>>> PRODUCTION OF "BROAD & HIGH" IS FUNDED IN PART BY THE GREATER COLUMBUS ARTS COUNCIL.

SUPPORTING ARTS, ADVANCING CULTURE, AND CONNECTING THE COMMUNITY TO ARTISTS.

EVENTS AND CLASSES AT COLUMBUSMAKESART.COM.

>> FROM THESE CONTRIBUTING SPONSORS -- AND VIEWERS LIKE YOU.

THANK YOU.

>> THIS TIME ON "BROAD & HIGH" -- A COLUMBUS ARTIST CREATES VIBRANT AND STRIKING SCENES WITH FABRIC SCRAPS AND AN X-ACTO KNIFE.

A LYRICS FROM A NINA SIMONE SONG INSPIRED AN ARTIST'S DEPICTION OF BLACK WOMEN.

CONTEMPORARY ARTISTS RESPOND TO GRAPHIC NOVELS AND COMIC BOOKS.

AND "REDEMPTION", ONE OF THE FIRST SONGS THAT BROUGHT RECOGNITION TO COLUMBUS'S KASHIS KEYZ.

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

♪♪ ♪♪ ♪♪ >> WELCOME TO THE SHOW.

I'M YOUR HOST KATE QUICKEL.

NOW YOU MIGHT SAY THAT ARTIST DONCEE'S WORK IS A CUT ABOVE THE REST.

THAT'S BECAUSE HE USES AN X-ACTO KNIFE TO MANIPULATE FABRIC PIECES, PRIMARILY LEATHER AND SUEDE, INTO INTRICATE WORKS OF ART.

HERE'S HIS STORY.

>> I GREW UP IN COLUMBUS, OHIO.

I WENT TO COLUMBUS HIGH SCHOOL.

AFTER I GRADUATED HIGH SCHOOL, I WENT TO CCAD, TOOK UP AD DESIGN AND ILLUSTRATION.

SOMEHOW I ENDED UP DOING FABRIC ARTWORK.

SO THAT'S A TOTALLY DIFFERENT STORY.

IT STARTED WITH JUST GROWING UP IN THE HIP-HOP ERA.

WE USED TO LOVE TO JUST CREATE AND I WOULD -- WE COULD GO TO SCHOTTENSTEIN'S AND WE WOULD BUY THESE PARTLY-TORN JEAN JACKETS, AND THEN WE WOULD EVEN TEAR 'EM UP EVEN SOME MORE.

WHAT I WOULD DO WOULD PAINT ON EITHER LIKE, DENIM, SOMETIMES EVEN JUST CANVAS.

WE'D GET A SEAMSTRESS AND SHE WOULD SEW IN SOME OF THE SCENES INTO THE JACKET.

SO THAT KIND OF REALLY GOT ME INTO STUDYING FABRIC.

AFTER A WHILE, I WOULD START GOING TO THE FABRIC STORES AND JUST START BUYING FABRIC AND JUST CREATING CLOTHES JUST FREEHAND.

DIDN'T KNOW ANYTHING ABOUT PATTERNS, I WAS JUST BASICALLY -- JUST BEING BASICALLY MY CREATIVE SELF.

WELL THE TECHNIQUE, I GUESS, IT'S A COLLAGE STYLE.

SO IT'S A PROCESS WHERE I'M TAKING SOMETHING AND I'M JUST PUTTING LAYERS ON TOP OF LAYERS.

OBVIOUSLY, I'LL START WITH THE BACKGROUND AND MOVE IT UP TO THE FOREGROUND.

WHEN I INITIALLY STARTED WORKING, THEY WERE MORE OR LESS, LIKE, TWO TONE PIECES.

AND I WOULD GO INTO ART GALLERIES AND I WOULD LOOK AT MY WORK, COMPARE IT TO OTHER PAINTINGS, AND I SAID, OKAY, I'VE GOT TO DO BETTER.

I'VE GOT TO STEP WHAT I'M DOING.

I WAS LIKE, I WANT TO TAKE THIS TO A LEVEL OF WHERE IT LOOKS LIKE A PAINTING.

SO THERE WAS A LOT OF TRIAL AND ERRORS AND A LOT OF EXPERIMENTING.

IN THE BEGINNING, MY PIECES WERE REALLY BULKY, 'CAUSE I WOULD USE THE MORE HEAVIER FABRICS.

