>> PRODUCTION SUPPORT FOR "JOURNEY INDIANA" IS PROVIDED BY COLUMBUS INDIANA VISITORS CENTER, CELEBRATING EVERYWHERE ART AND UNEXPECTED ARCHITECTURE IN COLUMBUS, INDIANA.

TICKETS FOR TRIP PLANNING INFORMATION AT COLUMBUS.I N.U S AND BY WTIU MEMBERS.

THANK YOU.

>> COMING UP, TRAVEL TO LEARN THE HISTORY BEHIND ZIMMERMAN ART GLASS.

>> HEAR HIS INSPIRING STORY.

>> SHUFFLE UP AND DEAL WITH AN ARTIST WHO DEALS PLAGUE CARDS.

>> AND EXPLORE THE WORK OF BLOOMINGTON SCULPTURE ON THIS EPISODE OF "JOURNEY INDIANA."

>> WELCOME TO "JOURNEY INDIANA."

>> WE'RE COMING TO YOU ONCE AGAIN FROM THE HARRISON CENTER LOCATED IN INDIANAPOLIS' OLD NORTH SIDE NEIGHBORHOOD.

THE HARRISON CENTER TELLS THE STORIES OF OLD INDY NEIGHBORHOODS.

YOU WILL FIND GALLERY, STUDIOS, PERFORMANCE SPACES AND MUCH MORE.

WE THOUGHT THIS WOULD BE A PERFECT PLACE TO BRING YOU ART STORIES FROM AROUND THE STATE.

>> WE'RE GOING TO LEARN ABOUT A FAMILY TRADITION THAT LASTED THROUGH FIVE GENERATIONS.

WE BRING YOU THE STORY OF ZIMMERMAN ART GLASS.

>> WHEN I WAS A KID, YOU KNOW, OUR MOTHERS GET US THAT LITTLE BOOK THAT YOU WRITE IN, SO WHEN YOU GO TO KINDERGARTEN, THEY PUT YOUR PICTURE IN AND TALK ABOUT WHO YOUR TEACHER WAS AND WHO YOUR FRIENDS WERE AND ALL OF THAT STUFF.

AT THE BOTTOM OF THE BOOK, AND I STILL HAVE IT AT MY MOM'S HOUSE, IT SAYS WHAT DO YOU WANT TO BE WHEN YOU GROW UP, SO IS THERE THERE IS FIREMAN AND LAWYER STUFF LIKE THAT ON THERE.

IT WAS A BLANK THAT SAID OTHER.

WE ALWAYS WRITE IN GLASS BLOWER, ALWAYS EVEN SINCE I WAS A LITTLE KID.

THE HISTORY GOES BACK QUITE A WAYS, BACK TO MY GRANDFATHER WHO STARTED THE BUSINESS IN 1942.

HE WAS A LAMP CHIMNEY BLOWER.

THEY MADE THE GLASS AROUND CARRY SEENCARRY -- KEROSENE LAMPS.

THEY STARTED MAKING A FEW ITEM, PERFUME BOTTLE, WHICH WE STILL DO TODAY.

MY FATHER WAS IN IT FOR 42 YEARS.

THIS IS MY 41st YEAR.

WE DO OVER 100 DIFFERENT ITEMS NOW AND THE MAJORITY OF THOSE, 85% OF THOSE ITEMS ARE FUNCTIONAL PIECES OF ART THAT YOU CAN USE IN EVERYDAY LIFE.

THE TOOLS THAT I USE OUT THERE, YOU KNOW, THEY CAME OUT OF THAT LAMP CHIMNEY FACTORY, I MEAN THEY ARE OVER 100 YEARS OLD, BUT THAT IS WHAT GLASS PEOPLE DO.

THAT ASPECT HASN'T CHANGED A WHOLE LOT.

EVERYTHING IN HERE IS BUILT IN LAYERS OF GLASS, AND EVERYTHING IS MADE ON THESE LONG IRON RODS.

I SAY IT IS LIKE PUTTING SPAGHETTI ON A FORK.

