>> TONIGHT ON POINTS NORTH, WE'LL MEET A VERMONTER WHO HAS HELPED MAKE WEIGHTLIFTING A WOMEN'S SPORT.

SEE HOW AMERICA'S GREAT GUNS ARE MADE, AND VISIT WITH SABRA FIELD TO LEARN THE SECRET BEHIND THE ART OF PLACE.

>> HI, I'M ROB MICHALAK, WELCOME TO POINTS NORTH.

COMPETITIVE WEIGHTLIFTING HAS LONG BEEN THE EXCLUSIVE PROVINCE OF MEN, BUT THAT'S CHANGED.

IN THE NEXT OLYMPIC GAMES, WOMEN WILL COMPETE IN THIS EVENT FOR THE FIRST TIME.

ST.

ALBANS NATIVE JACKIE SIMONSON IS ONE OF THE WOMEN WHO BROUGHT WOMEN'S WEIGHTLIFTING TO THE INTERNATIONAL LEVEL, FOUR-TIME WEIGHTLIFTING CHAMPION, JACKIE WAS CONSIDERED THE WORLD'S STRONGEST WOMAN FOR SEVERAL YEARS IN THE EARLY 1990s.

SHE WON'T COMPETE IN THE OLYMPIC EVENT SHE HELPED TO REALIZE.

NOW RETIRED FROM COMPETITION, JACKIE WILL WATCH FROM THE SIDELINES DOING WHAT SHE NOW DOES BEST.

COACHING TOMORROW'S LIFTERS TO VICTORY.

>> THE COLLINS SPORTS COMPLEX IN ST.

ALBANS IS THE WORKING HOME OF A WEIGHTLIFTER WHO WON THE TITLE WORLD'S STRONGEST WOMAN THREE TIMES, NOW RETIRED, JACKIE SIMONSON COACHES COMPETITIVE WEIGHTLIFTINGERS, HIGH SCHOOL ATHLETES, PEOPLE WHO WANT TO STAY IN SHAPE AND HEART ATTACK SURVIVORS.

JACKIE, HOWEVER, DID NOT START HER ATHLETIC CAREER WANTING TO CHALLENGE FEMALE STEREOTYPES AND BECOME A WEIGHTLIFTER.

>> I STARTED COMPETITIVE WEIGHTLIFTING IN 1984 BECAUSE I HAD A RUNNING INJURY.

I WAS A COMPETITIVE MARATHON RUNNER.

I WAS TRAINING IN CANADA.

AND I PARTIALLY TORE A QUAD, WHICH IS A MUSCLE ON THE TOP OF MY THIGH, AND IT STOPPED ME FROM RUNNING IN THE OLYMPIC TRIALS, WHICH I WAS INVITED TO GO TO.

I ENDED UP EITHER HAVING A CHOICE OF SURGERY OR GOING INTO THE WEIGHT ROOM AND STRENGTHENING MY LEGS UP, AND I DECIDED TO GO TO THE WEIGHT ROOM AND START LIFTING.

I WANTED TO START COMPETITION IN WEIGHTLIFTING BECAUSE I SAW THESE GUYS IN THE CORNER OF THE GYM WHO WERE DOING THESE INCREDIBLE LIFTS OVER THEIR HEADS.

HERE I WAS IN THE OTHER CORNER, LIFTING, YOU KNOW, VERY LIGHTWEIGHT, JUST PLAYING AROUND AND NOT GETTING A LOT OUT OF IT, I DECIDED THAT'S WHAT I WANT TO DO.

I WENT OVER TO A SQUAT RACK, AND I PUT THE BAR ON MY BACK, AND I SQUATTED DOWN AND COULDN'T GET BACK UP.

THE GUYS HAD TO TAKE THE BAR OFF MY SHOULDERS, AND TOLD ME, YOU SHOULD NOT BE IN THIS ROOM, BUT I DECIDED THAT'S WHAT I WANTED TO DO.