WHEN I LEARNED A TECHNIQUE FOR CUTTING THE THINNER FABRICS, THAT WAS -- IT WAS ALMOST LIKE GAME OVER FOR ME.

BECAUSE AT THAT POINT, I WAS ABLE TO PUT SHADOWS AND HIGHLIGHTS AND BRING MORE DIFFERENT ELEMENTS INTO MY ARTWORK WITHOUT IT LOOKING BULKY.

THAT WAS THE KEY.

AND THAT'S WHY TODAY PEOPLE LOOK AT IT AND THEY COULD SAY THIS LOOKS LIKE A PAINTING, UNTIL YOU WALK UP ON IT AND IT'S LIKE, OH, THIS IS ALL FABRIC.

OH, NUMBER ONE, LEATHER AND SUEDE.

NUMBER TWO WOULD BE DENIM.

AND EVERYTHING ELSE AFTER THAT.

I THINK THAT WHEN I WORK WITH LEATHER AND SUEDE, IT JUST REALLY TRANSLATES REALLY WELL WITH MY PIECES.

AND I JUST LOVE THE TEXTURE OF IT.

AND I THINK THAT IT REALLY COMES OUT.

DENIM IS ANOTHER TOTALLY DIFFERENT LOOK.

I REALLY LIKE THAT AS WELL.

I LOVE BLENDING THE DIFFERENT TYPES OF DENIM TOGETHER, AS THE SAME WAY WITH THE LEATHER AND SUEDES.

MY ONLY TOOL IS THE X-ACTO KNIFE.

THE TECHNIQUE IS JUST LEARNING HOW TO CUT THOSE THING FABRICS WITH ACCURACY.

THERE ARE A LOT OF LITTLE DIFFERENT TECHNIQUES THAT I USE, I DON'T WANT TO JUST KIND OF LIKE DISCLOSE 'EM ALL.

I'LL GO ON AND SAY ONE TECHNIQUE I'LL USE.

IF YOU'VE GOT A REAL THIN FABRIC, THERE'S A CERTAIN GLUE THAT YOU CAN USE, YOU CAN APPLY TO THE BACK OF THE FABRIC, WHICH AT THAT POINT GIVES IT MORE OF A SOLID FEEL, AND IT'S EASIER TO CUT.

TYPICALLY I WOULD SAY ABOUT 95% OF WHAT I DO, IT BASICALLY COMES FROM OUT OF MY HEAD.

TYPICALLY I REALLY DON'T USE REFERENCES A LOT.

IT'S JUST THINGS I JUST THINK ABOUT.

I JUST LOVE TO CREATE.

SO WHEN I'M CREATING A PIECE, I REALLY GET INTO IT.

SO IF I'M CREATING LET'S SAY A CITY SCENE, AND I'M CREATING BUILDINGS, I'M NOT JUST AN ARTIST, I'M AN ARCHITECT.

IF I'M DOING A PORTRAIT AND I'M CREATING A PERSON, I AM ALSO -- I'M DESIGNING THEIR OUTFIT, DESIGNING THEIR LOOK.

SO YEAH, THAT'S THE THING, WHEN I DO A PIECE I AM ALL IN.

I THINK THE FUNNEST PART IS WHEN YOU'RE RIGHT IN THE MIDDLE AND WHEN YOU CAN SEE THAT VISION COME TOGETHER.

'CAUSE INITIALLY WHEN YOU'RE CREATING A PIECE, YOU'RE LIKE, OH, IS THIS GONNA WORK?

AND THEN AS YOU'RE WORKING, YOU'RE LIKE, OH, I'M STARTING TO SEE IT NOW.

IT'S COMING TOGETHER.

ON THE FLIP SIDE, THE WORST PART I THINK IS COMING TOWARDS THE END, TRYING TO FINISH THAT PIECE.

'CASUE AT THAT POINT, YOU'RE READY TO MOVE ON TO THE NEXT PIECE, AND THAT'S WHEN YOU REALLY HAVE TO BE CAREFUL.

'CAUSE YOU'RE LIKE, NO, STOP, TAKE YOUR TIME.

MAKE SURE YOU COMPLETE THIS CORRECTLY.

ONE OF THE REASONS WHY I USE THE BIRD, IT REPRESENTS FREEDOM.

AND WHEN I FIRST STARTED DOING ARTWORK, I KIND OF FELT LIKE THAT ACTOR THAT GETS TYPECAST.

PEOPLE WERE EXPECTING ME TO DO A CERTAIN TYPE OF ARTWORK.