YOU GO IN THERE AND TWIST IT AND IT WILL GATHER UP ON THERE.

YOU START WITH A SMALL LAYER ABOUT THE SIZE OF A GOLF BALL THEN ADD COLOR TO IT AND YOU FORM A DESIGN AND ONCE YOU HAVE THAT, YOU PUT ANOTHER LAYER ON TOP OF THAT AND THAT TRAPS THE DESIGN ON TOP OF THAT.

YOU CAN MAKE AS MANY LAYERS AS YOU WANT OR AS MANY DESIGN USE WANT.

IF YOU START THIS, YOU HAVE TO FINISH IT, IT IS NOT I'M GOING TO TAKE A BREAK OR CATCH MY BREATH.

IT DOES NOT WORK THAT WAY.

YOU START IT, YOU HAVE TO FINISH IT EVENTUALLY.

WHEN I WAS YOUNGER, I'M GOING MAKE THESE BIG PIECES AND THESE BIG ELABORATE THINGS, BUT I KIND OF GOTTEN AWAY FROM THAT.

I'M OVER ALL OF THAT.

MY JOB, WHERE I'M AT IN THE ART WORLD IS I'M SUPPOSED TO EDUCATE PEOPLE, SO THAT WHEN THEY GO OUT AND THEY SEE A PIECE OF ART GLASS MADE BY CHULE Y OR ONE OF THE ARTISTS, THEY CAN SEE NET OUR SHOP.

EVERYONE WHO CUSTOMS IN HERE GETS A DEMONSTRATION EVERYONE IF YOU COME IN WITH YOUR FAMILY, OR IF THERE IS TWO OF YOU OR FOUR OF YOU OR A BUS LOAD, WE WILL TELL YOU HOW IT IS MADE.

THEY WILL WATCH US FOR AN HOUR AND SAY THIS IS MESMERIZING.

BUT WHILE I'M MAKING THE PIECE, I'M AS BEING MESMERIZED, WHEN YOU'RE DOING A PIECE OVER AGAIN AND OVER AGAIN, IT BECOMES VERY PLEASING.

I WOULD RATHER SIT HERE WORKING THAN SITTING IN MY LAZY BOY WATCHING A BALLGAME, BECAUSE IT BECOMES SO RELAXING.

THERE'S THAT JOURNEY THAT YOU GO THROUGH.

YOU ARE THE BASIC CRAFTSMEN TRYING TO WORK THE TOOLS AND HOW MUCH PRESSURE TO PUT ON HIM AND THEN ALL OF A SUDDEN, AFTER SO MANY YEARS, YOU GET THE BEGINNING STAGES OF A MASTER CRAFTSMEN AND YOU ARE REACTING, BECAUSE YOU START WORKING BY RHYTHM AND TO ME, THAT IS MY WHOLE TAKE ON WHEN THE ARTIST COMES IN WHEN YOU ARE GOING BY RHYTHM.

THE OLD BUILDING, I USED TO SPEND A LOT OF TIME SITTING THERE TALKING TO MY FATHER.

I HAD A PERCH-LIKE THING THAT I SAT ON AND JUST TALKED TO HIM.

THE OLD BUILDING BURNED DOWN IN 1983, SO WE BUILT A BRAND-NEW STRUCTURE OVER THE ORIGINAL PLACE WHERE MY DAD WAS AT.

I CONSIDERED THAT MY PLACE AND MY BROTHER'S PLACE AND WE WORKED THERE TOGETHER UNTIL HIS DEATH ABOUT 25 YEARS.

WHEN WE MOVED OVER HERE, IT IS APPLES AND ORANGES COMPARED TO THE OLD PLACE, BUT IT IS FOR THE NEXT GENERATION.

IT WILL BE THEIR PLACE.

I STOOD ON WIDE SHOULDERS.

PEOPLE COME IN AND MY GRANDFATHER, WHEN THEY STARTED, THEY WENT SEVERAL WEEKS WITHOUT CUSTOMERS COMING IN THE BUILDING.