>> JACKIE WASN'T CONTENT TO JUST LIFT WEIGHTS.

SHE SOON DECIDED TO EXCEL IN THE SPORT AND BREAK NEW GROUND.

NOT ONLY FOR HERSELF, BUT FOR ALL WOMEN.

WITHIN A SHORT TIME, JACKIE WAS SETTING RECORDS AND SETTING STANDARDS IN HER SPORT.

SHE SOON REALIZED THAT SHE WAS CONSIDERED A PIONEER, BUT THAT ROLE WAS NOT ALWAYS AN EASY ONE TO PLAY.

>> I HAVE HAD MY UPS AND DOWNS WITH SOME MEN, A WEIGHTLIFTER, WOMEN DON'T LIFT WEIGHTS.

YOU SHOULD NOT BE DOING THAT.

I HAD ONE MAN TELL ME MY UTERUS WOULD FALL OUT, WHICH IS ABSURD.

>> STANDING 5'6" AND WEIGHING AROUND 130 POUNDS, JACKIE DOESN'T FIT THE STANDARD IMAGE OF THE MUSCLE-BOUND OLYMPIC WEIGHTLIFTER WE ARE USED TO SEEING EVERY FOUR YEARS.

>> LIFTERS DO NOT HAVE TO BE BIG TO BE STRONG.

IT MATTERS HOW MUCH FAST TWITCH FIBERS YOUR BODY HAS, HOW MUCH YOU WORK ON SPEED AND TECHNIQUE, SO YOU TAKE SOMEONE LIKE MYSELF.

I HAVE WON FOUR WORLD TITLES.

I HAVE ALSO BEEN CONSIDERED THREE TIMES THE WORLD'S STRONGEST WOMAN IN ALL AROUND WEIGHTLIFTING.

THAT'S NOT BASED ON JUST MY TOT, ALSO ON MY BODY WEIGHT, AND ALL AROUND WEIGHTLIFTING WE DO TEN EVENTS.

NOT ONLY SNATCH AND CLEAN AND JERK, BUT WHAT WE CALL ODD LIFT.

MY HEAVIEST ODD LIFT HAS BEEN 1400 POUNDS.

>> JACKIE'S YEARS OF COMPETITIVE LIFTING ARE OVER NOW.

THESE DAYS, SHE FINDS HERSELF ON THE SIDELINES, USING HER EXPERIENCE, DEDICATION, AND DRIVE TO HELP OTHERS COMPETE IN THE SPORT THAT SHE HAS ALWAYS CHAMPIONED.

>> NICE.

A BIT MORE SPEED, THOUGH.

>> JACKIE PREPARES ATHLETES FOR COMPETITION, INCLUDING 15-YEAR-OLD JUSTIN LUCIER, WHO IS A VETERAN LIFTER.

PREPARING FOR WEIGHTLIFTING COMPETITION IS CALLED TESTING, AND THIS WILL BE THE LAST MAJOR WORKOUT PRIOR TO THE GREEN MOUNTAIN OPEN LATER IN THE WEEK.

>> PUSH.

PUSH.

PUSH.

NICE.

>> I GOT STARTED WITH WEIGHTLIFTING WHEN I WAS ABOUT FOUR YEARS OLD.

I HAD A COUSIN, WHO WAS A BODY BUILDER, HE INFLUENCED ME VERY MUCH.

EVER SINCE THEN, I HAVE ALWAYS BEEN INTERESTED IN IT, AND THERE IS NOT A REAL BIG REASON WHY.

>> JUSTIN SHOWS AMAZING DETERMINATION AND DRIVE, AND HAS SOME VERY DEFINITE GOALS FOR HIS WEIGHTLIFTING CAREER.

>> I LIKE TO, IN THE NEXT FEW YEARS, MAKE IT TO THE JUNIOR WORLD CHAMPIONSHIPS.

AND MAYBE IN LIEUTENANT COLONEL, THE WORLD CHAMPIONSHIPS.

