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

FOSTERING TALENT AND CONNECTING THE COMMUNITY TO COLUMBUS ARTISTS.

EVENTS AND CLASSES AT COLUMBUSMAKESART.COM.

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

THANK YOU.

>>> THIS TIME ON "BROAD & HIGH" -- AN INTERDISCIPLINARY ARTIST USES HER UNIQUE BACKGROUND TO CREATE PUBLIC WORKS OF ART.

MEET A CHEMISTRY GEEK AND GLITTER FREAK WHO IS A LITTLE OBSESSED WITH COLOR.

DISCOVER THE ART OF NATIVE AMERICAN BEAD WORK.

AND HEAR THE IN YOUR FACE MUSIC OF A LOCAL BAND, BAVA CHOCO.

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

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>>> WELCOME TO "BROAD & HIGH."

I'M YOUR HOST, KATE QUICKEL.

THE WORK OF ARTIST VIRGINIA KISTLER RANGES FROM THE TINY DUST-LIKE PARTICLES OH OF A MUSHROOM SPORE TO SCULPTURES THAT FILL AN ENTIRE ROOM.

SHE USES MATERIALS RANGING FROM ACRITIC AND PLASTIC TO STEEL AND WOOD.

BEFORE BECOMING A PUBLIC ARTIST, VIRGINIA SPENT TWO DECADES DESIGNING SCIENCE CENTERS AND CHILDREN'S MUSEUMS.

WE MET WITH HER IN HER STUDIO TO TALK ABOUT HER LOVE OF SCIENCE AND NATURE.

>> I HAVE STUDIO WORK, AND I HAVE PUBLIC ARTWORK, AND THE STUDIO WORK IS ABOUT KIND OF A CONTINUOUS IDEA THAT I'M EXPLORING, BUT MY PUBLIC ARTWORK IS VERY PROJECT SPECIFIC.

HOWEVER, I DO THINK THAT THERE IS A LOT OF CROSSOVER BETWEEN THE TWO.

CERTAINLY, YOU CAN LOOK AT THE STYLE OF MY STUDIO WORK, AND YOU SEE IT IN MY PUBLIC ARTWORK.

ALSO, SOME OF THE PROJECTS I'VE BEEN AWARDED ARE MORE SCIENCE BASED, AND I DO THINK THAT'S BECAUSE MY STUDIO WORK HAS KIND OF A NATURE/SCIENCE CONNECTION.

A LOT OF MY WORK IS ABOUT THE INTERSECTION OF SCIENCE AND TECHNOLOGY, AND I FOCUS A LOT ON SPACE.

AND SO A LOT OF IT HAS TO DO WITH KIND OF HABITAT LOSS, EXPANSION OF SUBURBS, THE TRANSFORMATION OF SPACE AROUND US.

AND SO, I THINK IT'S SOMETHING THAT I THINK A LOT OF ABOUT.

THIS IS ONE OF MY FIRST PIECES THAT IS BASED ON A LIGHT MAP OF COLUMBUS, OHIO.

THE INSPIRATION CAME FROM A PHOTOGRAPH TAKEN FROM THE INTERNATIONAL SPACE STATION.

THERE WAS AN ASTRONAUT WHO PHOTOGRAPHED CITIES AT NIGHT, AND SO I WANTED TO USE A LIGHT MAP OF COLUMBUS.

AND SO I DUG THROUGH ALL OF NASA'S PHOTOGRAPHY, AND OF COURSE, THE ONE IMAGE OF COLUMBUS -- THERE WERE PROBABLY SEVERAL -- THEY WERE BLURRY.

AND SO I CREATED MY OWN LIGHT MAP OF COLUMBUS, AND IN A WAY, IT'S ALMOST KIND OF A GREEN SPACE MAP, BECAUSE IF YOU LOOK AT COLUMBUS FROM AN AERIAL PERSPECTIVE, I USED GOOGLE MAPS.

I WENT IN AND I MADE LINE WORK, AND I WENT AROUND THE GREEN SPACES.