THE COURAGE THAT THOSE GUYS HAD TO DO THAT IS, YOU KNOW, I MEAN IS REALLY PRETTY REMARKABLE, I THINK.

I LOVE BEING A PART OF THAT.

>> SO, I HAVE TRIED GLASS BLOWING BEFORE AND IT DID NOT GO WELL, BUT IT MAKES SUCH A APPRECIATION FOR PEOPLE WHO CAN DO THAT.

YOU CAN LEARN MORE AT ZIMMERMAN ART GLASS ON THE ADDRESS ON THE SCREEN.

>> UP NEXT, WE'RE HEAD TOLD OWEN COUNTY TO MEET PAINTER KEN BUCKLOU.

>> RIGHT AFTER HIGH SCHOOL, I WAS HURT REALLY BAD ON A DIVING ACCIDENT, SUFFERED TOTAL PARALYSIS FROM THE NECK DOWN.

I WAS IN THE HOSPITAL FOR FOUR MONTHS.

I HAD TO RELEARN HOW TO DO EVERYTHING, HOW TO WALK AND DO EVERYTHING WITH MY HANDS AND EVERYTHING.

THAT LEFT ME WITH LIMITED SENSATION AND DEXTERITY IN MY HANDS.

THE WAY I PAINT, I DON'T MOVE MY FINGERS AND MY HAND WHEN I PAINT.

I HOLD THINGS, ALL OF MY MOTION IS DONE WITH MY UPPER ARM AND SHOULDER.

SINCE THAT, I I HAD TO ADJUST THE WAY I DO THINGS AND EVOLVE IN PAINTING, WHERE I CAN STILL DO IT, BUT THERE ARE A LOT OF LIMITATIONS.

I PAINT THE NATURAL BEAUTY OF INDIANA AND I JUST DO IT THE BEST I CAN AND HOPEFULLY TO BE INSPIRATION TO OTHERS WHO HAVE GOTTEN HURT BAD LIKE I HAVE AND THINGS THEY NEED TO OVERCOME, I DON'T CONSIDER MYSELF DISABLED.

I HAVE A LOT OF LIMITATIONS AND EVERYTHING, I TRY TO REALIZE HOW BLESSED I HAVE BEEN IN SPITE OF THAT AND NOT TO WHINE AND COMPLAIN ABOUT WHAT I CAN'T DO AND JUST CONCENTRATE ON WHAT I CAN DO AND DO IT THE BEST I CAN.

I ALWAYS HAD AN INTEREST IN NATURE AND I WAS INSPIRED BY THE OUTDOORS, BECAUSE I WAS AN OUTDOORS KID, INTERESTED IN EVERY PLANT, EVERY TREE, AND ALL OF THAT.

BY THE TIME I WAS IN SECOND GRADE, I KNEW EVERY TREE IN THE WOODS, EVERY BUG, THINGS LIKE THAT.

I WAS THE KID THAT EVERYONE CAME TO WHEN F THEY SAW AN INTERESTING FOOTPRINT OR AN INTERESTING LEAF.

I WAS ALWAYS INTERESTED IN DRAWING IT.

THE SUNT SUBJECT MATTER FOR MY ARTWORK IS WHAT I SEE, THE INSECTS, THE LANDSCAPE, WHAT IS NATIVE TO OWEN COUNTY AND SOUTHERN INDIANA.

MOSTLY WHAT I DO IS WHAT I AM FAMILIAR WITH.

STET WHAT I KNOW.

I HAVE TO BE THERE AND SEE IT, TASTE IT AND SMELL IT TO BE INSPIRED BY IT.

I FOLLOW THE SEASONS WHEN I PAINT.

THE PAINTING I'M WORKING ON IS A DAY JUST LIKE TODAY.

I DID THE PHOTOGRAPHY FOR IT A YEAR AGO.

I LADIES OUT THE -- LAID OUT THE PAINTING A YEAR AGO, BUT I DID NOT GET IT THE WAY I WANT IT, SO I'M PAINTING IT A YEAR LONGER NOW THAT WE'RE IN THE SEASON AGAIN.