MAYBE THE OLYMPICS.

SO THAT'S WHAT KEEPS ME GOING.

>> JUSTIN'S SUCCESS AS A YOUNG WEIGHTLIFTER IS PARTLY DUE TO A STRONG WORK ETHIC THAT REVOLVES AROUND A DEMANDING WORKOUT SCHEDULE AND RELIANCE ON THE WISDOM OF HIS COACH.

>> TIGHT, TIGHT.

TIGHT.

NICE.

DOWN.

EXCELLENT.

EXCELLENT.

>> JACKIE HAS GONE THROUGH WORLD CHAMPIONSHIPS, NATIONAL CHAMPIONSHIPS, GREAT TOUCH AS A COACH.

WOMEN WORKING OUT IN A WEIGHT ROOM AND THANKS TO BUY NEARS LIKE JACKIE, MORE AND MORE WOMEN ARE TAKING THE WORKOUT A STEP FARTHER AND ACTUALLY COMPETING.

THE ROLE OF WOMEN IN WEIGHTLIFTING HAS REALLY INCREASED IN THE PAST FEW YEARS.

IT'S BEEN ACCEPTED BY THE OLYMPIC COMMITTEE AND WILL BE A PART OF THE 2000 GAMES IN SIDNEY.

WOMEN WEIGHTLIFTING IS JUST A MIRACULOUS HAPPENING FOR US IN WEIGHTLIFTING.

WOMEN TURN OUT TO BE MUCH STRONGER THAN THEY LOOK, AND IT'S REALLY THE GREATEST THING EVER TO HAPPEN FOR, I THINK, SPORTS IN THE UNITED STATES.

>> AN INSURANCE AGENT AND MOTHER OF TWO, WENDY FINDS WEIGHTLIFTING COMPETITION A STRESS RELIEVER, A CHALLENGE, AND JUST PLAIN FUN.

>> DOWN.

I ENJOY COMPETING.

I HAVE BECOME VERY FOCUSED AND INTENSE ON THE DAY OF THE CONTEST.

SOMETIMES I QUESTION WHY I AM COMPETING.

I REALLY ENJOY IT.

>> FOR CHRIS OF JEFFERSONVILLE, WEIGHTLIFTING IS JUST THE CONTINUATION OF A LIFETIME OF SPORTS COMPETITION.

>> I ENJOY COMPETING.

I HAVE COMPETED IN SOCCER AND LACROSSE AND CROSS COUNTRY SKIING, AND THE CREW, BICYCLES, JUST ANOTHER THING TO COMPETE IN.

I LIKE OLYMPIC STYLE WEIGHTLIFTING BECAUSE IT'S A FULL BODY MOVEMENT.

IT CONCENTRATES ON BALANCE, QUICKNESS AND TECHNIQUE.

>> AND IT ALSO CONCENTRATES ON THE MIND.

SUCCESS IN ANY SPORT IS LARGELY MENTAL, AND THIS IS ESPECIALLY TRUE HERE.

>> LIFTING, YOU CAN ONLY GET SO STRONG.

EVERYBODY TRAINS HARD.

WHAT SEPARATES A CHAMPION FROM THE REST OF THE GROUP IS HOW MUCH THEY HAVE IT IN THEIR HEART AND HOW MUCH THEY HAVE IT IN THEIR DESIRE TO REALLY SUCCEED IN THE SPORT.

>> ULTIMATELY, COMPETITION IS THE THING.

CHRIS, WENDY, AND JUSTIN ALL COMPETED IN THIS PAST SUMMER'S GREEN MOUNTAIN OPEN.

>> THAT'S IT.

TIGHT.

TIGHT.

TIGHT.

STAY TIGHT.

[APPLAUSE] [APPLAUSE] >> AS THE WEIGHT MOUNTS UP, IT'S JUSTIN'S TURN.

HE'S NOW TRYING FOR A PERSONAL RECORD.

>> 30 SECONDS.

>> BIG EFFORT HERE.