AND ONE OF THE REASONS WHY I ADAPTED THAT BIRD, 'CAUSE THAT BIRD ALLOWS ME TO DO ANYTHING I WANT TO DO.

YOU KNOW, I IF I WANT TO DO AN ABSTRACT PIECE, IT'S GONNA BE -- I'LL DO THAT TOMORROW.

PORTRAITS, LANDSCAPES, ANYTHING.

SPORTS PIECES.

I DO IT ALL.

IF I FEEL IT, I'M GONNA DO IT.

ART IS MY THERAPY.

I REALLY HOPE THAT FOR THE VIEWER THAT IT EFFECTS THEM THE WAY THAT IT EFFECTS ME.

SO A LOT OF TIMES, IF I'M DEALING WITH SOMETHING, I GO INTO MY STUDIO.

THE ART IS -- THAT'S MY RELEASE.

AND I'M ABLE TO JUST BASICALLY DEAL WITH STRESS IN THAT WAY.

SO I WANT THAT TO BE CONVEYED WITH MY ARTWORK ALSO WITH THE VIEWER.

SO THAT'S ONE OF THE THINGS I WANTED TO ALSO ACCOMPLISH WITH SOME OF THESE -- MY NEW PIECES AS WELL.

SO I REALLY HOPE THAT RESONATES WITH THE VIEWER.

♪♪ >> LEARN MORE ABOUT DONCEE AND HIS WORK AT DONCEE.COM.

"WHY YOU WANNA FLY, BLACKBIRD?"

THAT'S THE INTRIGUING QUESTION SABRINA NELSON ASKS IN HER ART EXHIBITION THAT EXPLORES ISSUES FACING BLACK WOMEN.

FROM DETROIT, MICHIGAN, HERE'S MORE ON HER SHOW.

♪♪ >> I THINK MY MEDICINE IS ART.

MY LANGUAGE IS ART.

♪♪ I THINK THE TERM "ARTIST" MEANS TO BE RESPONSIBLE FOR WHAT'S HAPPENING IN THE WORLD.

HOW YOU SEE IT, HOW YOU RECORD IT.

HOW YOU MAKE THINGS THAT ARE A RESULT OF WHAT YOU ARE TRYING TO SAY.

WHETHER IT'S A QUESTION YOU'RE ANSWERING OR A STORY YOU'RE TRYING TO TELL OR HERE'S SOMETHING I NEED TO MAKE, BECAUSE IT'S JUST EMBEDDED IN ME.

LIKE I HAVE TO MAKE SOMETHING.

DETROIT IS EMBEDDED IN WHO I AM.

I'VE BEEN HERE ALL MY LIFE, SINCE THE REBELLION IN 1967, THAT'S WHEN I WAS BORN.

AND SO EVERYTHING AROUND ME BECOMES A PART OF THE STORY I'M TRYING TO TELL, OR THE QUESTION I'M TRYING TO ASK.

MY SUPERPOWER IS BEING ABLE TO VISUALLY COMMUNICATE HOW I FEEL ABOUT WHAT'S HAPPENING IN THE WORLD.

NINA SIMONE SAYS IF YOU'RE GONNA BE AN ARTIST IT'S YOUR DUTY TO REFLECT WHAT'S HAPPENING IN THE WORLD.

AND IN THE WORLD THAT I LIVE IN, FROM THE TIME I CAN REMEMBER REMEMBERING, THERE'S ALWAYS TRAUMA AND HURT AND PAIN.

AND I'M NOT ALWAYS TALKING ABOUT THAT, BUT YOU CAN'T IGNORE IT.

AND ON THIS DAY, I THINK ABOUT THE LIVES THAT ARE LOST, THAT ARE CONSTANT, COMING AT ME THROUGH DIFFERENT MEDIUMS.

AND SO I'M THINKING ABOUT HOMICIDES AND DEATHS OF YOUR PEOPLE AND HOW I'M EFFECTED BY IT.

BUT I'M TALKING ABOUT DEATH WHERE PEOPLE AREN'T CONSIDERED PEOPLE.

LIKE, YOU DON'T MATTER.

YOU'RE NOT IMPORTANT.

SO I'M JUST GONNA TAKE YOUR LIFE.

I DON'T CARE HOW OLD YOU ARE.

I DON'T CARE WHO YOU BELONG TO.

AND WHEN THAT PERSON IS MISSING FROM OUR COMMUNITIES, NOT JUST THE BLOOD FAMILY IS EFFECTED.

