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

SUPPORTING ARTS, ADVANCING CULTURE, AND CONNECTING THE COMMUNITY TO ARTISTS, EVENTS, AND CLASSES, AT COLUMBUSMAKESART.COM >>> THIS TIME, ON "BROAD &HIGH" -- DISCOVER AN ARTIST WHO INCORPORATES HER GREEK HERITAGE INTO HER WORK.

EXPERIENCE CONTEMPORARY QUILTS THAT ARE FULL OF HISTORY.

MEET A COLUMBUS ARTIST WHO'S WORK CHANGED IN RESPONSE TO A PERSONAL HEALTH CRISIS.

AND, HEAR A SONG FROM A COLUMBUS-BASED AMERICANA BAND.

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

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

BORN IN GREECE, EVANGELIA PHILIPPIDIS REMEMBERS PLAYING IN THE RUINS OF THE PARTHENON.

HER IMPRESSIVE WORK COMBINES GREEK MYTHOLOGY WITH HER EARLY CULTURAL AND VISUAL EXPERIENCES.

USING THEMES OF NATURE AND WOMEN, SHE CELEBRATES THE RESILIENCE AND POWER FOUND IN BOTH.

LET'S LEARN MORE ABOUT WHAT FUELS HER INCREDIBLE IMAGINATION.

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>> I WAS BORN IN GREECE, SPENT THE FIRST 10 YEARS OF MY LIFE THERE.

MY FIRST CLEAR MEMORY, WAS PLAYING IN THE PARTHENON, WHICH YOU CAN'T WALK INTO IT NOW.

FROM THE TIME I WAS THREE, IT WAS MUSEUMS, AND CONCERTS, AND PLAYS, AND ARCHAEOLOGICAL SITES, AND SPIRITUAL PLACES, AND THE SEA, AND GROWING UP WITH THE GREEK MYTHS.

SO IT WAS JUST AN INCREDIBLE VISUAL EXPERIENCE.

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AND THEN, I WAS TRANSFERRED HERE TO AMERICA IN THE MIDDLE OF WINTER OF 1966, TO LORAIN, OHIO.

AND I ABSOLUTELY HATED EVERY MINUTE OF IT.

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I WORK WITH TWO DIFFERENT THEMES.

ONE IS NATURE, AND THE OTHER IS WOMEN, AND THEY ARE INTEGRATED.

WOMEN, LIKE NATURE, IS RESILIENT, AND POWERFUL, AND AT TIMES VINDICTIVE, AND SO, IF YOU DON'T RESPECT IT, IT'S GOING TO BITE YOU.

THIS IS ONE OF THE NATURE PIECES.

THE BLUES, I'VE DONE BLUEGRASS, AND SO THIS IS THE ONE FOR CLASSICAL, AND SO I DID THIS ONE PIECE WHERE THE OPERA SINGER IS BRUNHILDE, WITH THE HORNS.

THE LION THAT IS PLAYING THE HARPSICHORD, KIND OF MOZART.

AND WHAT ELSE BUT A FEMALE PEACOCK PLAYING THE HARP.

AND THEN I TAKE THOSE INITIAL DRAWINGS AND I PUT THEM INTO THE COMPUTER.

AND THIS IS KIND OF ACCESSING WHO I AM AS A PERSON AS WELL -- BORN IN THE OLD WORLD, RAISED IN THE NEW WORLD.

THEN I MANIPULATE THE INDIVIDUAL PIECES TO GET THE -- THE RIGHT SIZE THAT I WANT, YOU KNOW, WHETHER IT HAS TO BE FLIPPED, WHETHER IT HAS TO BE BIGGER, OR SMALLER, OR HOW I WANT IT TO INTEGRATE WITH EACH OTHER, AND AT THE END I END UP WITH A FINAL PIECE THAT I TRANSFER ON PARCHMENT PAPER, AND THEN THAT PARCHMENT PAPER TRANSFER THROUGH A PAPER CALLED SARAL PAPER, WHICH IS A WHITE GRAPHITE PAPER, ONTO THE SCRATCHBOARD.