BIG PULL.

PUSH.

PUSH.

PUSH!

NICE.

>> LOOKS GOOD.

TIGHT.

>> FOR JACKIE AND HER LIFTERS THIS AUGUST 30 WAS A GOOD DAY.

SOME DAY ONE OF THEM MAY HEAR THE CHEERS AT THE OLYMPICS WITH THE HELP OF THE COACH WHO WAS DENIED THE CHANCE TO COMPETE THERE, HERSELF.

>> NICE JOB.

>> IN TONIGHT'S SECOND SEGMENT WE LOOK AT A GREAT AMERICAN SYMBOL, ONE THAT HAS BECOME THE TARGET OF THE DENNISONS OF POLITICAL CORRECTNESS, THE GUN.

GUNS ARE DANGEROUS, BUT THEY ARE AN AMERICAN TRADITION, ONE THAT COMPANIES LIKE RUEGER HAVE HELPED TO ESTABLISH AND MAINTAIN.

OUR FRIENDS AT NEW HAMPSHIRE PUBLIC TELEVISION BRING US THIS PORTRAIT OF ONE OF THE GREAT FIREARM MANUFACTURERS AND THE MAN BEHIND IT.

>> IN DESIGNING A GUN, WHAT'S THE CHALLENGE?

WHAT FOR YOU IS THE INTERESTING PART OF THAT?

>> WELL, IT'S VERY REAL.

IT'S KIND OF A PUZZLE.

AN INTELLECTUAL THING, A COMPUTER GAME.

THE EQUIVALENT OF A GAME OF CHESS.

MAKING THIS INTRICATE MECHANISM, FUNCTION AS IT SHOULD, COMPACT, COMPLICATED, PRODUCIBLE.

RELIABLE.

FIT WITHIN THE CONTEXT OF THE ENVELOPE OF A STANDARD CONFIGURATION OF A FIREARM.

A LOT OF DISCIPLINES.

RULES TO THE GAME AND SO ON.

SO DESIGNING A GUN, YOU CAN DO THAT SIMPLY FOR THE AMUSEMENT OF IT.

>> THE COMPANY WAS STARTED IN 1948 BY WILLIAM RUEGER AND ALEXANDER STERN.

THEIR FIRST GUN, A .22 CALIBER AUTOMATIC PISTOL, BECAME AN INSTANT SUCCESS.

THE COMPANY GREW.

NEW LINES OF HANDGUNS, RIFLES, SHOTGUNS AND LAW ENFORCEMENT WEAPONS WERE INTRODUCED.

TODAY, THE WHOLE PROCESS TAKES PLACE IN THEIR FACTORY IN NEWPORT, NEW HAMPSHIRE.

FROM ENGINEERING AND OPERATIONS TO WOODWORKING, MANUFACTURING AND ADMINISTRATION.

>> I THINK THAT WE ARE IN A BUSINESS THAT I AM PROUD OF BEING IN BECAUSE IT REALLY IS, IN FACT, ONE OF THE PIONEER INDUSTRIES OF AMERICAN PRECISION MANUFACTURING.

WE WERE, IN THE 19th CENTURY, THE JAPS OF THE WORLD, AND WE HAVE ALL THOSE LATENTABLES, BUT WE ARE LEARNING TODAY IS THAT OTHER PEOPLE HAVE THEM, TOO, BUT FOR WHATEVER IT'S WORTH, IT STARTED HERE AND WITH THE FIREARMS INDUSTRY.

>> I LIKE TO COLLECT OIL PAINTINGS.

THAT, THE SHEEP IS TYPICAL OF THE WORK OF CARL RUNGUS, ANIMAL PICTURES ARE ABSOLUTELY CORRECT AND AUTHENTIC, BOTH AS TO THE ANIMAL AND THE HABITAT THAT HE'S SHOWN IN, AND THE WORK, PROBABLY, QUALIFIES TO BE THE FOREMOST AMERICAN WILDERNESS PAINTER.