WE ARE ALL, AND WE SHOULD ALL BE CONCERNED.

YOU KNOW, A LIFE IS A LIFE.

A HUMAN IS A HUMAN.

AND SO IN THIS WORK I'M TALKING ABOUT THAT PAIN.

THE NAME OF THE EXHIBITION IS "WHY YOU WANNA FLY BLACKBIRD?"

AND I GOT IT FROM A NINA SIMONE SONG, WHO TALKS ABOUT BLACK WOMEN LIKE, HOW DARE YOU TRY AND BE HAPPY IN YOUR LIFE.

HOW DARE YOU NOT EXPECT PAIN.

PAIN IS GONNA COME.

YOU HAVE TO MOVE THROUGH IT AND YOU HAVE TO LIVE, BUT PAIN WILL BE HERE.

I DIDN'T WANT THE COLORS TO BE SO SEDUCTIVE THAT IT DRAWS YOU IN AS PRETTY.

LIKE I DON'T LIKE THE IDEA OF MY WORK BEING PRETTY.

I WANT IT TO BE IMPACTFUL.

I WANT IT TO BE DEEPER THAN JUST WHAT YOU SEE.

AND I WANTED IT TO BE LARGE ENOUGH TO HAVE SOME GIRTH TO IT.

SO THESE PARTICULAR PIECES ARE VERY LARGE DRAWINGS.

THEY'RE ALSO RELIQUARIES, IF YOU WILL.

SO THEY TALK ABOUT, LIKE, THE BODY, THE HOUSING OF THE BODIES THAT WE HAVE, LIKE THE HOME.

AND THEN WHAT IT'S LIKE TO HAVE A NEST WITH NO EGGS IN IT.

THINKING ABOUT THE EMPTY NEST OF CHILDREN WHO NEVER RETURN.

YOU KNOW, I DON'T CARE HOW OLD THEY ARE, THEY NEVER CAN RETURN.

SO I'M JUST TALKING ABOUT THE DARKNESS IN THAT AND EXPRESSING IT WITH THE MOST ELOQUENCE THAT I CAN.

THE CAGES WILL REPRESENT EMPTY HOMES.

THAT CAN BE THE HOME THAT THEY LIVED IN.

THAT CAN BE THE COMMUNITY THAT THEY LIVED IN.

HOW DO YOU DEAL WITH THAT, YOU KNOW, THAT WOMB THAT'S EMPTY?

AND SO WHEN WE LOSE THESE PEOPLE THAT ARE NOT TREATED WITH VALUE OUT OF OUR COMMUNITIES, HOW DO YOU DEAL WITH THAT?

SO LAVON IS HELPING ME ON THE DRESSES, BECAUSE I WANT TO MAKE DRESSES THAT WILL HANG FROM THE CEILING, JUST ABOVE THE PATRONS HEADS.

BUT THE BIRD CAGES WILL BE THE EMPTY WOMBS UNDERNEATH THE DRESSES.

AND SO I'M ASKING HIM TO HELP ME FIGURE OUT HOW I'M GONNA MAKE THE DRESSES, WHICH ARE MADE OUT OF JAPANESE RICE PAPER, SO THAT THEY CAN BE SHEER ENOUGH THAT THE BIRD CAGES CAN GO UNDERNEATH THEM AND THE PATRONS CAN SEE THEM WITH THE LIGHTING.

AND HOPEFULLY THEY HAVE THE IMPACT THAT'S IN MY HEAD AND IN MY HEART.

I WANT PEOPLE TO PAY ATTENTION TO IT AND TO BE MORE EMPATHETIC WITH OTHERS LIVES.

IF YOU SEE SOMETHING HAPPENING AND YOU CAN DO SOMETHING ABOUT IT, WHY WOULDN'T YOU?

AND SO WHEN I LOOK AT THE HOMICIDE RATES ACROSS THE COUNTRY, THEY'RE INCREDIBLY HIGH FOR AFRICAN AMERICAN, INDIGENOUS, AND ALSO LATIN AMERICAN CHILDREN.

AND SO IF THIS IS ALL I CAN SAY AND DO ABOUT IT, I WANT SOMEONE TO KNOW THAT I CARE.

EVEN THOUGH THEY'RE NOT MY CHILDREN, I CARE THAT THEY'RE MISSING, THAT THEY'RE GONE.

THAT THERE'S -- YOU KNOW, SOMEBODY SHOULD THINK ABOUT DOING SOMETHING ABOUT IT.