THE LARGER AREAS AND THE SMALLER AREAS.

I THINK ABOUT EYE FLOW.

I WILL DO ON A PIECE OF PAPER, I WILL DOODLE SOME SKETCHES HOW I WANT THE VIEWER'S EYE TO FLOW THROUGHOUT THE PAINTING.

ONCE YOU GET THE FOUNDATION DOWN, THIS HAS A FLOCK OF TURKEYS IN, ONCE YOU HAVE THEM ROUGHED IN, YOU SIT BACK AND LOOK AT IT AND COMPOSITIONALLY THAT GOING TO WORK.

ONCE THAT DRY, I'M READY TO MIX AND MATCH ALL OF MY COLORS.

I TEST THEM ON MY PHOTOGRAPHS.

FOR MY PAINT PALLETTES, I FOUND ALUMALUMINUM PIE PANS.

SOME PEOPLE LIKE TO COLLECT MY OLD PIE PANS, I DON'T KNOW WHAT THEY DO WITH THEM, MAKE MOBILES AND HANG THEM ON THEIR PORCH OR WHATEVER.

AS THE WINNER OF THE COMPETITION, I HOSTED A NATIONAL ART COMPETITION OF GAME BIRD STAMP.

I WON THE GAME BIRD STAMP 11 TIMES AND THE DUCK BIRD STAMP SIX TIMES.

MY BARBER OVER HERE, A BIG HIT HIS WINDOW UP THE ROAD AND HE CALLED ME AND SAID I HAVE A BIG BIRD THAT HIT THE WINDOW AND KILLED ITSELF.

DO YOU WANT THAT?

YEAH, PUT IT IN A BAGGY AND PUT IT IN THE REFRIGERATOR AND I WILL GET IT.

SO, I WENT AND GOT IT ABOUT 5:00 IN THE AFTERNOON.

I LAID IT UNTIL MY BIRD BATH AND I WAS PHOTOGRAPHING, THE SIDE VIEW, THE HEAD, THE WING, THIS IS BACK WHEN EVERYTHING IS 35-MILLIMETER.

MY STOMACH WAS GROWLING, BECAUSE I HADN'T EIGHT HADN'T ATE ALL DAY, SO AFTER I WAS DONE PHOTOGRAPHING, I CLEANED IT AND BAKED IT IN THE OVEN WITH A BAKED POTATO, SO I GOT TO EAT MY SUBJECT MATTER.

I PRODUCED A PAINTING THAT WON THE 1996 INDIANA GAME BIRD COMPETITION.

I GOT TO EAT MY SUBJECT AND WIN FIRST PLACE, SO YOU DON'T GET MUCH MORE MILEAGE OUT OF A BIRD THAN THAT.

ONE OF MY GOALS THROUGH THE PAINTINGS IS TO PRESERVE THE NATURAL BEAUTY OF INDIANA THROUGH MY TRADITIONAL PAINTINGS AND JUST HUMBLY BE AN EXAMPLE OF PERSEVERANCE AND PATIENCE IN DOING SO TO OTHERS.

>> YOU CAN LEARN MORE ABOUT KEN AND SEE MORE OF HIS ART AT KENBUCKLOUFINEART.COM.

UP NEXT, WE'RE GOING TO MEET THE MIND BEHIND MIDNIGHT CAR.

JASON PEAR HAS THE STORY.

>> LIKE MOST OF US, ARTISTS AND GRAPHIC DESIGNER RANDY BUTTER FIELD HAS A DAY JOB.

>> MOST OF OUR CLIENTS ARE IN THE SPIRIT INDUSTRY, WHICH IS THE WINE AND ALCOHOL.

YOU GO TO THE STORE AND YOU SEE ON A BOTTLE A LITTLE 2.5X3, SAVE $2 ON MALIBU.

WE DESIGN MAKE TWO OR THREE OF THOSE A DAY.

>> THAT LEFT A STRESS RELIEVER EVERY AND CREATIVE OUTLET.