AND SO I WAS TRYING TO MAKE THESE JUDGMENTS ABOUT WHICH AREAS WOULD BE ILLUMINATED AND WHICH AREAS WOULD BE DARK.

AND SO I CREATED THE VECTOR LINE WORK, ALL CUT OUT ON A CNC ROUTER.

SO INDIVIDUAL SHEETS THAT WERE HUNG, AND THEN I EXPANDED OHHEN THAT IDEA AND I STARTED TO MAKE LIGHT MAPS OF MY NEIGHBORHOOD AND, AGAIN, THEY REALLY ARE KIND OF GREEN SPACE MAPS.

SO I WAS TRACING GREEN SPACE IN MY NEIGHBORHOOD.

PUBLIC ART IS IMPORTANT BECAUSE IT HAS THE OPPORTUNITY TO REACH PEOPLE WHO DO NOT VISIT GALLERIES OR ART MUSEUMS.

THAT'S MY FAVORITE THING ABOUT PUBLIC ART.

I THINK A LOT ABOUT CHILDREN, YOU KNOW, NOT ALL CHILDREN ARE TAKEN TO ART MUSEUMS AND GALLERIES.

I WAS ONE OF THOSE CHILDREN, SO I THINK A LOT ABOUT THAT.

WHEN DOING PUBLIC ART, YOU HAVE TO THINK ABOUT MATERIAL THAT WILL LAST FOR A LONG TIME.

SO THINKING ABOUT MATERIALS THAT ARE UV RESISTANT, THAT WILL WITHSTAND SOME POTENTIAL ABUSE, AND THAT WILL BE THERE IN 30 YEARS AND STILL LOOK GOOD.

SO THAT'S A BIG PART OF THE PUBLIC ART PROCESS.

A LOT OF TIMES I'LL START OUT DOING SOME JUST KIND OF THUMBNAIL SKETCHES, TRYING TO WORK THROUGH IDEAS, PRETTY QUICKLY THOUGH, I'LL START 3D MODELING SOME IDEAS.

FOR 20 YEARS, I DESIGNED INTERACTIVE FOR CHILDREN'S MUSEUMS AND SCIENCE CENTERS, AND SO MY PROCESS AS A PROFESSIONAL DESIGNER IS VERY SIMILAR TO MY PROCESS AS AN ARTIST WHO CREATES SCULPTURE.

AND SO I USE MODELING SOFTWARE THAT IS ALSO CAD SOFTWARE.

SO I'LL START OUT USING IT FOR THE IDEATION PROCESS, BUT THEN I'LL GO BACK AND ADD IN A LOT OF DETAIL THAT THEN CAN BE USED FOR LASER CUTTING OR CNC ROUTER CUTTING, ET CETERA.

THIS PROJECT IS A SUSPENDED SCULPTURE, WILL BE A SUSPENDED SCULPTURE FOR A HOSPITAL IN PITTSBURGH, PENNSYLVANIA.

THE PIECE IS REALLY BASED ON THE IDEA OF RIPPLING WATER.

THE ENTIRE HOSPITAL IS INSPIRED BY NATURE AND BIOPHELIA.

SO I WANTED TO DO SOMETHING THAT WAS BASED ON WATER, BECAUSE PITTSBURGH HAS, YOU KNOW, THE RIVERS.

THAT'S A HUGE PART OF THE GEOGRAPHY OF THE CITY.

AND SO AS YOU -- AS YOU KIND OF MOVE UNDER THE PIECE, YOU GET KIND OF THIS RIPPLE EFFECT.

AND THEN AS YOU MOVE AROUND THE PIECE, IT KIND OF CHANGES, DEPENDING UPON YOUR VANTAGE POINT.

AND THEN THE PIECE ITSELF WILL BE FABRICATED FROM THIS KIND OF METAL CHAIN THAT IS ANODIZED, AND THERE WILL BE DIFFERENT SHADES OF BLUE.

SO THIS IS A SAMPLE.

THE TROPE OF LIFE IN AN ITALIAN VILLAGE IS ABOUT THE COMMUNITY IN THE VILLAGE.

