY.

IN HIS ART PRACTICE, HE OFTEN PUSHES HIMSELF BEYOND WHAT HE KNOWS, EVEN TEACHING HIMSELF CALCULUS FOR ONE PROJECT.

DEREK SAYS EXPERIENCES FEED HIS CREATIVE SIDE.

LET'S LEARN HOW HIS LIBRARY OF INSPIRATION GREW INTO HIS LATEST INSTALLATION.

>> I'M AN INTERDISCIPLINARY ARTIST, AND WHAT THAT REALLY MEANS IS I THINK I OFTEN SAY IT'S LIKE BEING A TRIATHLETE IN THE ARTS.

SO JUST LIKE A TRIATHLETE WHO IS A RUNNER AND A SWIMMER AND A CYCLIST, I HAPPEN TO BE A SCLUPT TOR, A PAINTER AND I USE ELECTRONICS AND ROBOTICS.

I GREW UP IN A SMALL LITTLE VILLAGE CALLED ANNA, OHIO, I WAS THERE UNTIL I GRADUATED HIGH SCHOOL, AND GROWING UP IN THE COUNTRYSIDE THERE'S A LOT OF NATURE, THERE'S A LOT OF FAMILY EVENTS TO GO TO.

AND ALTHOUGH I'VE LIVED IN THE CITY NOW FOR MORE YEARS THAN I LIVED IN THE COUNTRYSIDE, THERE'S STILL A LOT OF THAT GREEN SPACE ENVIRONMENT AND NATURE THAT I SEEK OUT FOR NOW THAT I ALSO EMPLOY INTO MY WORK.

ONE OF THE THINGS THAT INSPIRES ME IN THIS WORK IS THIS PURSUIT TO KIND OF CAPTURE NEW EXPERIENCES, LEARN NEW THINGS, AND FIGURE OUT HOW TO DIGEST THAT IN A WAY THAT'S MEANINGFUL AND IT HAS PURPOSE.

AND THIS EXPLORATION IS PART OF MY BEING.

IT'S REALLY WHO I AM.

I OFTEN SAY MY LOVE AFFAIR ISN'T WITH THE ART MAKING PROCESS.

IT'S MOSTLY BEFORE I EVEN CREATE THE WORK, FINDING WAYS TO DO THAT EXPLORATION, THAT ADVENTURING THAT I WAS TALKING ABOUT.

AND COME UP WITH NEW VERY IMPORTANT THINGS FOR ME TO SAY.

SOMETHING THAT'S FROM AN INTERNAL SPACE THAT I CAN THEN TRANSLATE TO OTHER PEOPLE.

AND THAT IDEA MAKING PROCESS TAKES SOMETIMES WEEKS, MONTHS, EVEN YEARS AND THAT'S THE PART THAT I REALLY CAN SINK MY TEETH INTO.

WHAT I'M WORKING ON RIGHT NOW IS A INNER ACTIVE SOUND INSTALLATION, AND IT'S A FEW STYLIZED, I CALL THEM TREE TRUNKS MADE OUT OF WOOD, AND THEY HAVE SPEAKERS IN THEM, AND THERE'S A LITTLE MICRO CONTROLLER THAT WILL FEED SOUND SAMPLES THAT I HAVE TAKEN FROM ALL OVER THE WORLD TO THESE SPEAKERS AND ANYTIME SOMEONE WALKS BY IT, IT WILL BE ACTIVATED AND PLAY THESE SOUNDS.

ANYTHING THAT YOU SEE HERE IN GREEN, THOSE ARE CALLED COMMENTS AND THAT'S JUST A NOTATION THAT I WRITE MYSELF AS I'M CREATING THIS CODE.

AND THIS IS ALL OPEN SOURCED, SO PART OF THE LEARNING PLATFORM THAT HAS BEEN ABLE TO TEACH ME SO WELL ON HOW TO USE THIS IS A COMMUNITY OF PEOPLE THAT SHARE AND TRADE CODES.

