(bright ethereal music) - [Matt] Bring the natural world inside with the felt forms of artist Joy Muller McCoola.

Artist Stephen Tyson discusses his work.

(pleasant music) And catch a performance from Lovella.

♪ Am I dreaming ♪ (Lovella vocalizing) - [Matt] It's all ahead on this episode of "AHA."

(Lovella vocalizing) - [Announcer] Funding for "AHA" has been provided by your contribution and by contributions to the WMHT Venture Fund.

Contributors include the Leo Cox Beach Philanthropic Foundation, Chet and Karen Opalka, Robert and Doris Fischer Malesardi, and the Robison Family Foundation.

- At M&T Bank, we understand that the vitality of our communities is crucial to our continued success.

That's why we take an active role in our community.

M&T Bank is pleased to support WMHT programming that highlights the arts, and we invite you to do the same.

(bright inspiring music) (screen whooshes) - Hi, I'm Matt Rogowicz and this is "AHA," A House for Arts, a place for all things creative.

Today we're heading to Glens Falls to visit with Joy Muller McCoola, who uses wool to create art inspired by water and stone.

(bright relaxing music) - I am a fiber artist, textile artist, working predominantly with wool.

I mainly focus on water issues and create things that look like water and look like natural stones.

(bright relaxing music continues) I love the relief quality of the wool that I can bend it and float it.

I can make areas thicker and thinner.

And so then there's more depth, physical depth that you can actually touch.

For me, water is our essential element.

We can't live without it.

And right now we're going through a time where either we have too much in some places or too little in some places.

I'm dealing with issues of aridification and flooding, both sides of that coin.

But I also love water.

And this Hudson water that we're right near connects me to where I grew up and then comes all the way up to here.

So just rivers are amazing.

We can't live without 'em.

(gentle music) In my household, everybody made things and, and that's the way we raised our kids too.

You can make whatever you need.

So my parents came to this country in 1950, after surviving the Holocaust.

My dad found a job as a pocketbook maker in New York.

So he was always working with leather and I would be able to go into the city with him sometimes and sit at his work bench while he would design and cut and sew together leather handbags.

My mom would sew anything only because the first apartment they rented had a sewing machine.

So it was just expected that we would all draw and make things.

So I've been an art teacher in New York City, puppetry specialist, took a detour and did some preschool special ed, and then came back to teaching art.

And when I finally moved to Glens Falls, I taught here for 30 years, and now I get to play the way I wanna play.

(bright music) The first time I had the opportunity to make a piece of felt with a friend at her studio, I made a flat piece of fabric and then I thought, "Oh, now I have to sew this."

And as the daughter of a seamstress, I really didn't feel like sewing anymore.

So the second time she posted, she was giving a class that was to create a cat cave.

And I said, "Whoa, that's sculpture.

I wanna make sculpture."

So she said, "Well, you have to learn how to make a hat first, how to work with a resist."

A resist is a piece of plastic that goes between two layers of wool.

And then I can go over here and use that to lay my fiber around.

So this is sheep's wool in the form of roving.

And then I'm wrapping the wool fibers around the edge, and as I rub them with soap and water, they start to intermesh, almost like making dreadlocks.

And it starts to become, have substance to it.

You're creating surface and form simultaneously.

That's the magic of felt to me.

Once I learned to felt, I never painted again.

My work kind of goes in three different directions.

There's the water work, there's the stone work, and then the third branch is locks, using locks of sheep wool that haven't been washed.

And I can felt them in with my fingertips so that the locks stay up and curly.

I start with sketching when I start a new piece, and you never get enough time to make everything that you sketch out, but you choose one, a concept.

Sometimes that concept comes from what I'm hearing on the radio or what's affecting me at the moment.

(soft inspiring music) I hope people enjoy seeing water, but at the same time, I hope that maybe they'll look a little bit beyond and think about the issues that we have to deal with.

Last summer, I was hearing all about the fires in Maui and came up with a piece that I ended up calling Scorched Earth.

I have another piece that's called Flow Free, and that's about dam removal.

And nobody would know that.

They would enjoy looking at this flowing free bits of water.

But to me, it's also saying the more we remove little nuisance dams throughout the Adirondacks, the more opportunities wildlife and fish have to get back to their spawning grounds in places where they need to go.

Another piece I'm really pleased with is Running Out, and it's my largest piece that's one piece.

It's 10.5 feet long, and it starts full and roaring with lots of white curly locks, but it ends in little drips of water, and it's about aquifers and other water sources running low.

(soft music continues) There's something about the tactile feedback from rubbing the wool through my body that I just respond to.

I like also not having a pencil or a paintbrush.

It's directly my fingers on what I'm working with.

There's no intermediary thing.

Why do I need to make art?

Like I, I don't...

I just have to, like, everybody in my family has to make things.

It's just who we are.

- Stephen Tyson is an artist and educator in Saratoga Springs.

Jade Warrick sat down with Stephen to learn about how his work unites creativity, science, and community.

- How would you describe yourself artistically?

- Hmm, that's a great question.

I see myself as a creative.

I'll start with creativity.

Number one.