SO THE INSPIRATION REALLY CAME FROM THE HISTORY OF THE NEIGHBORHOOD.

AND SO THE LINES ORIGINATED FROM THE ARCHITECTURE IN ITALIAN VILLAGE.

IT SPEAKS TO THE HISTORY, BUT I WANTED THE PIECE TO FEEL INCLUSIVE OF THE PEOPLE THAT -- WHO LIVE THERE TODAY, BECAUSE THAT AREA HAS CHANGED SO MUCH.

THE IDEA OF MOTION AND COLOR, I WAS REALLY THINKING ABOUT THE TRANSFORMATION OF THE NEIGHBORHOOD AND THE ACTIVITY THERE TODAY, AND THE -- KIND OF THE VIBRANCY AND THE LIFE OF THAT NEIGHBORHOOD.

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I REALLY LIKE TO MAKE THINGS, AND SO JUST STARTING WITH AN IDEA AND THEN, YOU KNOW, FOLLOWING THROUGH WITH THAT IDEA AND TURNING IT INTO SOMETHING THAT EXISTS AND IN REAL LIFE I THINK IS VERY REWARDING.

IT'S ALWAYS FUN TO SEE HOW THINGS TURN OUT, BECAUSE SOMETIMES THEY DON'T TURN OUT EXACTLY LIKE YOU IMAGINED THEM.

AND SOMETIMES THAT IS GOOD.

AND SOMETIMES THAT IS BAD, BECAUSE SOMETIMES THINGS YOU THINK WILL BE AMAZING, AND THEN YOU MAKE IT AND IT'S NOT.

AND THEN SOMETIMES YOU'RE SURPRISED BY SOMETHING YOU MAKE, AND IT TURNS OUT BETTER THAN YOU EXPECTED.

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>> TO SEE MORE, CHECK HER OUT ON LINE AT VIRGINIAKISTLER.COM.

>>> WHEN PAOLA GRACEY CREATES, SHE DEMONSTRATES THE CONNECTION BETWEEN ART AND SCIENCE.

AS A PRACTICING CHEMIST, SHE'S VERY PRECISE IN THE LAB.

IN THE STUDIO, EACH OF HER PAINTINGS BECOMES AN EXPERIMENT RICH WITH TEXTURE, COLOR, AND ENERGY.

LET'S TRAVEL TO FLORIDA TO MEET THIS ARTIST WHO AIMS TO STIMULATE YOUR IMAGINATION WITH A GOAL OF CREATING AN IMPRESSION WITH THE SCIENCE BEHIND IT.

>> SO I THINK AS AN ARTIST, IT'S NICE TO HAVE AN ARTIST TOUCH FROM BEGINNING TO END.

INSTEAD OF USING A CANVAS TO WRAP IT, I USE A WOODEN PANEL, JUST BECAUSE THE RESIN.

IT HAS TO BE NICE AND LEVEL.

THIS ONE IS FOR 36 X 36 PIECE.

NOW I'M GOING TO GO FRAME IT.

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I'M PAOLA GRACEY, AN ARTIST AND CHEMIST, PRACTICING CHEMIST DURING THE DAY.

AT NIGHT IS WHEN I START TO PAINT AND BECOME ALIVE.

THE THICKER THE BORDER, I LOVE THE WAY THE PAINT LOOKS WHEN IT'S DRIPPED OVER IT.

I PLACE THESE TO MAKE SURE I HAVE A NICE 45 DEGREE ANGLE BEFORE I ADD THE NAILS TO IT, TO REINFORCE IT.

SO NOW I'M GOING TO ADD THE PLYWOOD TO THE TOP, AND THIS WILL BE MY BACK GROUND.

LET ME SWITCH OUT TO THE STAPLE GUN.

SO I'LL PAINT THE BACKGROUND AND APPLY THE RESIN.

THIS IS WHAT THE PIECES LOOK LIKE BEFORE I APPLY THE ACRYLICS.

I DON'T USE A TYPICAL ESIL.

MY ESIL IS THE GROUND.

I STARTED WORKING WITH THIS TECHNIQUE OF PAINTING BACK IN 2004.