BUT THIS IS BASICALLY THE CODE, THE MUSIC PLAYER, AND IT'S SET TO SEND RANDOM SIGNALS TO THIS, ANYTIME THERE'S MOTION THAT ACTIVATES IT.

THERE'S PLENTY OF TIMES WHERE I'M OUT IN A REALLY SPECIAL PLACE AND IT JUST SOUNDS DIFFERENT THAN MY NORMAL DAY-TO-DAY EVENT AND I FOUND SO MUCH PLEASURE FROM THOSE MOMENTS THAT IT DAWNED ON ME THAT IT WOULD BE NICE TO SHARE THOSE AS WELL.

>> I STARTED DOING RECORDINGS OF SOUNDS IN NATURE, AND I COULD GET ABOUT 60 SECONDS OF RECORDING BEFORE AN AIRPLANE OR A MOTORCYCLE OR SOME EXTERNAL SOUND JUST REALLY FLOODED.

MY SOUNDS WHEN I GOT HOME WERE JUST SO RAMPANT WITH EXTERNAL SOUNDS AND I FIGURED OUT THAT THAT'S HOW I'M HEARING IT ALSO.

WHILE I'M IN THE WOODS, IT'S NOT AS ENJOYABLE IF THERE'S, YOU KNOW, A HUGE NOISE THAT GOES BY.

AND I WANTED TO TAKE SOMETHING THAT WAS SORT OF A NEGATIVE STIMULUS AND FIGURE OUT HOW TO MAKE A POSITIVE PIECE OUT OF IT.

BECAUSE I'M NOT A VERY NEGATIVE PERSON.

I'M GENERALLY A REALLY POSITIVE GUY, SO I WANT TO MAKE WORK THAT KIND OF TEACH AND AT THE CORE, I REALLY WANT PEOPLE TO HEAR A SOUND THAT PIQUES THEIR INTEREST AND MAYBE ASKS THE QUESTIONS, WHERE CAN I FIND THAT SOUND, WHERE CAN I GO AND START TO GET PEOPLE INTO THOSE STRANGE PLACES AND IT'S AN INVITATION TO ANYONE THAT HEARS THE SOUNDS TO BE CURIOUS, TO BE EXPLORATIVE, AND TO GO TO NEW PLACES.

I WENT TO ITALY AS PART OF THE SOUND RECORDING.

WE ALL HAVE SEEN, LIKE, PICTURES OF WHAT THE SISTINE CHAPEL LOOKS LIKE, BUT WHAT DOES THE SISTINE CHAPEL SOUND LIKE?

WHAT DOES A WOODS IN OHIO SOUND LIKE COMPARED TO A WOODS IN GERMANY.

WHAT DOES A CREEK SOUND LIKE VERSUS A RIVER.

THESE ARE ALL THINGS THAT I COMPUTE ON A DAY-TO-DAY BASIS.

THESE ARE THINGS THAT I PAY ATTENTION TO.

NOW I'M LISTENING FOR A LITTLE BIT OF THE WATER TRICKLING FROM THE STREAM HERE, AND THEN I CAN HEAR JUST A LITTLE BIT OF BIRDS IN THE BACKGROUND.

THERE'S KIND OF LIKE THIS LAYER OF CRYSTALLIZED WATERWAYS WITH A LITTLE BIT OF BIRD SOUNDS.

JUST SITTING DOWN AND KIND OF ENJOYING THE SPACE TOO.

I DON'T WANT IT TO FEEL LIKE WORK, YOU KNOW.

SO YOU COME AND CHILL FOR A LITTLE BIT, GET A LITTLE BIT OF THAT QUIET TIME.

