(radio static) - Art is everywhere.

It might be a dance with your favorite partner or the dance of a butterfly's wings.

It might be a delicate fragrance or a delicate orb made of glass, it might be something you've never even imagined.

Because art is incorporated into almost everything, and we're excited to share that everything with you.

Welcome to "Art Inc." - [Narrator] If you want to know what's going on.

(upbeat music) (upbeat music continues) (upbeat music continues) (static buzzing) (upbeat music) A glass half full: blackberry bramble.

- Okay.

(upbeat music) The alchemy of glass, from liquids to solid, is just amazing.

Hi, I'm Eva Goodman, and I am a glass blower, glass artist.

I work in glass and today I am gonna show you how I make a glass.

To me, it's very dance like.

(upbeat music) Turn this a little.

(upbeat music) The first step I do when I come in, in the morning to blow glass would be to turn the oven on first because it takes a while to get to the temperature that matches the temperature of the glass when I'm putting it in the oven.

There we go.

(upbeat music) It's important to know the tools you're working with, I'll try out everything and see how it works.

I wanna know where everything is to set up the choreography.

When everything's hot after I've set up, I'll go over to the pipe warmer and rotate my pipe to collect the size of what I want to make.

(upbeat music) When you gather your glass, you have to keep turning so it doesn't drip off the pipe or turn into a shape that you don't want.

Every preliminary step is made with the intention of what the final object is.

So today I'm going to use the marver table for my shape.

Give a puff of air, roll it again to control the shape, and then heat in the glory hole.

(upbeat music) When it's really hot, I'll go over to the optic mold and blow real hard to get the shape that I want.

(upbeat music) After I shaped the glass, I've taken a lot of heat out and wouldn't be able to continue.

So I have to go over to the glory hole to reheat my glass for the next step.

So I have my hot glass on the pipe.

And to apply the color, I'll heat it until it's moving enough to apply clear glass on the pipe.

And while it's heating, it's going to form little spots and that's how I get my dots.

(upbeat music) So after I have my color applied, I'll heat it in order to blow it up to the size and the shape.

Then I'll flatten the bottom and I'll go get the punty rod.

The punty rod is what you attach the glass to in order to open the lip of the glass.

(upbeat music) After I have the glass on the punty rod, you have to flash it so it stays on, and then give a little extra heat to the lip so you open the lip without distorting the shape of the entire glass.

(upbeat music) (upbeat music continues) When I'm finished, I'll walk the piece over to the knockoff area and I'll tap the rod.

I'll take the hot torch and torch the punty mark so it's not sharp later.

I'll use the tongs and I'll place the glass in the annealing oven until the next day.

Okay.

After this glass is made, it's going to go on to another person's hands and she will give it a life of its own.

(gentle music) - So I'm one of these like poly-hyphenate people where I'm an artist, my background is in theater, I'm a mixologist.

So me being here on the farm is a really natural state for me.

(gentle music) I feel very at home in a place where I can be harvesting all of the ingredients and I'm really creating an experience, not just a drink.

(gentle music) Welcome, my name is Willa van Nostrand.

I'm Little Bitte Artisanal Cocktails.

We're here today at the beautiful Osamequin Farm in Seekonk, Massachusetts, and I'll be transforming this incredible vessel by Eva Goodman into a gorgeous cocktail.

(upbeat music) So today we'll be making a drink called the Bramble, a blackberry bramble to be exact.

And it's a really great example of a sour, a cocktail that has base spirit, sweetening agent, maple in our case, and lemon juice.

(upbeat music) It's really important for me to follow my garden to glass aesthetic and philosophy.

(upbeat music) This morning I picked fresh blackberries out in the field and I picked dahlias and I picked fresh mint and I picked cosmos.

(upbeat music) Everything that you see on this table is an edible garnish and can be put into one of the cocktails or mocktails that I make.

All right, so first step will be juicing a lemon.

(gentle music) (gentle music continues) Okay, so two parts gin.

One part sweetening agent, this is our maple.

This happens to be from this farm.

Now part of the magic of this recipe is fresh blackberry.

Ours are from the farm.

You'll need five berries in your tin.

So we're gonna do a bit of a muddle to incorporate the juice into this beverage.

(gentle music) Okay, now, ice.

I've got some big cubes.

All right, top tin.

Hold your bottom shaker.

Hold your top shaker.

Clasp over the top, kind of at a diagonal angle.