The importance of that is because it doesn't limit you to how you express yourself.

And so I can work in a variety of different media, whether it's digital or it's paint on canvas or illustration.

I just like the idea of being able to be free to use whatever medium best allows me to express myself.

- Gotta have the freedom, you know, just be relaxed.

That's how you go.

- Mm-hmm.

- So what about themes of your work?

Like does your work follow a certain theme or are you inspired by any outside influences that show within your work?

- There isn't a particular theme when it comes to my work.

I would say I've been inspired by a variety of different types of art, but not only art, but also in the areas of science.

For example, photomicroscopy, looking at cells, looking at things that can't be seen with the unaided eye.

The idea of dots and patterns and being able to see those in nature, but also to see how those are expressed in various cultures around the world has given me the freedom to create connections in ways that were not easily clear to me when I was very young.

'Cause I loved to do cartoons.

I loved to do illustration caricatures.

People like Al Hirschfeld who used to be an illustrator with the New York Times, with his beautiful lines and movement.

Those inspired me.

But as I began to discover Australian Aboriginal Dreamtime art in dots and, and the way in which this related to worlds and existence that go beyond the, every day that connect generations that move through time.

To me this was liberating.

And so I find that by connecting dots, lines, science, art, and also music because music has a very strong vibratory effect on me and of course people in general.

And so by fusing these together in a creative way, it allows me to go beyond the limitations of any particular time and place, but extend my interests and my expressions to go around the world and around the universe in many ways.

- Wow.

That's beautiful.

So that unity and connection piece is extremely important to your work.

- Absolutely.

Absolutely.

And the reason why it's also important because it is undergirded by a philosophy of bringing people together, bringing communities together.

And part of this came through the environment in which I was raised.

We had a lot of music, we had a lot of art, but there was always a social consciousness that came from my parents and was instilled in me the importance of family, however you define family.

Family was by choice, by spirit, by a way of linking people together and finding the best values in each person and bringing those out, raising them up and finding that everyone has something to contribute.

And when I was very young, I had the opportunity to see Martin Luther King at Hunter College.

And the way in which people came together around this idea of uplift, of support of one another to see beyond individual differences, embracing them, acknowledging them, but not being limited by them to find higher values in community with one another.

And so I think my work, if there is an underlying theme, it's about the freedom of expression.

It is also recognizing and observing things in nature, in human behavior and community in general.

And finding the best values out of those situations in order to bring them to light and to show the opportunity to use these as a catalyst for change and positive transformation.

And I think that the arts are a vehicle for that kind of transformation that has a positive value for humanity.

- Oh, I a hundred percent agree.

Art truly can change and shift cultures.

It is one of our leading forces with that.

- Yes.

Absolutely - Thank you.

That's beautiful.

You have a heavy, like, hand in the education within the arts.

So give us a little bit about, like, why is education important in the arts and what's your favorite part about being an arts educator?

- (chuckles) Well, I started out working for a theater and dance service organization in New York City.

Being an administrator in that context had a lot of value in it.

But one thing that I noticed is that I wanted to do something that allowed me to use the visual arts in a way that, something that I really love, in a way that could inspire people, inspire young people.

And so I was at a Brooklyn Museum retrospective of the work of Romare Bearden.

Coincidentally, somebody came over to me and said, "Hey, there's a principal in the Bronx that's looking for an art teacher.

Would you be interested?"

And I had completed my graduate work and I said, "Yeah, I would be interested."

And went up there, the interview, and that launched my academic career, you might say.

- Wow.

- My interest in education.

And so I did that and it was great because I had a chance to work with young children who did not necessarily see art as a career pathway.

They were just enjoying the idea of creating.

And I would always introduce something that had to do with art history.

I tried to provide a historical context so they can understand how the arts developed, the different communities that the arts developed, and to recognize that they also had something to contribute, something to say.

And so when my students, some of whom were some of the early hip hop break dancers and so forth, like the New York City Breakers, and one of my students was a member of that, I would use the classroom after school to have them work on developing a spring festival of the arts.

So we would create backdrops for the stage.

We would...

They would practice their break dancing in the room.

And this is back in the early '80s.

And then also poetry, script writing.

And it was an incredible coming together, various aspects of the arts along with my colleagues, you know, who helped to work with these young people.

So that really excited me, the idea that if we could find ways to create opportunities for young people and also their parents to see the viability of the arts, you know, that this is something that would, that could be feasible if we put the energy and put the pieces in place that allowed this to manifest.

And so that's been really exciting for me, and I've continued to do that in a variety of ways.

- It's one of the best parts.

And you're also like, tell the parents, "Hey, look at me.

I used to also be a little kid (both laugh) who was in the same position who just strived to just find creativity.

And now I'm a very successful artist trying to then pass it on."

- Yes.

- So it's just like, look right in front of you who's trying to teach.

Like it's true, you really can be a successful career driven artist.

- Absolutely.

- It's gotta break that stereotype.

- Mm-hmm.

Mm-hmm.

- So I know you're involved with Black Dimensions Art and Hamilton Hill.

Wanna give us a little bit of your background with those two organizations?

