FREDERICK HAMMERSLEY FOUNDATION... ...NEW MEXICO ARTS, A DIVISION OF THE DEPARTMENT OF CULTURAL AFFAIRS WITH SUPPLEMENTAL FUNDING BY THE NEW MEXICO CARES ACT AND BY THE NATIONAL ENDOWMENT FOR THE ARTS.

...AND VIEWERS LIKE YOU.

THIS TIME, ON COLORES!

"THE FAR AWAY" PRESENTS A FASCINATING JOURNEY ACROSS THE BREATHTAKING NEW MEXICO LANDSCAPES THAT INSPIRED GEORGIA O'KEEFE.

USING A 100-FOOT-TALL HOT AIR BALLOON, DOUG AITKEN'S "NEW HORIZON" IS AN UNFORGETTABLE ART PROJECT.

PAULA VOGEL'S THOUGHT-PROVOKING PLAY "INDECENT" SHARES THE IMPORTANCE OF GRAPPLING WITH A CONTROVERSIAL MOMENT IN THEATRE HISTORY.

DRAWING INSPIRATION FROM PAST PANDEMICS MELISSA VOGLEY WOODS CREATES A PUBLIC ART INSTALLATION IN THE TIME OF COVID 19.

IT'S ALL AHEAD ON COLORES!

A WONDROUS PERSPECTIVE.

SHE CAME HERE BECAUSE OF THE VAST, OPEN LANDSCAPE.

THE SHINING STONE.

THE ENDLESS, OPEN SKIES.

GEORGIA O'KEEFFE CALLED THIS LAND THE "FAR AWAY."

SHE DREW HER INSPIRATION FROM THE CLIFFS BEHIND HER GHOST RANCH HOME.

CLIFFS THAT HAVE STOOD FOR MILLIONS OF YEARS.

FROM THE CHAMA RIVER VALLEY TO CERRO PEDERNAL.

TO THE WEST, NEAR THE BISTI BADLANDS AND CHACO CANYON.

TO THE LANDSCAPES SURROUNDING HER ABIQUIU HOME.

THE EXPANSIVE PIEDRA LUMBRE LAND GRANT IS HOME TO THE 22,000-ACRE GHOST RANCH.

IT WAS THIS LAND THAT INSPIRED HUNDREDS OF HER PAINTINGS.

AND JUST BEYOND HER FRONT YARD, THE NARROW, FLAT TOPPED BUTTE, CERRO PEDERNAL.

AT THE NORTHERNMOST EDGE OF THE ROLLING JEMEZ MOUNTAINS, CERRO PEDERNAL STANDS ALONE.

CREATED OVER MILLIONS OF YEARS OF VOLCANIC ACTIVITY, IT IS SACRED TO THOSE WHO LIVED HERE FOR MORE THAN A THOUSAND YEARS.

THIS REGION, ACCORDING TO GEORGIA O'KEEFFE, WAS THE BEST THING SHE'D EVER KNOWN IN NEW MEXICO.

"THE CLOSEST THING TO GOD," SHE SAID.

[THUNDER RUMBLING] 150 MILES WEST OF SANTA FE, GEORGIA O'KEEFFE DISCOVERED THE GRAY AND BLACK HILLS NEAR THE BISTI BADLANDS IN THE 1930S.

A GEOLOGIC FORMATION THAT WAS ONCE A SHALLOW SEA, NOW A BARREN LANDSCAPE BORDERING THE VAST NAVAJO RESERVATION.

IT WAS WILDLY REMOTE.

SHE CAMPED UNDER HARSH CONDITIONS, CREATING DOZENS OF PAINTINGS.

SHE CALLED THIS REGION THE "BLACK PLACE."

THE LANDSCAPE OF GEORGIA O'KEEFFE'S PAINTING FROM MARIE TUDOR GARLAND'S RANCH REMAINS VIRTUALLY UNCHANGED FROM 1930.