I'VE NOTICED OVER THE YEARS IT'S GOTTEN BETTER, AND A LOT HAS TO DO WITH THE DOCUMENTATION.

SO JUST LIKE IN THE LABORATORY, I DOCUMENT ALL MY MATERIALS, ALL MY OBSERVATIONS, AND THEN I USE THAT INFORMATION TO WORK ON THE NEXT PIECE.

THE COLOR I USE MOSTLY ARE DROOL TONES AND BLUES, AND I GUESS A LOT OF IT, THE COLORS THAT I USE ARE INFLUENCED BY SCIENCE AND GROWING UP IN SOUTH FLORIDA, THE COLORFUL ATMOSPHERE.

SO I LIKE TO THROW IN A SHRILL ORANGE OR A YELLOW INTO THE PIECE.

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THEY JUST SPEAK TO ME IN DIFFERENT WAYS.

I DON'T KNOW THAT PEOPLE UNDERSTAND IT.

IT'S JUST, YOU KNOW, HOW THEY SPEAK TO ME IS HOW I CHOOSE WHAT COLOR WILL GO NEXT TO THE OTHER.

I DON'T EFFICIENT LET THE CANVAS KIND OF STOP.

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THIS IS WHERE I LIFT IT UP, AND LET GRAVITY DO ITS THING.

THERE WE GO.

WHAT DO YOU THINK?

SOME TAKE OFF, AND LIKE THE OTHERS -- IT'S LIKE THE RACE OF THE DRIPS.

SO I TRY TO CONTROL IT, BUT AT THE SAME TIME, IT'S MORE OF AN ORGANIC FLOW TO IT.

JUST KIND OF GIVE IT MOMENTUM.

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ALL RIGHT.

WE CAN BRING IT DOWN NOW.

ALL RIGHT.

AND THAT'S THE END.

I LIKE THE WAY IT IS.

I BRING IT BACK DOWN.

I HAVE TO LEAVE IT TO DRY FOR A COUPLE OF DAYS, AND THAT'S IT.

BOTH MY GRANDMOTHERS WERE ARTISTS, SO I WAS ALWAYS EXPOSED TO THAT.

WHEN I WAS STUDYING IN CHEMISTRY, I ALWAYS TOOK A PAINTING CLASS TO HELP THE STRESS.

THERE IS WHEN I STARTED TO MERGE THE SCIENCE AND THE ART.

WHEN I WAS TAKING A BIOCHEMISTRY CLASS, WHATEVER I WAS STUDYING, I WAS INCORPORATE INTO THE PAINTING.

THE PIECE I DID LIVE WAS THE KINETIC ENERGY SERIES.

I LOVE LOOKING AT IMAGES FROM THE HUBLE TELESCOPE.

THE AMOUNT OF ENERGY OUT THERE IN SPACE WE DON'T KNOW MUCH, BUT I LIKE TO EXHIBIT IT AS IF IT'S GOING AGAINST GRAVITY.

I LIKE THAT UNKNOWN AND THAT MYSTICAL ASPECT OF HOW DID YOU GET THE PAINT TO DO WHAT IT DID?

SO THIS PIECE, WHEN YOU LOOK AT CERTAIN CHEMICALS UNDER A MICROSCOPE, A LOT OF THEM HAVE THAT HOLOGRAPHIC EFFECT.

IT'S BEAUTIFUL.

I WANTED TO FIND A GLITTER THAT WOULD REPRESENT THAT.

WHEN I'M IN A LABORATORY ANALYZING DIFFERENT SUBSTANCES, THESE ARE WHAT MY RESULTS LOOK LIKE AT THE END OF THE DAY.

I'VE HAD SEVERAL PEOPLE ASK ME, WHY DON'T YOU COVER THE ACRYLIC ON THE TOP WITH THE RESIN?

MY ANSWER TO THEM IS, I LIKE THE TEXTURE.

IF I COVERED IT WITH THE RESIN, YOU LOSE THE EFFECT OF THE MATTE AGAINST THE HIGH SHEEN.