THERE IS THE REMINGTON, WHICH WAS MADE, MAINLY, MADE FOR THE EASTMAN KODAK COMPANY, AND THEY USED IT AS AN ADVERTISEMENT.

IN FACT, I HAVE A COPY OF A PICTURE AS AN ADVERTISEMENT.

AND THEN THE ONE BEHIND ME IS THE OLIVER CAMP, ESSENTIALLY WHO IS A 1920'S STYLE ILLUSTRATOR, MAKING PICTURES FROM MAGAZINES AND BOOKS.

AND VERY GOOD AT IT.

AND THIS PICTURE ALSO HAS THAT AUTHENTICITY IT GETS BECAUSE HE WAS PROBABLY SITTING IN THAT CANOE HIMSELF AT ONE TIME OR ANOTHER.

>> WHO BUYS THE RUEGER GUN?

WHO ARE THE PEOPLE OR THE BUSINESSES THAT PURCHASED YOUR PRODUCT?

>> WELL, I THINK THAT IT IS INVARIABLY SPORTSMEN.

HUNTERS.

BUT THEN, YOU KNOW, THERE IS A LOT OF PEOPLE THAT JUST LIKE GUNS, AND BUY THEM TO TINKER WITH AND TO EXPERIMENT WITH, TESTING THE ACCURACY OF THE GUN, GETTING OUT ON A RIFLE RANGE OR SETTING UP A PLACE THAT THEY CAN SHOOT, ASSUMING THEY LIVE OUT IN SOME REMOTE PLACE.

AND THEY ARE EQUIPPED WITH SURPRISINGLY SOPHISTICATED TOOLS AND SO ON, TO RELOAD AMMUNITION, MAKE SPECIAL AMMUNITION, SOME OF THEM HAVE CHONOGRAPHS TO MEASURE THE VELOCITY OF THE BULLET, AND BEAUTIFUL OPTICAL EQUIPMENT TO MINIMIZE THE SIZE OF THE GROUP SO THEY TEST FOR ACCURACY AND PERFORMANCE.

LEARN A GREAT DEAL, AND HAVE A GOOD TIME DOING IT.

>> THE RIGHT OF THE AMERICAN CITIZEN TO OWN FIREARMS IS NOT MERELY A CONSTITUTIONAL GUARANTEE.

IT'S BEEN THE FACT OF LIFE IN AMERICA FOR 200 YEARS.

EVER SINCE THE COUNTRY GOT STARTED AFTER THE REVOLUTION, AND EVEN IN THE DAYS OF THE REVOLUTION, ALL THOSE COLONIST FIREARMS.

SO GUNS OF AMERICA HAVE BEEN ABSOLUTELY A UNIFIED THING.

IN MY OPINION, AND THAT OF A LOT OF OTHER PEOPLE, TOO, IT'S THE OWNERSHIP OF THE FIREARMS, THE RIGHT TO OWN FIREARMS.

IT DISTINGUISHES AMERICANS AS REAL CITIZENS.

THIS MAY NOT BE SO VISIBLE TODAY, BUT IN THE PAST, OUR REAL CITIZENS, OUR FARMERS AND MECHANICS COULD OWN FIREARMS, BUT EVERYWHERE ELSE IN THE WORLD THEY WERE NOT THAT.

THEY DID NOT HAVE THAT STATUS.

THEY WERE AN UNDERCLASS.

AND THEY WERE, IN EFFECT, SERVANTS, WEREN'T ALLOWED.

THAT'S WHAT I DON'T WANT TO HAPPEN HERE.

>> I THINK IT WAS MOUNT ST.

TOM WHO SAID POLITICAL POWER GROWS OUT OF THE BARREL OF A GUN.

OF COURSE HE WAS NEVER WILLING TO SHARE THAT POWER WITH THE PEOPLE HE GOVERNED.

GANDHI DISAGREED.

HE THOUGHT THAT THE PHYSICAL POSSESSION OF ARMS IS THE LAST NECESSITY OF THE BRAVE.