TO THE NORTH, BETWEEN HER ABIQUIU AND GHOST RANCH HOMES, THE HORSESHOE BEND OF THE CHAMA RIVER CAPTIVATED HER.

THE RIVER SUSTAINS THE ABIQUIU COMMUNITY, ALONG WITH THE TOWNS AND VILLAGES THROUGHOUT ITS 130-MILE LENGTH.

JUST BELOW THE MESA OF GEORGIA O'KEEFFE'S ABIQUIU HOME, A THICKET OF COTTONWOOD TREES HAVE LIVED FOR HUNDREDS OF YEARS... ...AND THROUGH EVERY SEASON CAN BE SEEN FROM HIGHWAY 84.

FROM HER STUDIO AND BEDROOM WINDOWS, SHE COULD SEE THE PROLIFIC EXPANSE OF THE COTTONWOODS, WHICH GAVE WAY TO THE STEEP HILLS.

THESE WONDERFUL VIEWS INSPIRED O'KEEFFE'S SERIES OF ROAD PAINTINGS.

GEORGIA O'KEEFFE'S SECOND HOME WAS REBUILT IN THE 1940S, ON THE MESA ABOVE A PORTION OF THE CHAMA VALLEY, IN THE VILLAGE OF ABIQUIU.

THE STRUCTURE WAS IN RUINS EXCEPT FOR ONE DOOR.

SHE SAID, "THE DOOR IS WHAT MADE ME BUY THIS HOUSE.

I WAITED 10 YEARS TO GET THAT HOUSE BECAUSE OF THE DOOR."

GEORGIA O'KEEFFE WAS ALSO PASSIONATE ABOUT GARDENING.

EVERY MONDAY MORNING HER GARDENS ARE FLOODED WITH THE WATERS FROM THE ABIQUIU ACEQUIA.

IT WAS ANOTHER REASON FOR PURCHASING THE PROPERTY.

HER HOME REMAINS A VIBRANT PART OF THE ABIQUIU VILLAGE.

THE LANDS OF NORTHERN NEW MEXICO PROVIDED DECADES OF INSPIRATION FOR GEORGIA O'KEEFFE'S PAINTINGS.

SOME CLOSE, SOME FAR AWAY, FROM THE 1920S UNTIL HER DEATH IN 1986.

FLASHPOINTS ACROSS THE LANDSCAPE.

>>GOOD MORNING, HOT AIR BALLOON UNIFROM SIERRA DO YOU HAVE ME THIS MORNING?

>>FOR THIS STORY, WE'LL BEGIN AT THE END.

ON MONDAY, WE'D BEEN TAKING A PRETTY SERENE RIDE OVER ANDOVER.

FLOATING ABOVE THE TREETOPS IN A HOT AIR BALLOON DESIGNED BY ARTIST DOUG AITKEN.

A SHIMMERING, INFLATABLE SCULPTURE HE'S TITLED "NEW HORIZON IS REALLY A SCULPTURE OF TIME."

"IT'S SOMETHING WHICH IS, IS TEMPORARY, IT'S CHANGING CONTINUOUSLY.

UM, WHEN IT STOPS WE CAN HAVE THESE KIND OF INCREDIBLE COMMUNAL MOMENTS."

ON THIS FLIGHT, WE GOT COMMUNAL FAST.

THE WIND PICKED UP AND WE HAD TO TOUCH DOWN.

AFTER TWO FAILED ATTEMPTS, OUR PILOT SPOTTED A MAKE-DO LANDING STRIP.

THIS SMALL, GRASSY MEDIAN AT THE INTERSECTION OF TWO BUSY ROUTES.

AT RUSH HOUR.

"PULL HARD."

"HANG ON.

HANG ON...

RIGHT THERE HOLD."

SUDDENLY NEW HORIZON WAS ON THE GROUND, ITS SILVERY SKIN COLLAPSING IN A TIRED EXHALE.

CARS STOPPED.

THE STATE POLICE RUSHED IN.

"BEHIND US THERE'S CARS PULLING OVER.

DRIVING IN, HELPING.