AND WHAT IT IS IS A WHITE, CLAY-COVERED BOARD THAT -- IT EITHER STAYS WHITE AND YOU APPLY INK TO IT, OR IT COMES PRE-INKED.

THEN, I GET A VERY SHARP KNIFE, AND USUALLY A GLASS OF WINE.

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AND I SCRATCH AWAY THE BLACK INK TO EXPOSE THE WHITE UNDERNEATH.

SO I'M WORKING IN REVERSE.

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I LIKE TO CREATE MOVEMENT WITH IT, AND SHADOWS, SO DEPENDING ON HOW LIGHT THE STROKES ARE.

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I LIKE THE WAY HIS HAIR'S TURNING OUT, TOO.

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SO, ONCE I GET THIS ILLUSTRATION ALL WORKED OUT, IT CAN TAKE ANYWHERE BETWEEN A WEEK OR IT CAN TAKE ME MONTHS TO DO IT.

SO ONCE I GET THE SCRATCHING DONE, THE PIECE IS DONE, AS FAR AS I'M CONCERNED.

IT'S ALL BLACK AND WHITE.

I COULD APPLY COLOR, I CHOOSE NOT TO -- I'M NOT VERY COMFORTABLE WITH COLOR, TO PUT ON THE ORIGINAL PIECE, SO I BRING IT TO THE 21st CENTURY.

I SCAN IT INTO PHOTOSHOP AND THEN I APPLY COLOR DIGITALLY, AND THAT WAY IF I DON'T LIKE SOMETHING, I HAVEN'T MESSED IT UP.

SO THIS IS ATHENA, AND -- BLACK AND WHITE, CLEANED UP, AND THEN I START GOING IN REAL CLOSE, PICK THE COLOR FOR THE HELMET THAT SHE'S WEARING.

AND I THINK I WANT TO PUT SOME HIGHLIGHTS IN HERE TO GIVE IT A LITTLE BIT MORE DEPTH.

NOW SEE, THAT'S WAY TOO DARK, I DON'T LIKE IT, SO I CAN GO BACK AND CHANGE IT.

AND THEN IN THE END, WHEN IT'S ALL SAID AND DONE, IT LOOKS LIKE THAT.

THIS IS MYSTRAS, AND THIS IS AN ABANDONED BYZANTINE VILLAGE IN THE PELOPONNESE.

AND IT'S A GHOST TOWN, LITERALLY A GHOST TOWN.

AND SO THESE ARE THE GHOSTS THAT OCCUPY IT.

THIS IS ONE OF THE LAST QUEENS OF THE GREEK BYZANTINES, THEODORA, AND THIS IS CONSTANTINE, THE LAST BYZANTINE EMPEROR, AND OF COURSE THE BLACK CAT THAT KEPT FOLLOWING ME AROUND EVERYWHERE.

THIS IS PERSEPHONE, QUEEN OF THE UNDERWORLD, AND SO, SHE WAS KIDNAPPED BY HADES, DID NOT WANT TO BE IN THE LAND OF THE DEAD, SO SHE WAS VERY LONELY, AND SO SHE MADE FRIENDS, IN THIS STORY, THAT I CAME UP WITH, SHE MAKES FRIENDS WITH THE THREE-HEADED DOG, CERBERUS, BECAUSE NO ONE UNDERSTANDS LITTLE PIT BULLS.

THEY'RE ALWAYS SO MISUNDERSTOOD, AND SO TWO LOST SOULS HAVE COME -- COME TOGETHER TO HELP EACH OTHER.

THIS IS MY MOTHER IN A REFUGEE CAMP IN GREECE, AND SHE INSPIRED THIS PARTICULAR PIECE.

WELL, SHE'S MY HERO.