IT ADDS LIKE THIS DEPTH TO IT AND JUST THE GLITTER, WHEN YOU WALK PAST IT, THE PIECE BECOMES ALIVE, ESPECIALLY WHEN YOU HAVE THE RIGHT LIGHTING.

IT REALLY DEMANDS YOUR ATTENTION.

IT'S SO MUCH FUN TO WORK WITH.

>> TO SEE MORE OF HER WORK, CHECK HER OUT AT PAOLASTUDIOS.COM.

>>> SINCE THE AGE OF 15, TERESA MENENDEZ HAS BEEN CREATING EYE-CATCHING DESIGN FULL OF COLOR AND CREATIVITY.

SHE PRACTICES THE ART OF NATIVE AMERICAN BEAD WORK.

TODAY, HER DESIGNS APPEAR IN DANCES WHICH SHE APPEARS.

WE TRAVELED TO NEVADA TO LEARN MORE ABOUT HER TECHNIQUE AND VISION.

>> MY FAVORITE FORM OF INDIGENOUS ARTWORK IS BEAD WORK.

I REALLY ENJOY BEADING.

I FIND IT RELAXING AND I ENJOY THINKING ABOUT THE DESIGNS, THE LOOKS I WANT TO CREATE.

I ALSO ENJOY IT BECAUSE IT'S FUNCTIONAL ARTWORK.

BEADING IS A FORM OF NATIVE AMERICAN ARTWORK.

SO I'VE VISITED DIFFERENT TRIBAL NATIONS AND YOU'LL SEE DIFFERENT STYLES.

I'VE BEEN MAKING BEAD WORK SENSE I WAS ABOUT 15.

USUALLY WHEN I CREATE BEAD WORK, IT'S FOR USE, FOR CULTURAL EVENTS OR CEREMONIES OR POW WOWS.

I'M A POW DANCER, I LIKE TO DANCE.

MY KIDS AND I WILL POW DANCE, SO A LOT OF THE BEAD WORK I MAKE IS FOR THAT.

WHEN I WAS COMING UP WITH BEAD WORK DESIGNS, I OFTEN FIRST START WITH THE ESSENCE OF THE PIECE.

I'M REALLY THINKING ABOUT THE PERSON THAT I'M DESIGNING FOR, AND THESE ARE THE FINAL PRODUCTS.

AND THE LOOK THAT I WANT TO CREATE.

I LIKE TO PUT IT ON PAPER AND TRANSLATE THAT PAPER TO MATERIAL.

AND I'LL SEW IT DOWN SO I HAVE A PATTERN TO WORK WITH, AND START BEADING.

BEAD WORK IS INCREDIBLY TIME CONSUMING.

AS YOU LOOK AT THESE DIFFERENT BEADED PIECES, YOU KNOW EACH ONE OF THOSE BEADS WAS HAND SEWN ON.

ARTISTS HAVE THEIR OWN TECHNIQUES, SO I LIKE TO PUT ON FOUR BEADS, THEN GO BACK FOR TWO.

EVERY SINGLE BEAD IS TOUCHED BY THAT ARTIST, SOMETIMES MULTIPLE TIMES, DEPENDING ON HOW THEY TACK IT DOWN.

SO THE LARGEST PIECES THEY HAVE HUNDREDS OF HOURS OF MAN TIME.

I WOULD SAY ONE OF MY FAVORITE PARTS ABOUT BEADING IS WATCHING THE PIECE COME TOGETHER.

BECAUSE YOU HAVE THIS VISION, AND LOTS OF TIMES YOUR VISION IS PRETTY TRUE TO THE FINAL PRODUCT.

SOMETIMES IT'S NOT.

SO IT'S FUN WATCHING THE PIECE COME TOGETHER.

TO SEE THE COLORS AND THE DESIGNS COME TOGETHER, IT'S REALLY EXCITING AND PROVIDES ME A LOT OF MOTIVATION.

BECAUSE I'LL BE LIKE, TWO MORE HOURS AND I'LL HAVE THIS PIECE COMPLETE AND I CAN SEE WHAT IT WILL LOOK LIKE.