YOU KNOW AND UM, I-I THINK IT'S JUST - IT'S, IT'S MIRACULOUS."

"WE HAD...AN EXHILARATING LANDING.

[LAUGHTER]."

PEDRO ALONZO IS THE GUEST CURATOR-OF ART & THE LANDSCAPE-AN EFFORT BY THE TRUSTEES OF RESERVATIONS TO DISRUPT THE GROUP'S HISTORIC SITES NOT WITH ART THAT'S ORNAMENTAL, BUT THAT ENGAGES.

JEPPE HEIN'S MIRRORED LABYRINTH AT WORLD'S END IN HINGHAM.

SAM DURANT'S MEETING HOUSE AT THE THE OLD MANSE IN CONCORD.

AND ALICJA KWADE'S EXPLORATION OF REALITY AT CRANE ESTATE IN IPSWICH.

"I'M CONVINCED THAT THE PUBLIC WANTS ART.

THEY JUST DON'T WANT TO FEEL INTIMIDATED.

OR, OR UNINFORMED WHEN THEY LOOK AT IT.

AND-AND THIS IS THE KIND OF ARTWORK THAT PEOPLE WILL BE SURPRISED - THAT WAS ART?"

ALONZO ALSO TAKES A DEVILISH GLEE IN THE ELEMENT OF SURPRISE.

REMEMBER THE PHOTOGRAPH THAT MYSTERIOUSLY APPEARED ON BOSTON'S FORMER HANCOCK TOWER ONE DAY?

THAT WAS ALONZO TEAMING WITH FRENCH ARTIST JR.

THEY DID IT AGAIN TWO YEARS AGO-INSTALLING AN IMAGE OF A CHILD PEERING OVER A MEXICAN "THAT KIND OF SURPRISE?

IS FOR ME MUCH MORE VALUABLE THAN A PROGRAMMED EVENT."

WELL WHAT DOES IT DO TO, TO.

[LAUGH] TO PLUNK A SCULPTURE DOWN IN THE MIDDLE OF RUSH HOUR TRAFFIC.

LITERALLY, IN THE MIDDLE OF RUSH HOUR TRAFFIC?

OH, W- IT'S, IT'S.

WELL, FIRST, PEOPLE TAKE NOTICE.

[LAUGHS] YOU KNOW PEOPLE DEFINITELY TAKE NOTICE AND-AND I THINK IT-IT'S THE KIND OF THING THAT JUST CHANGES YOUR DAY.

YOU'RE GOING TO THINK VERY DIFFERENTLY ABOUT HOW YOUR DAY IN A WORLD WHERE EVERYTHING IS SO HOMOGENIZED AND SO REPITIOUS.

WE NEED MOMENTS OF KIND OF CRACK IN OUR DAILY REALITY."

HUNDREDS OF FEET UP IN THE AIR BEFORE OUR SUDDEN LANDING, ARTIST DOUG AITKEN SAYS WHEN ALONZO COMMISSIONED HIM TO CREATE A PIECE FOR ART & THE LANDSCAPE, HE KNEW ZERO ABOUT HOT AIR BALLOONS.

SO HE USED THE IDEA OF THE CLASSIC AMERICAN ROAD TRIP AS A POINT OF DEPARTURE.

"IT'S KIND OF BAKED INTO OUR DNA.

THIS IDEA OF THE OTHER, THIS IDEA OF..

DISAPPEARANCE, OR KIND OF MOVING INTO THE LANDSCAPE.

A LANDSCAPE THAT WE DON'T KNOW,I THINK THERE'S AN ASPECT OF THIS PROJECT THAT'S INTENSELY PHYSICAL- [BLAST] I COULDN'T HAVE SAID IT BETTER THAN THAT SOUND."

[BOTH LAUGH] THE CALIFORNIA-BASED ARTIST AND FILMMAKER IS A BIG THINKER AND CREATOR.

HE'S ANIMATED AN ENTIRE MANHATTAN BLOCK WITH HIS PIECE, SLEEPWALKERS.