NO MATTER WHAT YOU THINK OF GUNS, WHETHER IT'S PROTECTORS OF LIBERTY OR TEMPORARY CIVILIZATION, YOU MUST ADMIT THAT THEY HOLD A STRANGE KIND OF FASCINATION FOR US AMERICANS.

AND ONE FACT IS CLEAR.

SOME OF THE BEST GUNS IN THE WORLD ARE MADE RIGHT HERE IN NEW >> HER PRINTS HANG IN THE BOARDROOMS OF SOME OF AMERICA'S LARGEST CORPORATIONS, AND IN THE CABINS OF SOME OF THE NEW ENGLAND'S MOST RUSTIC FISHING CAMPS.

AMONG OF ARTISTS OUTSIDE OF THE WORLD OF COLLECTORS AND FINE ART EXPERTS, SABRA FIELD HAS ATTRACTED A LARGE AND DIVERSE FOLLOWING.

POINTS NORTH CO-HOST FRAN STODDARD RECENTLY VISITED WITH ONE OF VERMONT'S SIGNATURE VISUAL ARTISTS TO LEARN MORE ABOUT THE PERSON BEHIND THE ART OF PLACE.

SABRA FIELD LIVES AND WORKS AT HER EAST BERNARD HOME LAUNCHING POINTS FOR THE DOZENS OF SERIES THAT SHE HAS PRESENTED IN 40 EXHIBITIONS.

>> WHEN YOU GRADUATED FROM MIDDLEBURY, YOU WERE CLEARLY A WONDERFUL ARTIST THEN, AND YET YOU HAD NOT DISCOVERED PRINT MAJOR LEAGUE.

HOW DID PRINT-MAKING BECOME THE FOCUS OF YOUR CAREER?

>> I HAD MY GRADUATE SCHOOL AT WESLEYAN, AND THERE IS A TREMENDOUSLY WONDERFUL PRINT COLLECTION, AND THERE WAS AT THE TIME A WONDERFUL PRINT-MAKING DEPARTMENT THERE.

SO I WAS LUCKY.

I FOUND IT.

I FOUND MY TRUE LOVE.

>> WHAT DO YOU LOVE MOST ABOUT PRINT-MAKING?

>> I LOVE THE PHYSICAL ASPECTS OF IT.

THE CUTTING AND THE ARTISAN SHIP, THE CRAFTSMANSHIP OF IT.

I LOVE THE REPETITION OF IT.

I THINK MAKING MULTIPLES IS REALLY JOYFUL, AND PROBABLY THE BEST THING ABOUT IT IS THAT IT FORCES YOU TO SIMPLIFY.

>> COME SLATEN IN HIS BOOK ON YOU AND YOUR ART CALLED, THE ART OF PLACE, SAYS THAT AT ONE POINT, PRINTS ARE THE ART OF EVERY MAN.

WHAT DOES THAT MEAN TO YOU?

>> I THINK WHAT IT MEANS TO ME IS THAT BECAUSE IT'S MULTIPLES, IT'S POSSIBLE FOR MANY PEOPLE TO AFFORD TO OWN ORIGINAL PRINTS.

>> THAT'S GREAT.

SO -- >> AND MANY VERMONTERS DO.

>> YEAH.

>> SOMETIMES YOU COLLABORATE ON WORK WITH YOUR HUSBAND WHO IS ALSO YOUR BUSINESS MANAGER.

HOW DOES THAT WORK?

>> WHEN I NEED A BIRD DONE, SPENCER DRAWS BIRDS BETTER THAN I DO.

I LIKE TO SAY SPENCER CAN MAKE BIRDS LOOK LIKE THEY ARE FLYING, WHEREAS MOST ARTISTS MAKE THEM LOOK LIKE THEY ARE ABOUT TO DROP LIKE A ROCK.

HE'S ALSO GOOD AT OTHER WILDLIFE.