IT WAS HER BIRTHDAY AND SHE HAD JUST TURNED 84, AND I JUST WANTED TO DO A TRIBUTE TO HER.

MY WHOLE POINT IS TO DRAW THINGS THROUGH AN EMOTIONAL LENS.

FOR INSTANCE, SALLY RIDE'S, OF COURSE, ONE OF MY HEROES -- LOST HER WAY TOO YOUNG.

AND SO I DECIDED THAT I WANTED TO DO AN IMAGE OF HER, AND THEN THIS IS THE FINAL PIECE THAT CAME OUT.

POWERFUL FEMININE -- SHE TOOK IT FROM EARTH, AND BROUGHT IT INTO SPACE.

JOSEPHINE BAKER WAS ANOTHER INCREDIBLE WOMAN.

AT THE TIME THAT SHE WAS FAMOUS, AND THE FACT THAT SHE HAD TO GO TO ANOTHER COUNTY TO DO WHAT SHE DID SO WELL.

AND AGAIN, IT'S NOT A REPRESENTATION OF HER, BUT OF THE MOVEMENT, AND THE FEELING, AND THE -- THE EMOTION.

AND THIS IS WHAT -- MY FRIEND, DIANA, WHO I WENT TO GREECE WITH.

SHE WAS UP FOR ANYTHING, ADD EVERYTHING, AND SO IT'S "DIANA," IF YOU LOOK AT IT FROM THE ROMAN POINT OF VIEW, BUT IT'S ARTEMIS, AND SHE IS, WELL IT KIND OF SPEAKS FOR ITSELF IN TERMS OF -- SHE'S LETTING THE GUY KNOW THAT, NO.

EVERY CHRISTMAS, I DO A PREDATOR AND A PREY.

AGAIN, TALKING ABOUT IS, YOU KNOW, TAKING CARE OF EACH OTHER, WHETHER WE'RE ANIMALS OR HUMANS, OR HUMANS TAKING CARE OF THE WORLD, THAT WE ALL CAN GET ALONG.

SERIOUSLY, WE CAN, TRUST ME.

AND SO, THIS IS THIS YEAR'S CHRISTMAS PIECE OF A GRIZZLY BEAR AND, UM REINDEER.

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I LOVE COMBINING HISTORY AND RELATING IT TO MODERN ISSUES, SO THAT PEOPLE CAN SEE THAT MANKIND HAS NOT CHANGED THAT MUCH.

THE SAME THINGS THAT WERE RELEVANT 3,000 YEARS AGO ARE SERIOUSLY RELEVANT NOW.

ONE OF THESE DAYS WE'LL GET IT RIGHT, I HAVE A LOT OF FAITH IN THAT.

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WHAT MATTERS IS THAT WE ARE ALL BROTHERS AND SISTERS, THAT WE ALL INSPIRE EACH OTHER ACROSS THE WORLD.

AND WE NEED TO ALSO BE CARETAKERS OF THIS WORLD.

AND THOSE ARE THE THINGS THAT I WANT TO PRESENT WITH MY ART.

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>> EVANGELIA WILL BE FEATURED IN AN EXHIBIT CALLED "DAUGHTERS OF ATHENA," AT THE COLUMBUS CULTURAL ARTS CENTER.

IT RUNS AUGUST 5th THROUGH SEPTEMBER 10th.

CHECK OUT MORE OF HER WORK AT THEARTOFEVANGELIA.NET !

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>>> NEXT, WE LEARN ABOUT THE ART OF LETITIA HUCKABY.

SHE COMBINES PHOTOGRAPHY AND QUILTING, WHICH FOCUSES ON THE AFRICAN AMERICAN EXPERIENCE.

HER WORK REFLECTS ON THE PAST, WHILE MAKING ITS CONNECTION TO THE PRESENT.

LET'S TAKE A LOOK.

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>> LETITIA HUCKABY IS AN ARTIST AND SHE WAS A MILITARY CHILD.