HE CURATED STATION TO STATION, A TRAIN THAT DOUBLED AS A LIGHT SCULPTURE AS IT CROSSED THE U.S. AND IN UNDERWATER PAVILIONS, HE SUBMERGED GIANT SCULPTURES OFF THE CALIFORNIA COAST.

"THE IDEA OF COMMUNITY, THE IDEA OF THESE KIND OF FLASH POINTS ACROSS THE LANDSCAPE HAS BEEN VERY PROVOCATIVE."

NEW HORIZON HAS BEEN POPPING UP, AND IN OUR CASE FLOATING, ACROSS MASSACHUSETTS FOR THE LAST TWO WEEKS MOVING FROM MARTHA'S VINEYARD TO THE BERKSHIRES.

IN DAYLIGHT IT'S A 100-FOOT TALL SILVERY BEACON.

AT NIGHT, IT'S A FLOATING LIGHT SHOW.

AND WHEREVER THE BALLOON GOES, PEOPLE GATHER-FOR MUSIC, SPEAKERS AND CONVERSATION-IN "THEY SEE THIS OBJECT AND THEY, YOU KNOW AND THEY TRACK IT DOWN.

AND SUDDENLY THEY'RE THERE AND, YOU KNOW IT'S ALMOST LIKE A KIND OF HALLUCINATION."

IT'S WHAT WE SAW TOO.

PEOPLE COMING OUT OF THEIR HOMES.

TAKING A BREAK FROM WORK.

IT'S ALSO UP HERE THAT WE SAW HOW DIFFERENT IN THE LUSHNESS OF SUMMERTIME, MASSACHUSETTS PRESENTS AS A VERITABLE RAIN FOREST "THOSE MOMENTS, YOU KNOW WHERE YOU HAVE A KIND OF AWAKENING, WHEN YOU REALLY KIND OF SEE THE MUNDANE IT BECOMES VITAL AND FRESH AND REAL AGAIN."

AND NEW HORIZON REMINDS US THAT A LOT OF LIFE-NATURE, FATE-IT'S ALL OUT OF OUR CONTROL.

MINUTES BEFORE OUR ADVENTURESOME LANDING, AITKEN TOLD ME HE EVEN PLANNED FOR THE UNPLANNABLE.

"IT'S A VERY ROGUE PROJECT, IN THE END, YOU KNOW IT'S, IT'S, IT'S KIND OF ABOUT IMPROVISATION, IT'S ABOUT THE SENSE OF OPENNESS, AND WE DON'T REALLY KNOW WHAT'S GOING TO HAPPEN TONIGHT OR TOMORROW, AND I KIND OF LOVE THAT."

ESPECIALLY WHEN A GROUNDED HOT AIR BALLOON MAKES YOU APPRECIATE AN OTHERWISE BENIGN TRAFFIC MEDIAN ON A WHOLE NEW LEVEL.

A STORY OF IMMIGRATION AND LOVE.

"WE HAVE A STORY WE WANT TO TELL YOU ABOUT A PLAY.

A PLAY THAT CHANGED MY LIFE."

"INDECENT" IS PULITZER PRIZE WINNER PAULA VOGEL'S NEW PLAY ABOUT AN INCENDIARY ONE.

WRITTEN MORE THAN 100 YEARS AGO, GOD OF VENGEANCE IS A YIDDISH DRAMA BY POLISH PLAYWRIGHT SHOLEM ASCH.

IT'S ABOUT A BROTHEL OWNER EAGER TO SEE HIS DAUGHTER MOVE UP IN SOCIETY BY MARRYING A RABBI'S SON.

"THE ONLY HITCH IS THE DAUGHTER HAS FALLEN IN LOVE WITH A PROSTITUTE DOWNSTAIRS.

SO IMAGINE THIS BEING WRITTEN IN 1906, THE FIRST LOVE PRESENTED BETWEEN TWO WOMEN, AND CERTAINLY THE FIRST KISS."