I WILL TAKE THE DRAWING, THE SKETCH AND GIVE IT A SETTING AND DECIDE ON THE COLOR SEPARATIONS.

>> WHAT ARE THE CHALLENGES OF YOUR COMPOSITE WORKS?

HOW DO YOU CHOOSE TO MAKE A PAIR OF PAINTINGS OR A TRYPTYCH?

HOW DO YOU MAKE THAT CHOICE?

>> SOME OF IT IS SHEER EXPEDIENCY.

THERE IS A SIZE LIMIT FOR UNITED PARCEL, SO I SIMPLY COULDN'T SHIP SOMETHING THAT WAS SEVEN OR NINE FEET WIDE, AND IT'S VERY AWKWARD TO GLAZE AND FRAME SOMETHING THAT SIZE.

BUT YOU KNOW, THERE IS SOMETHING MAGICAL ABOUT PUTTING SEGMENTATION ONTO SUPERIMPOSING THAT ONTO A DESIGN.

IT MAKES THE VIEWER HAVE TO DO THE COMPLETING.

THE WHOLE TRICK, THE CHINESE PAINTED SCREENS AND THE EUROPEAN ALTARPIECES ARE CONCEIVED THAT WAY.

>> SO IS IT A MATTER OF, I WANT THIS TO BE THIS BIG?

THEREFORE, IT WOULD BE THREE PIECES OR FOUR PIECES?

>> YEAH.

>> THE LANDSCAPE DICTATES THAT?

>> NO.

I WOULD SAY THAT I WOULD THINK THAT WOULDN'T IT BE NICE IF I COULD DO A LANDSCAPE IN TWO SECTIONS, AND THEN I WILL DO THE DRAWING WITHIN THE SECTIONS THAT I HAVE CREATED AN OUTLINE FOR.

>> THERE IS SUCH SIMPLICITY AND ORDERLINESS IN YOUR WORK THAT I CAN'T HELP BUT TO THINK THAT THERE IS SOME SPIRITUAL ELEMENT THERE.

IS THERE A SPIRITUALITY THAT INFLUENCES YOUR WORK?

>> WELL, IS I WILL PUT IT THIS WAY, I THINK THAT I, I LIKE THE KIND OF ART THAT CELEBRATES RATHER THAN THE KIND OF ART THAT BEMOANS.

WHEN YOU ARE CELEBRATING, YOU ARE SAYING, THANK YOU FOR CREATION AND SORT OF FOCUSING ON THE PART OF CREATION WHICH HITS YOU AT A PARTICULAR MOMENT, AND I FIND THAT IN DEPICTING THE VASTNESS OF EVERYTHING AROUND ME, I HAVE TO SIMPLIFY, HOW COULD I DO IT OTHERWISE.

>> JAPANESE INFLUENCE CERTAINLY IS THERE IN YOUR WORK.

AND MOST LIKELY IN YOUR MATERIALS, AS WELL.

COULD YOU TALK ABOUT THE JAPANESE INFLUENCE IN YOUR WORK?

>> I WILL TELL YOU A QUICK LITTLE STORY WHICH MAY BE HELPFUL.

WHEN MY PARENTS VISITED JAPAN IN THE 1930s, THEY PICKED UP A LOT OF RATHER INDIFFERENT PRINTS AS TOURISTS.

I GREW UP WITH THOSE HANGING IN MY HOME.

SO EVEN THOUGH NONE OF THOSE PRINTS ARE PARTICULARLY DISTINGUISHED OR COLLECTABLE, THE WAY OF LOOKING AT THE WORLD AND THE WAY OF THINKING WAS SIMPLIFYING AND THE FOCUSING IN HAD TO HAVE PENETRATED SOMEWHERE.

WHEN I GOT TO GRADUATE SCHOOL AND REALIZED THAT I LOVED CUTTING WOOD BLOCKS THE MOST, THEN THE -- IT JUST SEEMED A LOGICAL PROGRESSION TO CHOOSE WOOD CUT RATHER THAN ENGRAVING OR LITHOGRAPHY BECAUSE THE MATERIALS ARE SO SIMPLE, SO EASY TO OWN.