>> I WORKED ON AN ANIMATED SHORT AND IF YOU DO AN ANIMATED SHORT, IT COULD TAKE A YEAR OR TWO TO CREATE A 1-2 MINUTE ANIMATION.

>> IT WORKED AS A CREATIVE OUTLET, BUT FOR A BUSINESS, NOT THE RIGHT FIT.

>> I HAPPEN TO SEE PLAYING CARDS THAT PEOPLE WERE STARTING TO DO CUSTOM THEMES.

THE FIRST THING HE SAW WAS A BLUEPRINT THEME, SO I THOUGHT I COULD DO SOMETHING LIKE THAT.

AND EIGHT YEARS LATER, I HAVE PRINTED OVER, I THINK OVER 80 DECKS NOW.

WELL, IDEAS CAN COME FROM ANYWHERE, IT IS JUST WHAT YOU THINK WILL SELL WELL.

ONE OF MY EARLIER DECKS WAS EGG DESIGNS.

I SPENT A LOT OF TIME ON THAT, A LOT OF RENDERS AND CLEANUP.

ONCE I WAS DONE, I REALIZED THE MAJORITY OF THE PLAYING CARD COMMUNITY ARE MALES IN THEIR 20'S OR 30'S, SO THEY DIDN'T KNOW WHAT THEY WERE.

SO, THAT WAS A HARD SELL AND I HAD TO ADJUST MY THEMES TO WHAT I THINK WILL SELL WELL.

THE LAST COUPLE OF YEAR, I KIND OF BRANCHED OUT A LITTLE BIT, SO WITH THE WILD WEST DECK, I ENDED UP HAND DRAWING EVERYTHING WITH PENCIL AND PAPER.

THE GOOD THING ABOUT THE WILD WEST IS WHEN THEY STARTED TAKING PHOTOS, THE EARLY DAYS OF PHOTOGRAPHY, SO THERE IS A LOT OF PHOTOS OF THE ACTUAL PEOPLE LIKE WILD BILL HICKC O COC HICK -- HITCHCOCK.

IT TURNED OUT BEAUTIFULLY.

I WAS HAPPY WITH THE RESULTS.

I RECENTLY STARTED DOING SHOWS LIKE INDIANA COMIC-CON AND THINGS LIKE THAT AND I STARTED GETTING A LOT OF PEOPLE ASKING IF I HAD CUSTOM DECKS.

YOU DON'T USE THE 2-8 OR JOKER CARDS, SO I GOT RID OF THE 2-8 AND JOCKER CARDS AND I COULD FIT TWO DIFFERENT DECKS IN A BOX AND THEY WERE A BIG HIT AT THE SHOWS.

SO, I WAS CURIOUS AND DID ONE OF MY DESIGNS ON KICK STARTER.

I DID FAIRLY WELL AND I WAS SURPRISED HOW MANY PEOPLE IN AUSTRALIA AND NEW ZEALAND WERE INTO IT.

I GUESS IT IS A BIG THING IN THOSE TWO COUNTRIES.

EVERYBODY WHO PLAYS UECKER, DO YOU HAVE CARDS THAT WORK WITH UKER THAT WORKS WITH 7'S, NO, HE I HAVE TO GEAR IT TOWARDS INDIANA CONSUMERS.

IT IS A DECK FOR FOR MAGICIANS, SO IT IS GREAT IF YOU HAVE A YOUNG MAGICIAN IN YOUR FAMILY.

>> RANDY'S OTHER DESIGN INCLUDE A SERIES INSPIRED BY THE ART OF JACKSON POLLOCK, A DECK THAT PLAYS OHMAGE TO NETFLIX DOCUMENTARY AND MANY, MANY MORE.

>> I LIKE TO SWITCH IT UP EVERY NOW AND THEN.

OTHERWISE, IT GETS BORING, SINGLES IT IS MY HOBBY JOB.

I DON'T WANT IT TO GET BORING.

I THINK PART OF IT IS WHEN YOU GET AN IDEA UNTIL YOUR HEAD FOR A THEME YOU WANT TO SEE HOW THAT WOULD LOOK.