- Oh, listen, one of the things that I've really enjoyed coming to the Capital Region 25 years ago was being introduced to Black Dimensions in Art and the Hamilton Hill Arts Center.

I can't say enough about the people who have been involved with those organizations, Margaret Cunningham being one of the key founders, not only the Hamilton Hill Arts Center, Miki Conn as well.

Both of them were part of the founding of the Black Dimensions in Art, which grew out of Black Arts, Inc.

This organization today is giving opportunities for artists who are international.

They're giving opportunities for young people to learn from professionals.

They are also, and specifically Black Dimensions in Art, one of the things that we've done is we've partnered with SUNY Schenectady.

I developed a program called Art Through the Microscope where the young people at Trinity Alliance did observational studies of different types of cells through the microscope.

And then they did not only observational drawings, but also then a creative version inspired by what they observed.

- [Jade] Wow.

- And what this did, Jade, was, it gave young people opportunity not only to be creative, but also to see the importance of science and creativity working together.

- Wow, that's great.

Great resources there.

Well, sounds great.

Well, folks need to check Black Dimensions Art out Hamilton Hill, and your work personally.

And thank you again for joining us.

- Oh, thank you, Jade.

- No, thank you.

- Appreciate being here.

- Please welcome Lovella.

(gentle music) ♪ Why is this so hard ♪ ♪ Just trying to find my spark ♪ ♪ When the night seem longer than long ♪ ♪ Tell me, why is this so hard ♪ ♪ Tell me, is this reality ♪ ♪ Or am I dreaming ♪ ♪ Am I dreaming ♪ ♪ Oh, tell me, is this reality ♪ ♪ Or am I dreaming ♪ ♪ Am I dreaming ♪ (gentle music continues) ♪ I can't fly at all ♪ ♪ But the truth won't break my fall ♪ ♪ Without love I'm nothing at all ♪ ♪ Tell me, why is this so hard ♪ ♪ Tell me, is this reality ♪ ♪ Or am I dreaming ♪ ♪ Am I dreaming ♪ ♪ Oh, tell me, is this reality ♪ ♪ Or am I dreaming ♪ ♪ Am I dreaming ♪ ♪ Tell me, is this reality ♪ (Lovella vocalizing) ♪ Or am I dreaming ♪ ♪ Am I dreaming ♪ ♪ Tell me, is this reality ♪ ♪ Or am I dreaming ♪ ♪ Am I dreaming ♪ (gentle music continues) (bright music) ♪ Something about the way you smile ♪ ♪ Makes me wanna feel your lips on mine ♪ ♪ 'Cause I could write a thousand lines ♪ ♪ But maybe I should think twice ♪ ♪ 'Cause I can't read your mind (vocalizes) ♪ ♪ And you don't have to try (vocalizes) ♪ ♪ I could listen through the fight ♪ ♪ While you pulled me like a steady line ♪ ♪ 'Cause you were never Mr.

Right ♪ ♪ And now I think you've missed your time ♪ ♪ 'Cause I can't read your mind (vocalizes) ♪ ♪ And you don't have to try (vocalizes) ♪ ♪ So you go and find me a reason to stay ♪ ♪ You won't (indistinct) I'll be on my way ♪ ♪ 'Cause I can't read your mind (vocalizes) ♪ ♪ And you don't have to try ♪ (Lovella humming) ♪ 'Cause I can't read your mind (vocalizes) ♪ ♪ And you don't have to try ♪ (Lovella humming) (gentle music) ♪ You'll never know what you've done to me ♪ ♪ You're all that I wanted, but not what I need ♪ ♪ I'm the house that you've haunted, but no one can see ♪ ♪ 'Cause I thought that I wanted you next to me ♪ ♪ You never let me love you ♪ ♪ So now I'm letting you go ♪ ♪ Everyone told me what I needed to know ♪ ♪ Needed to know ♪ ♪ Something inside me made me believe ♪ ♪ That you weren't the monster they claimed you to be ♪ ♪ I hope that you know what you've done to me ♪ ♪ You were all that I wanted, but not what I needed ♪ ♪ You never let me love you ♪ ♪ So now I'm letting you go ♪ ♪ Everyone told me ♪ ♪ What I needed to know ♪ ♪ You never let me love you ♪ ♪ So now I'm letting you go ♪ ♪ Everyone told me ♪ ♪ What I needed to know ♪ ♪ Needed to know ♪ (gentle music continues) (bright ethereal music) - Thanks for joining us.

For more arts, visit wmht.org/aha and be sure to connect with us on social.

I'm Matt Rogowicz.

Thanks for watching.

(bright music continues) - [Announcer] Funding for "AHA" has been provided by your contribution and by contributions to the WMHT Venture Fund.

Contributors include the Leo Cox Beach Philanthropic Foundation, Chet and Karen Opalka, Robert and Doris Fischer Malesardi, and the Robison Family Foundation.

- At M&T Bank, we understand that the vitality of our communities is crucial to our continued success.

That's why we take an active role in our community.

M&T Bank is pleased to support WMHT programming that highlights the arts, and we invite you to do the same.