HER FATHER WAS PRETTY HIGH UP IN THE MILITARY ACTUALLY, SO SHE LIVED IN GERMANY.

SHE REALLY DIDN'T DEAL WITH RACE IN THE SAME WAY THAT A LOT OF PEOPLE LIVING IN THE SOUTH WOULD HAVE, AND SO, I THINK THERE WAS KIND OF A MOMENT IN HER ADULTHOOD WHERE SHE HAD TO CONTEND WITH HER PAST -- THIS HISTORY OF OPPRESSION, THEIR TIES TO SLAVERY -- AND YOU SEE THAT IN THE WORK.

'CAUSE IT REALLY WAS "OUT OF SIGHT, OUT OF MIND," FOR A LARGE PART OF HER LIFE.

HER PARENTS REALLY SHIELDED HER.

MUCH OF THE WORK IS CALLED "LA 19 PROJECT" -- IT BASED ON HER FAMILY, WHO LIVES ALONG LOUISIANA HIGHWAY 19.

HIGHWAY 19 CONNECT BATON ROUGE WITH EAST FELICIANA PARISH.

HER WORK REFERENCES HER FAMILY'S HISTORY IN EAST FELICIANA PARISH, AND THERE'S A PLOT OF LAND THAT SEVERAL OF HER FAMILY MEMBERS LIVE ON.

HER GRANDMOTHER HAD 11 KIDS, AND SO HER MOM MOVED BACK TO LOUISIANA AFTER THE DEATH OF HER FATHER.

AND SO LETITIA FOUND HERSELF VISITING HERE EVEN MORE THAN SHE HAD AS A CHILD.

AND SO, WHAT YOU SEE IN THIS WORK IS HER FINDING THAT HISTORY, AND FINDING THAT LINEAGE, THINKING ABOUT THE MATRIARCHS IN HER FAMILY, AND REALLY BECOMING FAMILIAR WITH THIS PLACE THAT'S BEEN SO INTEGRAL IN HER HISTORY.

COTTON IS IMPORTANT TO THE PROCESS AND HER -- COTTON IS ACCESSIBLE.

IT'S WARM, IT'S COMFORTABLE, IT'S -- IT'S SOMETHING THAT EVERYONE CAN CONNECT TO, AND I THINK THAT THAT'S REALLY IMPORTANT TO HER.

QUILTING IS SOMETHING THAT'S SHARED -- IT CROSSES RACIAL BOUNDARIES.

JUST ABOUT EVERYONE HAS QUILTS IN THEIR LIVES, OR GRANDMOTHERS, OR MOTHERS, SO THERE'S REALLY -- THERE'S SOMETHING HERE FOR EVERYONE.

I'VE HAD PEOPLE COME IN AND RESPOND TO THIS WORK.

THIS IS CALLED "QUILT NO.

1," AND WHAT YOU CAN REALLY SEE HERE IS SO MUCH OF HER PROCESS, AND HOW IT RELATES TO MEANING.

SHE IS PRINTING THIS ON COTTON, BUT ALSO SHOOTING THROUGH COTTON.

SO A LOT OF TIMES, LETITIA HUCKABY SHOOTS THROUGH QUILTS.

SHE ALWAYS SAYS HER WORK IS ABOUT FAITH, FAMILY, AND HERITAGE.

AND SO SHE REFERENCES HER HERITAGE THROUGH THE COTTON, WHICH SHE KIND OF MAKES AS PRECIOUS AS A ROSE, AND COTTON REFERENCES PICKING COTTON -- HER FAMILY'S HISTORY OF ENSLAVEMENT, AND EAST FELICIANA PARISH.

AND THEN FAITH IS REPRESENTED BY THIS ADDITION OF LIGHT.

SO THE LIGHT SHINING THROUGH THE COTTON BRINGS THE PERSON INTO FOCUS.

SO WE CAN SEE IMAGES OF HER HUSBAND, HER SON, THEIR HANDS TOUCHING.