THE MOTION OF MOVEMENT WHEN I'M MAKING THESE THINGS -- LIKE WHEN I DID THE NEST HERE, YOU KNOW, THE MOTION OF DRAWING AND DRAWING AND DRAWING.

YOU KNOW, THAT OBSESSION OF MOVEMENT AND WHAT IT FEELS LIKE TO DO THAT.

THESE MOVEMENTS THAT WE DO OVER AND OVER BECOME VERY MUCH RITUAL.

MAYBE THESE ARE ALL PRAYERS VISUALLY, TO SAY THAT I'M SORRY THAT YOUR LIFE IS GONE, BUT I WANT TO SAY THAT YOU MEANT SOMETHING, THAT YOU WERE IMPORTANT.

EVERY ARTIST WANTS SOMEONE TO LOOK AT THEIR WORK FOR A LONG TIME.

AND I DIDN'T WANT TO MAKE IT SO OBVIOUS AND OBTUSE, WHERE IT'S LIKE YOU KNOW, YOU SEE PEOPLE GETTING KILLED.

BUT I THINK THE WORK AND THE DRAWINGS AND SOME OF THE PAINTINGS THAT I'M USING CAN BE SEDUCTIVE.

SO I WANT PEOPLE TO MAKE SURE THAT THEY WALK AWAY WITH KNOWING THAT, I'M IN A WORLD, I AM EFFECTED BY IT.

AND DON'T JUST LISTEN TO THE NEWS AND BE IN THE WORLD AND NOT REALLY TAKE PART IN WHAT'S HAPPENING.

THINK ABOUT WHAT YOUR VOICE IS AND WHAT YOUR SUPERPOWER IS AND SEE WHAT YOU CAN DO TO HELP.

I WANT TO SAY SOMETHING THAT'S IMPORTANT AND I WANT TO LEAVE THIS WORLD WITH SOMETHING THAT SOMEONE'S LEARNED FROM ME.

MY WORK MIGHT BE SENSUAL TO DRAW YOU, AND THEN IT'S GONNA SLAP YOU A LITTLE BIT.

AND THAT'S WHAT I HOPE I SHOW.

♪♪ >> YOU CAN FIND OUT MORE ABOUT THIS ARTIST AND THIS EXHIBIT AT SABRINANELSON.CARBONMADE.COM.

>> LOOK, UP IN THE SKY, IT'S AN EXHIBIT ABOUT CONTEMPORARY ARTISTS WHO HAVE BEEN INFLUENCED BY COMIC BOOKS AND GRAPHIC NOVELS.

HERE'S THE STORY FROM THE BOCA RATON MUSEUM OF ART.

♪♪ >>> THEY HAD AN URGENCY ABOUT THEM.

THERE WAS SOMETHING VERY TOPICAL.

♪♪ SO, THE EXHIBITION "BEYOND THE CAPE" IS REALLY LOOKING AT THOSE ARTISTS WHO WERE INSPIRED BY COMICS, BUT IN DIFFERENT WAYS.

THEY'RE ABOUT THE ENVIRONMENT, POLITICS, RACE RELATIONS.

THERE ARE MANY ARTISTS LIKE LICHTENSTEIN AND WARHOL WHO ARE INFLUENCED BY, UH -- BY COMICS, BY POP CULTURE.

BUT THIS YOU'LL FIND ARE ARTISTS WHO REALLY ARE TELLING A STORY THAT'S SOMETIMES QUITE DEEP, QUITE DARK.

KERRY JAMES MARSHALL IS LOOKING AT THE STREETS OF CHICAGO.

WILLIAM WILEY'S TAPESTRY IS LOOKING AT THE SHOOTING OF A MAN WHO POLICE THOUGHT HE WAS PULLING OUT A GUN, BUT IN FACT HE WAS PULLING OUT HIS WALLET.

♪♪ >> I'M FINDING RIGHT NOW IN THIS MOMENT, JUST KIND OF SEEING MY WORK AGAINST THESE OTHER ARTISTS WORK IS THAT THE ACTS ARE SPEAKING CLEARLY WITHOUT HOLDING BACK ABOUT WHAT IS ACTUALLY IMPORTANT TO THEM AND WHAT'S ACTUALLY HAPPENING IN THEIR PERIOD OF TIME THAT THEY ARE LIVING.

MY NAME IS MARK THOMAS GIBSON.