IN INDECENT, VOGEL TRACKS THE PLAY FROM ITS INCEPTION TO ITS RESURRECTION DURING WORLD WAR II-FINDING A KINDRED SPIRIT IN CHANNELING THE YOUTHFUL, AUDACIOUS PLAYWRIGHT.

"ONCE UPON A TIME, I WAS A YOUNG PLAYWRIGHT MYSELF, SO I DO THINK THAT THERE'S A YOUNG PLAYWRIGHT PRINCIPLE WHERE YOU WANT TO WALK INTO THE SALON AND LIGHT THE BOMB AND THROW IT INTO THE SALON, THAT - "HERE'S MY NEW PLAY!"

BOOM!"

DESPITE ITS LESBIAN SUBJECT MATTER, WHEN GOD OF VENGEANCE FIRST DEBUTED IT ACTUALLY WASN'T CONTROVERSIAL.

"THE LOVE BETWEEN WOMEN WAS SEEN AS A KIND OF PURE AND BEAUTIFUL LOVE STORY, BY THE MEN IN THE YIDDISH SALON, IN THE YIDDISH RENAISSANCE.

IT WAS SEEN AS SOMETHING THAT WAS BEAUTIFUL, IT WENT ON TOUR FROM 1907 ALL OVER EUROPE!"

THE SCANDAL CAME WHEN GOD OF VENGEANCE FINALLY OPENED ON BROADWAY IN 1923.

AN ANTI-IMMIGRATION SENTIMENT WAS TAKING HOLD IN THE US.

AND SEEING THE PLAY FOR THE FIRST TIME, THE MAINSTREAM, CHRISTIAN AUDIENCE WAS UNNERVED.

"AND WHAT IS HAPPENING IS THAT THERE IS A GREAT DEAL OF HATRED.

THE RISE OF THE KKK.

AND THE JEW IS SEEN AS SOMEONE WHO IS INVADING AMERICAN SOIL.

SO HERE - I MEAN ALL OF THESE ISSUES IT'S, - WHEN PEOPLE SAY, YOU KNOW "WHAT IS INDECENT ABOUT," YES IT'S ABOUT A PLAY, BUT IT'S REALLY NOT ABOUT THE CENSORSHIP OF THE PLAY, IT'S REALLY NOT JUST ALL OF THE MULTIPLE LOVE STORIES...

IT'S, HOW DO WE DESCRIBE OR CATCH A MOMENT IN TIME WHEN WE AS A COUNTRY: ALL OF OUR NEIGHBORS, ALL OF OUR FRIENDS, ALL OF OUR FAMILY, ARE IN DANGER?"

"IT WAS A REAL LIGHTNING ROD FOR TREMENDOUSLY, Y'KNOW, IMPORTANT ISSUES AND QUESTIONS ABOUT IMMIGRATION."

REBECCA TAICHMAN IS INDECENT'S DIRECTOR.

SHE DISCOVERED GOD OF VENGEANCE AS A GRADUATE STUDENT AT YALE, WHICH ALSO HOUSES SHOLEM ASCH'S PAPERS.

"HE'S ASKING ABOUT... WHAT, IN A DEEPLY CORRUPT WORLD, IS THERE THE POTENTIAL FOR TRUE LOVE?

IN A WORLD THAT CONSPIRES SO HEAVILY AGAINST THE LIKE BASIC PRINCIPLE OF LOVE?"

SHORTLY AFTER THE PLAY OPENED ON BROADWAY, IT WAS ACTUALLY A RABBI WHO FILED A COMPLAINT-CONCERNED OVER HOW HIS COMMUNITY WAS BEING PORTRAYED.

IN SHORT ORDER, THE CAST, PRODUCER AND THEATER OWNER WERE PUT ON TRIAL FOR OBSCENITY.

"(WHAT WAS THE TONE OF THE TRIAL?)

NOBODY WAS ALLOWED TO GET ONTO THE STAND.

SO THE DECK WAS REALLY, REALLY STACKED."