I HAVE A LIST, A LONG LIST OF THEMES I WANT TO TACKLE.

I WANT TO DO AND ANCIENT EGYPT THEME.

I WANT TO DO THE GREEK GODS.

>> YOU CAN SEE MORE OF RANDY'S WORK AT THE ADDRESS ON THE SCREEN.

>> FINALLY, WE'RE HEADING TO MONROE COUNTY TO MEET BLOOMINGTON SCULPTURE SCULPTOR.

♪♪ >> I AM A CERAMICS SCULPTOR AND I WORK WITH THE HUMAN FIGURE.

IT WAS ACCIDENTAL.

I WAS IN MY SECOND YEAR OF COLLEGE AND I HAD NOT SIGNED UP FOR CLASSES AT TIME.

I RAN INTO A FRIEND OF MINE AND HE WAS GOING TO CERAMICS AND I WAS LIKE, OK, I WILL GO.

I HAD NO IDEA WHAT CERAMICS WAS.

I WAS REALLY BAD AND FOUND IT FRUSTRATING, BUT THROWING ON THE WHEEL AND MAKING POTTERY AND GOT KIND OF OBSESSED WITH THE FRUSTRATION WITH HOW HARD IT IS.

I THINK ALSO THE COMMUNITY.

THERE IS A LOT OF COMMUNITY AROUND CERAMICS LIKE OF NECESSITY, BUT THAT IS KIND OF THE WAY IT IS.

A SMALL TOWN IN THE ART WORLD AND YOU NEED EACH OTHER TO OPERATE MACHINERY OR FIRE KILNS.

IT IS VERY COMMUNAL.

SO, I THINK GOING INTO A CLASS REALIZING YOU HAVE TO BE FRIENDS WITH PEOPLE AND GENERALLY, I GOT ALONG WITH PEOPLE WHO DID CERAMICS, TOO, SO IT MADE IT MORE ENTICING TO BE THERE.

MY WORK HAS BEEN FIGURATIVE.

I USED TO SCULPT FROM PHOTOS AND RECENTLY, I HAVE BEEN DOING MORE FIGURATIVE WORK FROM MEMORY AND SETTING UP THEMES AROUND MOVIE SETS AND USING SCENERY FROM MY LIFE TO RECREATE A SCENE, ALMOST EXCLUSIVELY SELF-PORTRAIT, ALMOST LIKE A BODY DOUBLE AND THERE IS MULTIPLE IN A SCENE.

IT IS A PSYCHOLOGICAL PORTRAIT, AS WELL AS A PHYSICAL PORTRAIT OF WHAT I SEE AS MARKERS OF MY OWN IDENTITY.

IF I'M STANDING NEXT TO IT, THEY ARE LOOKING AT ME, TOO, IT IS ALMOST LIKE A PERFORMANCE AT THAT POINT.

I DO TEND TO DRESS LIKE MY SCULPTURES WHEN I GO, I WILL WEAR THE OUTFIT OF WHATEVER THAT ONE IS WEARING, BECAUSE INIT IS FUNNY.

I'M INTERESTED IN MAKING THEMES THAT ARE WOMEN CENTRIC AND ALLOW THE FIGURES TO HAVE COMPLEX DIALOGUES THAT ARE OFTEN DENIED TO WOMEN UNTIL MEDIA.

USUALLY, WOMEN ARE NOT CENTRAL CHARACTERS WHERE YOU'RE SEEING A HERO'S JOURNEY FOR THEM EMOTIONALLY OR REALLY HAVING THEM BE MORE LIKE OF A REFLECTION OR SOME KIND OF OBJECT OF DESIRE.

I WOULD LIKE VIEWERS OF MY WORK TO RELATE TO IT IN SOME WAY.

I ALSO LIKE THEM TO BE SLIGHTLY CONFUSED BY IT.

I'M INTERESTED IN MAKING WORK AND SETTING UP SCENES THAT ARE NOT ONE LINERS.