I'M ORIGINALLY FROM MIAMI, FLORIDA.

I AM AN ARTIST.

I'M ALSO AN ASSISTANT PROFESSOR AT TEMPLE UNIVERSITY, TYLER SCHOOL OF ART.

I KIND OF PLAY WITH POP CULTURE.

I PLAY WITH COMICS.

I PLAY WITH HISTORY.

I PLAY WITH, LIKE, A LITTLE BITS OF EVERYTHING.

THIS BOOK HAD A LOT TO DO WITH THIS IDEA OF UTOPIA.

ONCE I ACTUALLY START ENGAGING WITH THE PRACTICE OF DRAWING, THEN I MIGHT START TO FORMULATE WHATEVER MY ACTUAL ANSWER IS ABOUT THAT SUBJECT.

IN THE CASE, THIS ONE WAS UTOPIA.

AND SO BY THE END OF IT I ACTUALLY COME TO AN ANSWER FOR MYSELF, AND I DON'T THINK I COULD HAD EVER ACTUALLY FIND THAT TYPE OF ANSWER ANY OTHER WAY.

EVERY PAGE IS AN INDIVIDUAL DRAWING.

350 OF THEM.

THEY TELL THE NARRATIVE OF MY MAIN CHARACTER.

I use like as my protagonist, a werewolf character, which is the idea of someone who's been traumatized but is now a traumatizer.

I THINK ABOUT THAT A LOT IN AMERICA, HOW WE HAVE A LOT, AND THAT CONTINUOUSLY SEEMS TO HAPPEN WHERE PEOPLE BECOME TRAUMATIZED BY EITHER BEING ECONOMICALLY OPPRESSED OR SEEING A LOVED ONE MURDERED OR SEEING CULTURE ACT AND RESPOND TO THEM AS AN OTHER WHEN THEY ARE ACTUALLY A PART OF THE FABRIC OF THIS COUNTRY AND THEN THAT GETS PASSED ON TO YOUR KID, IT GETS PASSED ONTO YOUR COMMUNITY.

SOME OF THEM BECOME PAINTINGS, SOME OF THEM DO NOT.

MOST OF THEM DO NOT.

BUT IN THIS CASE, THIS WOULD LATER BECOME LIBRARY ONE AND TWO.

♪♪ I WANTED TO KIND OF SHOW AN AREA THAT HAD BEEN LIVED IN AND KIND OF OVERGROWN IN THOUGHT.

MY MAIN CHARACTER IN THIS NARRATIVE THAT THIS COMES FROM, DON'T EVEN REALLY KNOW WHAT TIME PERIOD IT IS THAT HE'S IN, SO YOU HAVE A SWORD AND HILT AND A SPEAR, AND BOOKS THAT ARE KIND OF CONTEMPORARY.

SO, THERE'S UTOPIA OF COURSE AND THEN THERE'S BELOVED BY THE GREAT TONI MORRISON.

I THINK ABOUT BOOKS THAT I'VE READ GROWING UP THAT TOLD ME SOMETHING OR MADE ME THINK ABOUT RELATIONSHIPS AROUND SLAVERY, RELATIONSHIPS AROUND AMERICAN EXPANSIONISM, ALL THESE THINGS THAT WE KIND OF THINK ABOUT WHEN WE'RE TALKING AROUND AMERICA ARE THESE KINDS OF CANONS, LIKE WHO ARE WE, WHERE ARE WE?

PART OF WHAT I FIGURED OUT IN THIS WHOLE UTOPIAN THING WAS THAT IT KIND OF COMES DOWN TO COMMUNICATION.

WE ACTUALLY HAVE TO WORK WITH EACH OTHER TO NAVIGATE WHAT IT IS THAT WE WANT.

>> THIS EXHIBITION I THINK IS ANOTHER GOOD EXAMPLE OF WHAT WE'VE BEEN PRETTY GOOD AT HERE, AND THAT IS TO BREAK THE BOUNDARIES BETWEEN THE SILOS OF ART FORMS, WHERE YOU HAVE THE GRAPHIC NOVEL, THE COMIC AND YOU HAVE FINE ART.

WELL, HERE, YOU HAVE THIS SORT OF BLENDING OF THE TWO.

>> AND IT WAS KIND OF HARD BECAUSE WHEN YOU'D HAVE THAT KIND OF INFLUENCE IN YOUR LIFE AND YOU'D GO TO ART SCHOOL PER SE, THEY'D SAY “OH, THAT'S NOT ART” AND THEY WOULD THROW THAT ASIDE OR KIND OF DEMEAN IT OR DEMOTE IT.