WITH THE ADDITION OF THIS HISTORIC SYMBOL OF COTTON, AND FAITH, THE SELF, COMES INTO FOCUS, OR YOUR HISTORY COMES INTO FOCUS.

AND SO, WE'RE ALSO TALKING ABOUT THIS PROCESS OF QUILTING.

QUILTING IS A PROCESS THAT'S LONG CONNECTED WITH WOMEN, AND SO LETITIA'S THINKING ABOUT THE WOMEN IN HER FAMILY, THE MATRIARCHS, AND HOW THEY KIND OF MADE DO, AND WORKED CREATIVELY WITH WHAT THEY HAD.

EVERY WORK IS QUILTED OR COLLAGED WITH IMAGES COLLAGED TOGETHER.

A QUILT ENTITLED "COTTON PEST AND DIABETES," IS ANOTHER INCREDIBLE PERSONAL WORK.

LETITIA HUCKABY CREATED IT SOON AFTER THE PASSING OF HER FATHER DUE TO COMPLICATIONS OF DIABETES.

THAT WORK IS INCREDIBLY IMPORTANT BECAUSE IT CONNECTS UP THE HISTORIC INEQUITY RELATED TO COTTON PICKING AND ENSLAVEMENT WITH THE RAVAGES OF DIABETES THAT DISPROPORTIONATELY AFFECT AFRICAN AMERICAN COMMUNITIES TODAY.

AND SO IT FEATURES IMAGES OF, KIND OF, COTTON FIELD AFTER THE HARVEST, THAT ARE KIND OF JUST BROKEN DOWN, AND BEATEN DOWN.

AND SHE PUTS THAT WITH TISSUES THAT ARE KIND OF INFECTED BY DIABETES, AND THEN THE OBITUARY OF HER FATHER IS FEATURED IN THE CENTER, AND THEN OTHER MEMBERS OF HER FAMILY WHO ARE KIND OF CONTENDING WITH DIABETES.

>> WHEN YOU SEE ME AS AN AFRICAN AMERICAN ARTIST WORKING WITH COTTON FIELDS, IT IMMEDIATELY BRINGS CERTAIN THINGS TO MIND.

RIGHT AWAY YOU'RE THINKING ABOUT SLAVERY AND OPPRESSION, AND ALL THOSE KIND OF THINGS, BUT THAT SORT OF CONTINUES, AND WE'RE SEEING THAT CONVERSATION EXPLODE IN TODAY'S TIME, AT LOOKING AT HOW SOME OF THOSE OPPRESSIONS ARE STILL HERE, AND IT SHOWS UP IN LACK OF HEALTHCARE, AND THOSE KIND OF RESOURCES.

AND SO, THIS PIECE, FOR ME, IS A LITTLE EMOTIONAL, 'CAUSE I LOST MY FATHER AND ITS' THE FIRST TIME I HAD LOST SOMEONE REALLY CLOSE TO ME, BUT AT THE SAME TIME, I FEEL LIKE IT SPEAKS REALLY POWERFULLY FOR ISSUES WITHIN MY CULTURE.

>> "LOOK WHAT A WOMAN'S GOT," IS KIND OF A PLAY ON A SAYING AT LETITIA'S FAMILY.

THERE WAS A SERVICEMAN WHO CAME HOME -- I THINK IT WAS LIKE AN UNCLE -- AND HE HAD SARDINES AND CRACKERS, AND HE WAS JUST BURST THROUGH THE DOOR AND SAID, "LOOK WHAT A MAN'S GOT!"

AND HER GRANDMOTHER JUST PICKED UP ON THAT, AND IT BECAME THIS SAYING IN HER FAMILY FOR ANY TIME THINGS WERE GOING WELL.