"THE WRITER OF WORLD LITERATURE, I COULDN'T WALK INTO THAT COURT."

ROUGHLY TEN YEARS AGO, TAICHMAN BROUGHT THE STORY TO VOGEL.

WHO THEN SPENT THE NEXT SEVEN YEARS WRITING INDECENT.

"I GOT TO IMAGINE 'WELL, WHAT WAS IT LIKE WHEN MY GRANDPARENTS CAME TO THIS COUNTRY?

WHAT WAS IT LIKE TO WALK DOWN THE LOWER EAST SIDE, WHAT WAS IT LIKE TO SPEAK YIDDISH?

WHAT WAS IT LIKE TO KNOW ALL OF THOSE SONGS?'

MUSIC IS BOTH INSTRUMENTAL TO HOW INDECENT UNFOLDS AND HOW VOGEL WRITES.

SHE CREATES SOUNDTRACKS TO GUIDE HER THROUGH EACH ACT.

"AT MY COMPUTER, AND THE MUSIC IS SO, SO VERY BEAUTIFUL.

IT MADE ME WEEP EVERY NIGHT."

"I FEEL THAT MUSIC IS THE MOST PURE ART FORM.

I HOPE I DON'T GET DRUMMED OUT OF THE DRAMATISTS GUILD FOR SAYING THIS.

BUT I FEEL THAT MUSIC IS PURE EMOTION."

WHEN IT OPENED ON BROADWAY IN 2017, INDECENT MARKED THE LEGENDARY PLAYWRIGHT'S LONG-OVERDUE BROADWAY DEBUT.

AND TAICHMAN WON A TONY FOR HER DIRECTION.

"MUSICALLY, IT FEELS LIKE WE BOTTOM OUT FOR TOO LONG, WITH THE - THE PAUSE."

"I DON'T KNOW THAT I SEE IT AS A PERSONAL VALIDATION, BUT A REAL, DEEP KIND OF HONORING OF THE POWER OF THIS STORY."

THE PRODUCTION HERE IS A RARE REMOUNTING OF THE BROADWAY ONE, WITH NEARLY THE FULL CAST INTACT.

AS INDECENT CONTINUES TO FIND LIFE, ITS' CREATORS SAY IT ALSO CONTINUES TO FIND RESONANCE.

"I'M HEARTBROKEN, HONESTLY, TO SAY IT FEELS MORE AND MORE...

RELEVANT THAN...

I WISHED, YOU KNOW I EVER COULD HAVE WISHED IT WOULD."

"I AM DONE BEING IN A COUNTRY THAT LAUGHS AT THE WAY I SPEAK!"

"I FEEL THAT THIS IS A PLAY ABOUT US KNOWING IN THIS MOMENT OF TIME, WHO ARE THE IMMIGRANTS IN AMERICA?

WHO IS THIS HAPPENING TO NOW?

WHAT, WHAT SIDE ARE WE ON, ARE WE PAYING ATTENTION?"

ART AT A DISTANCE.

>> SO, THIS WAS, BACK IN MARCH WHEN I STARTED THE WORK.

IT'S JUST CALLED "ALWAYS."

I REALLY WANTED TO DO A PIECE THAT WAS IN THE PUBLIC EYE THAT ADDRESSED THE VERY FRESH CONDITION OF DEALING WITH THE PANDEMIC.

AND I REALIZED THAT I REALLY WANTED TO TALK ABOUT GETTING PAST THIS MOMENT.

I STARTED TO LOOK AT ART FROM DIFFERENT ERAS, AFTER CERTAIN PLAGUES, AND THE PANDEMIC THAT WAS THE CLOSEST IN RELATIONSHIP WAS THE SPANISH FLU -- WHAT THEY CALLED THE SPANISH FLU.

SO I STARTED TO LOOK AT WORK THAT WAS MADE IN THE EXACT YEAR WHEN IT ENDED, WHICH WAS 1920.