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WHEN I MAKE BEAD WORK, I MAKE IT FOR REALLY SPECIFIC PURPOSES.

SO MY HUSBAND AND I GOT MARRIED ABOUT SEVEN YEARS AGO.

I WORE A TRADITIONAL OUTFIT FOR OUR WEDDING AND THEN OUR DAUGHTERS, THEY WORE SOME BEADED PIECES ALSO.

MY 14-YEAR-OLD, HER NAME MEANS WILD ROSE.

SO YOU'LL SEE IN THOSE PIECES THAT THERE'S AN IMAGE OF A ROSE, AND OUR LITTLE ONE, HER NAME IS WILD IRIS.

SO WE HAVE IRIS BEADED INTO HER WORK.

AND IN MY BANDALIER BAG, THERE ARE SEVERAL FLOWERS BEADED INTO THAT.

THERE'S A HUMMING BIRD, WHICH SYMBOLIZES LOVE.

AND GOING UP THE STRAPS ARE THE FLOWERS OF THE ORCHID.

I BEADED A RED STAR LIKE FLOWER FOR MY HUSBAND.

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ONE OF THE PIECES I MADE AT MICHIGAN STATE UNIVERSITY, A MEDALLION IN THE SHAPE OF A SPAR SAN S WITH A LITTLE HASH ACROSS, AND THE YEAR I GRADUATED, BECAUSE I GRADUATED WITH A BACHELORS DEGREE IN SOCIOLOGY.

WHAT'S COMMON IN INDIGENOUS ARTWORK IS TO SEE SYMBOS THAT ARE VERY SPECIFIC TO THAT INDIVIDUAL OR TO THAT CEREMONY.

ALL MY BEAD WORK HAD A LOT OF SYMBOLISM.

IT FEELS GREAT TO WEAR THE ARTWORK, BECAUSE I KNOW IT COMES FROM A SPECIAL PLACE.

I KNOW THERE'S A LOT OF MEANING BEHIND THE PIECES, BUT I ALSO THINK IT'S IMPORTANT AS AMERICANS THAT WE SEE THE VISIONS OF PEOPLE WHO LIVE HERE AND HAVE ALWAYS LIVED HERE.

THERE ARE 27 RECOGNIZED TRIBES, THAT'S A LOT OF TRIBES.

SOMETIMES WHEN WE THINK ABOUT INDIGENOUS CULTURES AND INDIGENOUS ART, WE THINK ABOUT THEM AS HISTORY.

SOMETHING THAT'S IN THE PAST, SOMETHING THAT'S NOT CURRENT.

THERE'S ALL KINDS OF BEAUTIFUL WORK BEING DONE BY ARTISTS AROUND THE COUNTRY.

THEY'RE CAPITALIZING ON CONTEMPORARY MATERIALS, THINGS, IT'S BEAUTIFUL TO SEE INDIGENOUS ART.

SO WHAT IS INDIGENOUS IS ALSO CONTEMPORARY.

>>> BAVA CHOCO IS A BAND MADE OF VETERAN COLUMBUS MUSICIANS WHO PLAY SOME PRETTY BANGING SONGS.

WHEN WE HOSTED PATRICK, ERIC, COREY AND MIKE IN THE STUDIO FOR A "BROAD & HIGH" PRESENTS SESSION, THEY PUT OUR SOUND PROOFING TO A TEST.

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[ HARD ROCK MUSIC ] !

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[ HARD ROCK MUSIC ] !

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[ HARD ROCK MUSIC ] !

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[ HARD ROCK MUSIC ] !

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>> IF YOU ARE READY TO ROCK, FIND OUT WHERE THEY'RE PLAYING NEXT AT BAVACHOCO.COM.

WE END WITH ANOTHER ONE FROM BAVA CHOCO.

FIND ALL OF OUR STORIES ON LINE AT WOSU.ORG.

I'M KATE QUICKEL.

THANKS FOR WATCHING.

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[ HARD ROCK MUSIC ] !

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[ HARD ROCK MUSIC ] !

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

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