AND SO LETITIA, AFTER THE PASSING OF HER GRANDMOTHER, INHERITED THESE HEIRLOOM FABRICS, AND THEN TOOK IMAGES OF HER GRANDMOTHER THROUGHOUT HER LIFE -- THERE ARE IMAGES FROM WHEN SHE WAS 16, THERE'S AN IMAGE OF HER AT LETITIA'S WEDDING -- AND THEN COMBINED THEM INTO THIS CLOTHESLINE, AS LIKE A REFERENCE TO THAT KIND OF EXPERIENCE IN GREEENVILLE, MISSISSIPPI.

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>> SEE MORE OF HER WORK AT HUCKABYSTUDIOS.COM !

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>>> FOLLOWING A CANCER DIAGNOSIS, JULIE ALIBJANAC WAS COMPELLED TO CHANGE HER ART PRACTICE.

SHE ABANDONED HER PAINTS AND CHEMICALS, AND INSTEAD EMBRACED NONTOXIC MATERIALS, SUCH AS PAPER AND FIBER.

IN THREE DIMENSIONS, SHE EXPLORES THE CELLULAR GROWTH FOUND IN THIS POTENTIALLY DEADLY DISEASE.

>> SO, HAVING A FRENCH MOTHER ALLOWED ME THE OPPORTUNITY TO, YOU KNOW, HIT MUSEUMS.

I SPENT A LOT OF SUMMERS WALKING AROUND THE LOUVRE WITH HER.

AT SOME POINT, I WAS STANDING IN FRONT OF A VAN GOGH PAINTING, AND I THOUGHT TO MYSELF, "THIS IS WHAT I WANT TO DO.

I WANT TO MAKE THESE THINGS, I WANT TO MAKE PAINTINGS."

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MY ART PRACTICE IS VERY DIFFERENT FROM WHERE I WAS.

I'M NOT A PAINTER ANYMORE.

SO 10 YEARS AGO I WAS DIAGNOSED WITH, UM, HODGKIN'S LYMPHOMA.

UM, I FOUND A LUMP IN MY NECK.

THE DOCTOR SAID, "EITHER WE'RE GONNA CURE YOU, OR WE'RE GOING TO MAKE YOU COMFORTABLE FOR THE NEXT 6 MONTHS," AND I WAS 36 WHEN I FOUND THIS OUT.

SO I HAD TO CLEAN UP MY ACT.

I HAD TO CLEAN UP HOW I WAS GONNA BE A MAKER, AND WHILE I WAS GETTING TREATMENT, I TAUGHT MYSELF HOW TO KNIT AND CROCHET, SO THAT WAS MY FIRST, LIKE, MOMENT WHERE I WAS JUST LIKE, "OKAY, FIBER.

THIS IS SOMETHING NEW.

THIS IS HOW I CAN, KIND OF, GENERATE THE ACT OF MAKING FOR ME, IN A SAFE, HEALTHY MANNER."

BUT ON TOP OF THAT, I BECAME VERY FASCINATED WITH MY DISEASE, AND STARTED LOOKING AT FIELD STAINS OF MY DISEASE.

SO THAT'S THE DISEASE RIGHT THERE.

IT'S GOT TWO CELLS, AND IT'S GOT, SO -- GOOGLY EYES -- THAT'S THE -- AND THOSE ARE PROTEIN CELLS, AND THAT'S WHY -- THAT'S WHY THE CANCER IS SO CURABLE.

I WANT -- I WANT PEOPLE TO FIND BEAUTY IN -- NOT THIS MOMENT OF DEATH, BUT THE BEAUTY THAT THIS IS JUST A NATURAL THING, IN -- IN NATURE, AND IN THE WORLD, THAT WE KIND OF HAVE TO EXPERIENCE.

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THE BEADED WORK IS, UH, THAT'S CALLED "PESTILENCE, STAGE 1, 2, AND 3," AND THAT'S BASICALLY -- THAT'S A SELF-PORTRAIT OF THE CANCER GROWING IN MY NECK.