MANY PEOPLE THROUGHOUT HISTORY ACTUALLY WORKED WITHIN ILLUSTRATION, WORKED WITHIN POLITICAL ART, WORKED WITHIN CARICATURE.

IT'S REALLY KIND OF EMBEDDED IN OUR PRACTICE, AND IF YOU GO ALL THE WAY BACK TO LASCAUX AND LOOK AT THOSE, LIKE, CAVES, I MEAN, THERE'S SOME CARICATURISM GOING ON IN THAT AS WELL.

SO THE WAY WE KIND OF THINK THROUGH A NARRATIVE IN SEQUENTIAL ART, IT'S ALWAYS BEEN PRESENT.

♪♪ ♪♪ >> “REDEMPTION” IS ONE OF THE FIRST SONGS THAT BROUGHT RECOGNITION TO COLUMBUS' KASHIS KEYZ.

HIS SONGS ARE PERSONAL, IN FACT HE SAYS THIS IS HIS REDEMPTION SONG.

♪♪ YEAH, HOPE YOU ALL ARE ENJOYING YOURSELVES AS MUCH AS I'M ENJOYING MYSELF.

WE GOT A COUPLE DIFFERENT VIBES, SO, SHOULD BE A WELL-ROUNDED FIT.

BUT YEAH, LET'S JUMP INTO THIS.

♪ MONEY ON MY MIND ONLY THING THAT BE DRIVING♪ ♪ MY THOUGHTS THEY SAID THE PATH TO SUCCESS♪ ♪ IS WHEN YOU GOTTA RUN, YOU CAN'T WALK♪ ♪ SHOTS FIRED THERE GO ANOTHER BROTHER♪ ♪ GETTING CHALKED COLD WORLD♪ ♪ WHERE WEAKNESS CONFUSED WITH HAVING HEART, ARRIVED ON♪ ♪ THE SCENE IN THIS DEPARTURE, GONNA REGRET --I DEMAND MY RESPECT♪ ♪ COLD CREW IS ON DECK WE BUY THE --♪ ♪ I'M COMING FOR THAT CHECK TALKING LIKE --♪ ♪ DIDDY, COMPLEX, TAKE THAT I'M STATING STRAIGHT FACTS♪ ♪ DOPE BLINDS WITH NO TRACK THE ONLY BEACON OF LIFE♪ ♪ WILL NEVER FADE TO BLACK THE WAY I RUN TRACKS♪ ♪ WILL I MAKE IT OUT I'LL NEVER LOOK BACK♪ ♪ I SWEAR I'LL PUT THAT ON MY MIND♪ ♪ LOOKING FOR -- I AVOID THE -- I SWEAR♪ ♪ AND ALL THEY ASK IS -- FAST LANE LIFE WAS IN IT♪ ♪ JUST FOR THE RUSH, YEAH I'VE BEEN TRYING♪ ♪ TO STACK IT UP I'VE BEEN TRYING♪ ♪ TO STACK IT UP I'VE BEEN TRYING♪ ♪ TO STACK IT UP ALL THE WAY TO THE SKY♪ ♪ ALL THE WAY TO THE SKY I'VE BEEN TRYING♪ ♪ TO STACK IT UP I'VE BEEN ALL ON MY OWN♪ ♪ I'VE BEEN DOWN FOR SO LONG I'VE BEEN BLOWING THAT STRONG♪ ♪ EVERY CHOICE BEEN SO WRONG THIS MY REDEMPTION SONG♪ ♪ CAN I MAKE IT BACK SPEND IT ALL♪ ♪ WILL I MAKE IT BACK?

CAN I GET IT BACK?♪ SPEND IT ALL♪ ♪ WILL I MAKE IT BACK?