YOU HAVE TO WAIT A LITTLE BIT FOR THE ANIMALS TO COME BACK ONCE YOU'RE KIND OF TRUDGING THROUGH THE ROCKS AND STICKS, BREAKING STICKS UNDER YOUR FEET, IT TAKES A FEW MINUTES FOR ALL THE ANIMALS TO KIND OF COME BACK, WHICH I REALLY LIKE THAT VOLUME THAT STARTS OFF SUPER SUPER SOFT, AND THEN OVER THREE, FOUR, FIVE MINUTES, THE BIRDS, THE ANIMALS, YOU'LL HEAR LITTLE ROBINS GOING THROUGH THE GRASS AND SQUIRRELS GOING UP AND DOWN THE TREES, BUT, IF IT'S AN HOUR, THAT'S A GREAT AFTERNOON.

I CALL IT SCHEDULED SPONTANEITY.

LIKE EACH DAY I'LL TAKE A LITTLE BIT OF TIME AWAY FROM THE STUDIO, ESPECIALLY ON NICE DAYS LIKE THIS, AND TAKE AN HOUR OR TWO, AND REALLY ENJOY IT.

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SEE MORE OF DEREK'S WORK AT DGILLART.WORDPRESS.COM.

YOU CAN SEE THE WORK OF ALL OF THESE AR CYSTS AND OTHERS AT THE EARTH IS US DISPLAY AT THE COLUMBUS ARTS CENTER NOW THROUGH OCTOBER 29th.

WE END OUR SHOW TODAY WITH A SONG BY SINGER SONG WRITER AND TEACHER, WESLEY YOW, THIS HAUNTING SONG IS CALLED "NOTHING LEFT."

LET'S TAKE A LISTEN.

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THERE'S JUST MEMORIES I CAN HOLD WHILE THE PAST IS SO ALIGHT !

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SOME TIME STANDS STILL AND HOPES, BUT YOU'VE NEVER LEFT MY MIND !

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IT'S NOT HER THAT I'M MISSING WHEN I'M FEELING SO ALONE !

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IT'S BEEN YOU AND ONLY YOU HOW I'M SURE YOU'LL NEVER KNOW !

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AND I KNOW IT'S NOT THAT WHAT AM I SUPPOSED TO DO !

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ANYTHING TO FILL THIS VOID ANYTHING ABOUT YOU !

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I CAN TELL THAT YOU'RE HAPPY AND IT HURTS ME SO MUCH WORSE !

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WON'T PRETEND THAT I'M ALL RIGHT CALL IT SELFISH CALL ME CURSED !

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IT'S THE MOMENTS JUST LIKE THIS LATE AT NIGHT WHEN I'M ALL ALONE !

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THINKING OF YOUR EYES AND LIPS HOW DO YOU STILL HAVE A HOLD !

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AND I KNOW THAT IT'S NOT THAT BUT WHAT AM I SUPPOSED TO DO !

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ANYTHING TO FILL THIS VOID ANYTHING ABOUT GETTING YOU !

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AND HOPING I SEE YOUR SHADOW IN EMPTY ROOMS !

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YOU SAID WE'D BOTH BE FINE BUT I HAVE NOTHING LEFT TO LOSE !

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OH NO NO NO !

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I'VE GOT NOTHING LEFT I'VE NOT NOTHING LEFT !

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I'VE GOT NOTHING LEFT WHOA !

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I'VE GOT NOTHING LEFT I'VE GOT NOTHING LEFT I'VE GOT NOTHING LEFT !

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AND I KNOW THAT IT'S NOT BAD BUT WHAT AM I SUPPOSED TO DO !

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ANYTHING TO FILL THIS VOID ANYTHING TO FORGET YOU !

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>>> WELL, THAT'S OUR SHOW.

REMEMBER, YOU CAN ALWAYS FIND ALL OF OUR STORIES ONLINE AT WOSU.ORG AS WELL AS ON OUR YOU TUBE CHANNEL.

FOR ALL OF US HERE AT WOSU.

I'M KATE QUICKEL.

THANKS FOR WATCHING.

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>>> PRODUCTION FOR BROAD & HIGH WAS SUPPLIED IN PART BY THE GREATER ARTS COUNCIL, SUPPORTING ART, AND CULTURE, EVENTS AND CLASSES AT COLUMBUSMAKESART.COM.