AND I HAD NO RESOURCES TO BUY BIG PRESSES AT THAT TIME.

NO COLLEGES WOULD LET ME WORK THERE.

>> DO YOU USE JAPANESE TECHNIQUES IN YOUR WORK, NOT JUST IN THE SIMPLICITY OF FORM, BUT IN THE MATERIALS OR TOOLS IN YOUR WORK?

>> WELL, I DON'T USE THEIR KIND OF INK, SO REALLY THERE IS NOT MUCH TO MY TECHNIQUE EXCEPT THE CUTTING THAT'S JAPANESE.

I USE A SHEEN OF PLYWOOD WHICH COMES FROM JAPAN.

>> YOU HAVE DONE SO MUCH FOR THE IDENTITY OF VERMONT, THROUGH YOUR WORK AND CERTAINLY THROUGH YOUR COMMISSION WORK.

YOU HAVE DONE BALLOONS, BIG HOT AIR BALLOONS, COMMEMORATIVE STAMPS, YOU HAVE DONE PIECES FOR THE GOVERNOR, INSPIRED ENVIRONMENTALISTS BY DOING COVERS FOR THEIR REPORTS.

AMONG MANY, MANY OTHER THINGS.

WILL YOU CONTINUE TO DO COMMISSIONED WORK?

>> WELL, YOU KNOW, I GAVE MYSELF A WHOLE YEAR OFF.

IT'S ALMOST OVER, DOING NO COMMISSIONS AT ALL.

IT WAS SO MUCH FUN THAT I AM ALREADY GOING TO SELECTIVELY DO THOSE COMMISSIONS THAT COME MY WAY, AND I PRESUME THAT A LOT OF THEM WILL BE LANDSCAPES, BUT WHO KNOWS WHAT IS DOWN THE ROAD.

I NEVER THOUGHT THAT I WOULD BE ASKED TO DESIGN A STAINED GLASS WINDOW OR A POSTAGE STAMP, SO SOMETHING FUN IS IN THE FUTURE.

ACTUALLY, THERE IS A FUN ONE, AND IT MAY BE THE DESIGN OF TEXTILES.

THAT'S STILL IN THE WALKING STAGE.

>> WOULD YOU EVER BE INTERESTED IN EXPLORING, THAT MIGHT BE ANOTHER MEETING, BUT OTHER MEDIUMS?

>> WELL, I DO COLLAGE, PRIMARIES FOR IRIS PRINTS, WHICH YOU ARE SEEING AROUND THE ROOM.

YOU THINK THAT THEY ARE WOOD BLOCK PRINTS, SOME OF WHAT YOU ARE SEEING ARE PRINTS THAT ARE DONE BY A INK JET SYSTEM THAT IS VERY SOPHISTICATED, AND TO ME, GIVES A RESULT THAT IS WONDERFUL AS WOOD BLOCK SO I EXPECT TO PURSUE THAT A LOT IN THE FUTURE.

>> AND ANY OTHER CONTENT?

>> WELL,I AM MORE AND MORE INTERESTED IN ARCHITECTURE AND IN EUROPEAN LANDSCAPE.

I WILL BE GOING TO ITALY NEXT SPRING.

>> HOW EXCITING.

>> I KNOW.

>> THANK YOU FOR HAVING US HERE IN YOUR STUDIO TODAY.

>> THANKS FOR COMING, FRAN.

>> BE WITH US NEXT WEEK FOR A LOOK AT HOW A LONG AGO WAR CHANGED THE FACE OF VERMONT'S WEST COAST, AND ATTEND A CONCERT THAT BRINGS NEW MEANING TO THE PERSONAL, "PERCUSSION."

UNTIL THEN, FOR ALL OF US AT POINTS NORTH, I'M ROB MICHALAK.

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