UM, I HAD A MASS IN MY CLAVICLE AREA, AND THEN I HAD TWO UNDERNEATH MY STERNUM, SO WHEN YOU LOOK AT THE PIECE, THERE'S -- IT'S FLATTER, AND THEN IT STARTS GROWING, SO THERE'S THIS METASTASIS OF INFORMATION.

SO IT'S THAT WHOLE -- THE NECKLACE STAND BECOMES THE HOST, THE BEADS ARE THE PARASITE.

SO, THAT'S THE INTENT FOR WHEN, UM, WHEN YOU SEE THE PIECE.

I'M HYPERAWARE OF MY MATERIAL, IN HOW I'M USING IT.

A LOT OF MY WORK IS, UM, PAPER, HAND-CUT, HAND-FOLDED, HAND-GLUED, OR STITCHED TOGETHER.

[ BEEPING ] >> UM, I'VE FINALLY INVESTED IN A LASER-CUTTER, A MINI CUTTER, SO NOW IT CUTS THE CIRCLES FOR ME 'CAUSE I WAS HAND-CUTTING A LOT OF MY PIECES.

SO I USE TRADITIONAL GLUE, THAT YOU -- ELMER'S GLUE.

IT'S NOT TOXIC, YOU KNOW.

IF LITTLE KIDS CAN USE IT, THEN I CAN TOO.

[ LAUGHTER ] WHERE, WHEN YOU'RE LOOKING AT A PAINTING, AND YOU SEE A BRUSHSTROKE, YOU KNOW THAT HAND MADE THAT BRUSHSTROKE WITH THE BRUSH.

WITH ME, IT'S -- THE PAPER IS THAT -- IS THE STROKE, IT'S THAT MOMENT THAT I APPLY IT, THEN, TO CREATE MORE OF A TEXTURE.

ALL THE THINGS THAT I'VE LEARNED FROM PAINTING ARE BEING TRANSLATED INTO THESE PIECES, AND THAT'S HOW I'M THINKING ABOUT THE WORK AS I'M MOVING THROUGH THEM.

IT'S KIND OF A CRAZY PROCESS, I DON'T KNOW WHY I DO THIS TO MYSELF, BUT I DO.

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SO, "POUMON NOIR," IS -- IT'S ACTUALLY BLACK LUNG.

AND I WAS REALLY FASCINATED BY THE TEXTURE OF THE LUNG WHEN IT'S -- WHEN IT'S IN THAT DISEASED FORMS.

BUT IT'S ALSO THAT TRANSLATING OF SOMETHING SMALL, AND AS IT GETS BIGGER, AND IT GETS BIGGER, AND IT'S GROWING, SO IT HAS THAT DUAL, UM, QUALITY OF DEPTH, BUT TALKING ABOUT THE SENSE OF SOMETHING TAKING OVER SOMETHING ELSE.

MY WORK ISN'T ART THERAPY, BECAUSE IT'S NOT HOW I THINK OF IT, MY WORK IS TELLING A STORY OR HAVING PEOPLE, KIND OF REFLECT BACK ON, MAYBE THOSE THAT HAVE PASSED AWAY FROM CANCER, THOSE THAT ARE DEALING WITH CANCER, THAT, UM, YOU KNOW, THESE QUIET MOMENTS, OR MOMENTS FOR THEM TO REFLECT AND THINK.

QUILLING -- SO I ACTUALLY JUST STARTED GETTING REALLY INTERESTED IN QUILLING.

SO WE'RE GONNA FIRST START OFF WITH SOME BASICS.

WE'RE GONNA MAKE ALL OF THESE SHAPES FIRST, BECAUSE I THINK IT'S REALLY IMPORTANT TO GET A BASIS BEFORE YOU KIND OF MOVE INTO MAKING SOMETHING.

I LOVE INTRODUCING ART TO SOMEONE WHO MAY SAY, "I CAN'T MAKE ART.

I DON'T KNOW HOW TO DO THIS STUFF."