Then hold the bottom tin from the bottom, get a little grip there, and then right hand upside down to clasp this, and then this whole vessel shifts over your right shoulder.

Got it?

Okay.

So.

One.

All right, large tin on the bottom.

Break your seal.

Let your liquid drip into your top tin.

While that's happening, really, glass is prepped.

This beautiful Eva glass with the chartreuse dots.

Looks pretty good to me.

Now for one of my favorite parts, garnishing.

Two berries on there, that is the tradition.

And then I was thinking, why not some fresh blossoming mint?

And she's beautiful.

The glass influences what I make by being this special one-off, hand-blown object.

This is art right here.

So is what's inside.

(upbeat music) (upbeat music) - [Eva] The art of curation.

- I can tell you who I am.

I can tell you who my ancestors are, and they would say Taino-Ti, which means good be on to you.

That led to them being identified as the Taino people.

It is important for me to say it so that you know it and you can at least have heard it.

(upbeat music) (upbeat music continues) (upbeat music continues) My name is Joel Rosario Tapia.

I'm also known as Caciques Tureygua Taino Cay.

I'm the chief of a tribe of pre-colonial families called the Cibuco-Bayamon Taino Tribe.

I came up with the idea for Remedy from the Providence Biennial for Contemporary Art.

Because of the three Rs, it comes from remedy, redress and repatriation.

Remedy is medicine, Remedy is a resolution.

And today, I feel like a lot of this honest dialogue about who we really are is needed.

(upbeat music) So hold on one second, let me look at the Ganzas real quick.

For me, it's her delving into her identity, discovering, well, I put this one before this one.

Remedy was 50% of a curatorial vision by the Providence Biennial for Contemporary Art.

Again, what I was thinking about this one, I don't really have enough room to lay it out.

I curated the work of about 14 artists, so it required me getting to know them very well.

Balance of color, bang.

I have been studying the art of curation, I've been in and out of many exhibitions, and I usually see artists that may have a lot of say when you have a conversation with them, but they don't necessarily have a lot to say to the public because everyone doesn't always know who they are.

(gentle music) For Remedy, I thought about the audience.

I thought about how the flow would feel for someone visiting this space for the first time.

I kind of like this setup, it's just this little one, 'cause it's such a different scale than the rest of them.

Let's see.

Move this one slightly over this one.

- So this way?

- Yeah.

It's more at a eye level.

I'm gonna switch these again.

This one for this one.

The scale of that one is just, I like the way it looks.

I needed to be physically involved in the process because it's part of the ceremony of it.

You aren't doing it if you're not doing it.

I gotta go run to my gallery and get a mannequin.

I did have a mannequin in my gallery that I usually show some of my clothing designs on and I can go grab it and bring it and it would bring another element to the presentation.

Okay.

And it was perfect.

So yes, I deviated for an hour.

I went, I ran, I sweat, to make that happen because I knew it would add the value and I think it did.

My ability to interface with institutions, I gained and learned in the military.

When I went to Iraq for my first time, I became basically a jack of all trades.

So I was hanging outside of a Humvee as the only person to deal with the threats when they came.

I've been through all kinds of treatment and support groups and different things like that at the VA for post-traumatic stress.

But I had to go through all of those steps to be able to have a better way of understanding it.

You gotta go through the struggle in order to realize the vision and yeah, that's me.

(upbeat drumbeat and singing) - [Man] Thank you everybody.

- It's important to me to understand the language and traditions of the cultures that are the inhabitants of the lands that I live on.

It's important for me to speak the words of the Algonquin speakers.

(upbeat drumbeat and singing) The opening night for me was, it was a process of mindfulness, but the medicine of the drum kept my energy levels really high and it was like, it was like a dream, it was surreal.

(upbeat music) (upbeat music continues) Remedy was a milestone.

It served as a milestone in my artistic career and it allowed me to have a voice and combine that voice synergistically with others.

I think that this concept in trying to represent artists and let them tell their stories, that's what I wanted to contribute with Remedy is allow us to be seen and allow us all to have these conversations.

I think it's been very effective here and it can be a model in the world of art.

(upbeat drum music and singing and chanting) - Thank you.

- Aho.

- [Man] Bring a little venison.

(upbeat music) (static buzzing) - [Narrator] If you want to know what's going on.

(upbeat music) (upbeat music continues) (upbeat music continues) (static buzzing)