I FOUND A PIECE BY RAOUL DUFY THAT WAS A PATTERN, LIKE A FABRIC PATTERN THAT HE HAD DESIGNED AND IT WOULD BLOCK THE WINDOW AND BLOCK THE VIEW, BUT ALSO ACCENTUATE THE SPACE IN BETWEEN PUBLIC AND PRIVATE.

WE WERE STUCK AT HOME.

I HAD TO DEAL WITH WHAT I HAD AT MY HOUSE.

AND I JUST HAPPENED TO HAVE THIS HIGH-REFLECTIVE VINYL THAT I HAD USED ON A SIMILAR PROJECT IN 2010.

THE VINYL ITSELF IS JUST LIKE A VERY NEUTRAL GRAY, AND YOU CAN'T REALLY SEE IT UNLESS YOU USE A FLASH.

SO THE WORK ITSELF CAN BE SEEN IN THE DAYLIGHT, BUT IT'S MOST EFFECTIVE AT NIGHT, WHEN YOU BRING YOUR CELLPHONE AND TURN ON THE FLASH.

NOW BECAUSE IT'S HIGH-DENSITY REFLECTIVE VINYL, IT FLASHES BACK THE EQUAL INTENSITY OF THE LIGHT.

SO WHEN YOU DO USE A FLASH ON YOUR CAMERA, ON YOUR PHONE, ALL OF THE PATTERN LIGHTS BACK AT YOU.

AND SO THAT JUST CAME NATURALLY.

I WAS LIKE -- THE VINYL, THE WINDOWS, THE PATTERN, THE REFLECTION, THE INTERACTION.

PEOPLE CAN SEE THE WORK WITHOUT HAVING TO BE NEAR ANYONE.

YOU CAN ACTIVATE IT FROM YOUR CAR.

>> SO OVER MY SHOULDER IS A REALLY EXCITING PIECE BY MELISSA VOGLEY WOODS AND IT'S CALLED "ALWAYS CMA."

AND IT'S ACTUALLY A PIECE THAT HAS A PATTERN THAT WAS EXTRAPOLATED FROM A WORK FROM OUR COLLECTION.

IT'S LOUIS BOUCHE'S "STILL LIFE WITH FLOWERS" THAT WAS PAINTED IN 1919, DURING THE SPANISH INFLUENZA.

AND MELISSA HAD THE WONDERFUL IDEA TO KIND OF REMIND EVERYBODY THAT WE ARE IN A VERY DIFFICULT MOMENT, BUT THAT IT WILL PASS.

>> WITH THIS WORK, IT WAS THE SAME CONCEPT TO MAKE THE SAME POINT.

BUT IT REALLY LEVERAGED ART HISTORY IN A DIFFERENT WAY, BECAUSE IT IS AT AN INSTITUTION.

>> AND SHE TOOK THE PATTERN FROM THIS MORE TRADITIONAL LOOKING STILL LIFE, WITH A BIG, BEAUTIFUL, ENERGETIC GROUPING OF FLOWERS.

AND SHE MADE A VERY ABSTRACT GEOMETRIC PATTERN, WHICH SHE THEN TILED INTO THIS BEAUTIFUL WALLPAPER TO COVER THIS WHOLE GLASS CANOPY.

>> THIS IS THE FIRST PIECE THAT I'VE MADE THAT I DIDN'T MAKE WITH MY HANDS.

IT'S BEEN REALLY, REALLY COLLABORATIVE.

THE MUSEUM, THEY DID A LOT OF WORK TO FIND THIS VINYL.

AND I BELIEVE IT'S 130 FEET.

IT'S SOMETHING THAT YOU'RE GOING TO BE ABLE TO EXPERIENCE IN ANY DIFFERENT KIND OF CONDITION.

IF THERE'S A SECOND WAVE.

IF IT'S COLD.

IF IT'S RAINY.

IF YOU CAN'T SEE THE MUSEUM.

IF IT'S OFF HOURS.

IT'S JUST, IT'S ALWAYS GOING TO BE THERE.