I DON'T HAVE SOME BIG POINT I'M TRYING TO HIT HOME FOR PEOPLE THAT THEY WOULD WALK AWAY AND BE LIKE, WELL, I WAS SAYING THIS.

I JUST WANT PEOPLE TO ENGAGE WITH THAT AND HAVE AN EXPERIENCE WITH IT AND BE STRUCK BY IT IN SOME WAY, WHATEVER THE EMOTIONAL EFFECT OF THAT PARTICULAR PIECE IS INTENDED TO BE.

THE MOST COMMON THING THAT PEOPLE WILL COMMENT TO ME ABOUT MY WORK, THAT IS WEIRD.

THAT FREAKED ME OUT OR SO SCARY, THEY ARE KIND OF SCARECROWS.

IT IS KIND OF LIKE THE PSYCHOLOGICAL EFFECT OF SOMEBODY IS IN A ROOM WITH SOMETHING THAT LOOKS LIKE A HUMAN FIGURE EVEN THOUGH IT IS INANIMATE, PEOPLE CAN'T HELP BUT THINK IT WILL ANIMATE ITSELF, WHICH IS A LOT OF FEAR AROUND FIGURATIVE SCULPTURE.

I LIKE THE IDEA OF PLAGUE PLAYING ON THAT FEAR.

IT IS JUST AN IMPULSE.

I LOVE TO MAKE THINGS.

I WILL THINK OF SOMETHING AND I WILL BE ITCHING TO MAKE IT, SO I FOLLOW THAT IMPULSE THROUGH ALL THE WAY.

IT IS A LOT OF SATISFACTION IN THE WAY IT REGARDS ALL OF THE THINGS I CARE ABOUT AND THINKING ABOUT THINGS, MAKES ME ENGAGED IN ART HISTORY, ENGAGED UNTIL ART THEORY.

IT MAKES ME BE PART OF THE COMMUNITY WHERE I LOOK AT OTHER PEOPLE'S WORK AND GET FEEDBACK FROM OTHER PEOPLE.

A LOT OF MY SATISFACTION IS BEING ABLE TO WORK ON SOMETHING FOR A LONG TIME.

IT IS LIKE A JOURNEY.

THE PROCESS OF FIGURING THINGS OUT, I FIND IT INTERESTING.

I SEE MYSELF AS MAKING WORK FOR THE PEOPLE WHOSE ARTWORK I ALSO LIKE AND KIND OF THAT FEEL OF ART OR SCULPTURE.

NOT EVERYONE LIKES HORROR MOVIE, BUT SOME PEOPLE REALLY, REALLY LIKE THEM.

IT IS NOT FOR EVERYBODY.

>> WHEN I WAS IN COLLEGE, I TRIED MY HAND ON THROWING ON THE WHEEL AND MUCH LIKE THE GLASS BLOWING, IT ALSO DID NOT GO VERY WELL.

I HAVE SUCH AS MIRROR RATION FOR ARTISTS LIKE CLARISSA AND BEING ABLE TO CREATE SUCH LARGE-SCALE BEAUTIFUL PIECES.

YOU CAN SEE MORE OF HER WORK ONLINE.

>> WE WOULD LIKE TO ENCOURAGE YOU TO STAY CONNECT WITH US.

>> HEAD OVER TO JOURNEYINDIANA.ORG AND SUGGEST STORIES FROM YOUR NECK OF THE WOODS.

>> WE HAVE A MAP FEATURE THAT ALLOWS YOU TO SEE WHERE WE HAVE BEEN AND PLAN YOUR OWN INDIANA ADVENTURES.

LET'S SPEND MORE TIME EXPLORING THE ART AT THE HARRISON CENTER.

♪♪ >> PRODUCTION SUPPORT FOR "JOURNEY INDIANA" IS PROVIDED BY COLUMBUS INDIANA VISITORS CENTER CELEBRATING EVERYWHERE ART AND UNEXPECTED ARCHITECTURE IN COLUMBUS, INDIANA.

TICKETS FOR GUIDED TOURS AND TRIP PLANNING INFORMATION AT COLUMBUS.IN.US AND