I SWEAR♪ ♪ PUT THAT ALL ON MY MAMA LOOKING FOR --♪ I AVOID THE -- I SWEAR♪ ♪ PHOENIX TIME ABOUT TO RISE FROM ASHES♪ ♪ CASH IS PAST WHAT THEY SAYING ABOUT♪ ♪ THE TORCH, NEVER HAND IT OFF PUT IT BACK OPTION♪ ♪ NEVER PITCH IT OFF HOME RUN AT THE TIME♪ ♪ NEVER WILL I DROP A DIME PENNIES FOR YOUR THOUGHT♪ ♪ NEVER MADE IT PAST -- A TRANSLATION♪ ♪ MARCHING TO MY OWN CADENCE I'M MY OWN MAN♪ ♪ I'M MY OWN MAN, YEAH I'M MY OWN MAN♪ ♪ I'M MY OWN MAN, YEAH REAL TALK, MOVING DISCUSSIONS♪ ♪ LIFE IS A MOTION PICTURE DEPICTED LIVING THROUGH♪ ♪ STRUGGLE JUST GO, NO HUDDLE♪ ♪ GET IT RIGHT FROM THE RUBBLE YOURS MORE OF A PUDDLE♪ ♪ YEAH, LOOK I JUST WANT MY MAMA TO GO♪ ♪ QUIT HER JOB I JUST WANT MY BROTHERS♪ ♪ NOT TO GO AND ROB AND ALL Y'ALL TRASH♪ ♪ ME AND THE SQUAD GOTTA CLEAN THE GAME UP♪ CAUSE I'VE BEEN TRYING♪ ♪ TO STACK IT UP I'VE BEEN TRYING♪ ♪ TO STACK IT UP I'VE BEEN TRYING♪ ♪ TO STACK IT UP I'VE BEEN TRYING♪ ♪ TO STACK IT UP ALL THE WAY TO THE SKY♪ ♪ I'VE BEEN TRYING TO STACK IT UP♪ ♪ CAUSE I'VE BEEN ALL ON MY OWN I'VE BEEN DOWN♪ ♪ FOR SO LONG I'VE BEEN BLOWING THAT STRONG♪ ♪ EVERY CHOICE IS SO WRONG THIS MY REDEMPTION SONG♪ ♪ CAN I GET IT BACK?

WILL I MAKE IT BACK?♪ ♪ CAN I GET IT BACK?

WILL I MAKE IT BACK?♪ ♪ PUT THAT ALL ON MY MAMA LOOKING FOR --♪ I AVOID THE -- I SWEAR♪ ♪ MY REDEMPTION SONG I SWEAR♪ ♪ MY REDEMPTION SONG I SWEAR♪ ♪ YES ♪♪ YOU HEAR ‘EM?

YOU HEAR ‘EM IN THE BACK?

I CAN'T DO NOTHING --I GOTTA GIVE IT ONE MORE BABY.

I GOTTA GIVE IT ONE MORE.

WE GONNA DO SOMETHING DIFFERENT.

WE GONNA GIVE Y'ALL SOME SPOKEN WORD, LET'S TALK ABOUT EVERYTHING THAT'S GOING ON RIGHT NOW IN THE WORLD.

♪♪ >> WELL, THAT'S OUR SHOW.

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

FOR ALL OF US HERE AT WOSU, I'M KATE QUICKEL, THANKS FOR WATCHING.

♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ >> LARISSA BOIWKA, CORSETRY.

I THINK OF MY WORK AS SWEET AND SALTY, A LITTLE EDGE AND POP TO TRADITIONAL BEAUTIFUL ELEGANCE.

I LIKE THE PROCESS OF ORNAMENTATION.

THE CORSET IS SUCH A WONDERFUL VEHICLE FOR EMBELLISHMENT.

I'VE FOUND THAT ART IS THERE FOR YOU EVEN WHEN PEOPLE FAIL --EVEN WHEN YOUR LIFE FALLS APART, AND WHEN EVERYTHING ELSE IS A DISASTER, YOU CAN STILL FIND PEACE AND BEAUTY IN CREATION.

COLUMBUS SUSTAINS MY WORK, IT'S SIMPLE.

I CAN BE A THRIVING ARTIST HERE.

I'M LARISSA BOWIKA, CORSETRY IS MY ART AND THERE'S NO PLACE I'D RATHER MAKE IT.

♪♪ ♪♪ >> CATCH COLUMBUS AT ITS CREATIVE BEST ON BROAD & HIGH, THURSDAY NIGHTS AT 8 O'CLOCK ON WOSU-TV.

>>> PRODUCTION OF BROAD AND HIGH IS FUNDED IN PART BY THE GREATER COLUMBUS ARTS COUNCIL.

SUPPORTING ARTS, ADVANCING CULTURE, AND CONNECTING THE COMMUNITY TO ARTISTS EVENTS AND CLASSES AT COLUMBUSMAKESART.COM.

>> FROM THESE CONTRIBUTING SPONSORS AND VIEWERS LIKE YOU.