>> AND IT CREATES A REALLY BEAUTIFUL ENTRANCE WAY TO THE MUSEUM, ESPECIALLY AS WE'LL BE REOPENING AFTER A LONG PERIOD OF CLOSURE.

>> ALSO, IF YOU PUT A LITTLE PIECE OF COLORED CELLOPHANE ON TOP OF THE FLASH ONLY, IT'LL TURN THE ENTIRE PIECE A COLOR.

THEN YOU OWN THAT PIECE AT THE END.

>> THIS MUSEUM, WHICH WAS FOUNDED IN 1878, HAS SURVIVED TWO WORLD WARS, THE GREAT DEPRESSION, THE SPANISH INFLUENZA PANDEMIC AND WE WILL SURVIVE THIS TOO.

AND THAT BASICALLY WAS THE MESSAGE THAT MELISSA'S PIECE WAS ALSO REFLECTING AT THE SAME TIME.

>> SOMETHING ABOUT THE LIGHT BEING BROUGHT TO THE PIECE FROM WITHIN, THAT YOU HAVE THAT LIGHT ON YOU.

AND THIS PIECE IS JUST A REFLECTION OF WHAT YOU ALREADY HOLD IN YOURSELF.

AND I FELT THAT WAS REALLY IMPORTANT.

SHINING THIS KIND OF BEACON OF HOPE BACK TO THE PEOPLE WHO CAME TO SEE THE WORK.

>> WE ARE AT HAMMOND HARKINS GALLERY.

AND THIS IS MY EXHIBITION CALLED "OUT OF THE BLUE."

IT'S A SERIES OF 36 CYANOTYPE PHOTOGRAMS.

SO A CYANOTYPE IS LIKE A PHOTOGRAPHIC PRINT, BECAUSE IT USES LIGHT.

WHEN YOU BLOCK THE SUN, THOSE AREAS DON'T EXPOSE.

AND IT JUST HAPPENS TO EXPOSE TO BLUE.

SO THERE'S SOME REALLY DIRECT CONTACTS BETWEEN THE "ALWAYS" INSTALLATIONS AND THIS WORK, WHICH IS VISIBLE IN THIS PATTERN.

AND THAT PATTERN IS PULLED DIRECTLY FROM A COMBINATION OF THE "ALWAYS" PATTERN AT MY HOUSE AND THE "ALWAYS" PATTERN AT CMA.

THE IDEA OF THIS SHOW REALLY CAME OUT FROM THE SHADOWS THAT I SEE ON THE INSIDE OF MY HOUSE WHEN PEOPLE TAKE PHOTOS.

I STARTED TO THINK ABOUT, "WELL, WHAT IS THE INTERNAL VIEW OF THIS EXTERNAL PIECE THAT I MADE?"

AND IT BECAME REALLY IMPORTANT THAT I DID A PROCESS THAT WAS PHOTOGRAPHIC, THAT WAS BASED ON LIGHT, BECAUSE THE OTHER PIECE WAS BASED ON LIGHT.

WHICH THEN CONNECTS TO MY IDEAS ABOUT, LIKE, HISTORY AND ERASURE AND WHAT IS BROUGHT TO THE LIGHT AND WHAT IS SUPPRESSED.

TO VIEW THIS AND OTHER COLORES PROGRAMS GO TO: NEW MEXICO PBS DOT ORG AND LOOK FOR COLORES UNDER WHAT WE DO AND LOCAL PRODUCTIONS.

ALSO, LOOK FOR US ON FACEBOOK AND INSTAGRAM.

"UNTIL NEXT WEEK, THANK YOU FOR WATCHING."

FUNDING FOR COLORES WAS PROVIDED IN PART BY: FREDERICK HAMMERSLEY FOUNDATION... ...NEW MEXICO ARTS, A DIVISION OF THE DEPARTMENT OF CULTURAL AFFAIRS WITH SUPPLEMENTAL FUNDING BY THE NEW MEXICO CARES ACT AND BY THE NATIONAL ENDOWMENT FOR THE ARTS.

...AND VIEWERS LIKE YOU