AND I ALWAYS THINK, "YEAH YOU CAN."

YOU WANT TO, JUST KIND OF HOLD YOUR PAPER ONTO YOUR PENCIL TO START, AND YOU JUST WANT TO WRAP IT.

SO YOU JUST WANT TO WRAP THE PAPER AROUND THE PENCIL.

NICELY DONE.

LOOKS GOOD.

I JUST LIKE SEEING PEOPLE GET EXCITED, AND THEN SEEING, "OKAY, NOW THAT I UNDERSTAND ALL THE BASIC, LET'S SEE WHAT I CAN DO WITH IT."

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BEING A SURVIVOR, NO MATTER WHAT TYPE OF CANCER YOU HAVE, IT'S ALWAYS -- IT'S INGRAINED IN YOU.

IT -- IT BECOMES A PART OF WHO YOU ARE.

LIKE, VERY SIMPLE, EVERYDAY THINGS BECOME REALLY VALUABLE, REALLY IMPORTANT, RIGHT?

SO, 10 YEARS OUT FROM BEING DIAGNOSED, I'M 5 YEARS OUT -- 5, GOING ON 6 YEARS OUT -- FROM MY, UM, CURE DATE, SO -- I'VE BEEN -- EVERYTHING'S BEEN FINE.

I THINK THAT I'M A BETTER MAKER FOR IT, TO TELL YOU THE TRUTH.

I THINK MY -- MY WORK IS -- HAS RICHER SUBSTANCE TO IT THAN BEFORE.

UM, I'M -- I'M HAPPY TO BE WHERE I AM TODAY.

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>> FOLLOW JULIE ON INSTAGRAM TO KEEP UP WITH HER LATEST CREATIONS.

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>>> NEXT, WE HAVE A SONG FROM OUR "BROAD & HIGH PRESENTS" SERIES, CALLED "CORNFLOWER BLUE," BY PUSH ME PULL YOU.

FRONTWOMAN ERIKA HOLYCROSS PROVES THAT THE ACCORDION DESERVES ITS RIGHTFUL PLACE IN THE WORLD OF ROCK.

LET'S TAKE A LISTEN.

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I NEVER CARED FOR THE COLOR !

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'TIL YOU TOLD ME ABOUT YOUR TATTOO !

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THE ONE YOU WOULD'VE WORN ON YOUR SHOULDER IF YOU THOUGHT YOU WERE YOUNG ENOUGH TO !

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OCEAN INDIGO SKY MIDNIGHT FLASH FROM A WING AS IT'S JUST TAKEN FLIGHT !

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I'VE SEEN THE PUREST PAINTER'S DELIGHT REFLECTED IN YOUR EYES !

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CORNFLOWER BLUE CORNFLOWER BLUE CORNFLOWER BLUE !

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WRESTLING WITH THE PAST AGAIN WONDERING HOW TO PROCEED !

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SOMETIMES STANDING STILL IS THE BEST WAY TO BUY SOMETIMES YOU DON'T NEED ANYTHING !

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CORNFLOWER BLUE CORNFLOWER BLUE CORNFLOWER BLUE !

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I NEVER CARED FOR THE COLOR !

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'TIL YOU TOLD ME ABOUT YOUR TATTOO !

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THE ONE YOU WOULD'VE WORN ON YOUR SHOULDER !

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THE ONE YOU WOULD'VE WORN ON YOUR SHOULDER !

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THE ONE YOU WOULD'VE WORN ON YOUR SHOULDER !

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CORNFLOWER BLUE CORNFLOWER BLUE CORNFLOWER BLUE CORNFLOWER BLUE !

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THE ONE YOU WOULD'VE WORN ON YOUR SHOULDER !

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CORNFLOWER BLUE CORNFLOWER BLUE !

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THE ONE YOU WOULD'VE WORN ON YOUR SHOULDER !

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CORNFLOWER BLUE CORNFLOWER BLUE !

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>> 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.

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

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