(light intriguing music) (light uptempo music) - [Matt] Experience the interactive performance installations of Abraham Ferraro.

Patrick Harris shares what's new at Collectiveffort.

(lively jazz music) And catch a performance from Hot Club of Saratoga.

It's all ahead on this episode of "AHA!

A House for Arts."

(lively jazz 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.

(smooth mellow music) (light music) - I'm in Albany, New York, about to look at the installations and performances of Abraham Ferraro.

Let's go.

(click thuds) (drum rattling) (uptempo music) - My art has always been about art itself, and what it's like to be an artist.

I do large-scale installations where I have a bunch of light switches, and literally miles of extension cords, and they light up Art and Not Art signs.

I've done performance work where there are literally tons of steel and wood, and they're these really laborious projects that boil down to the creation of a piece of artwork, like a drawing or a painting.

I also make work that's more on the craftier side.

I do these orbs that are incredibly detailed.

I mean, I even consider house renovations to be artwork.

This is the flavor space saver (uptempo music continues) (ladder clicking) Black beans.

(laughs) I like to do anything that unites hands-on skill with creative thought.

(bell dings) (object thuds) - [Audience] Wow!

(audience clapping) - When I was making artwork in graduate school, I was making these pieces that involved a lot of interaction with the viewer, and at a certain point it became obvious to me that the pieces were successful when I was around demonstrating them.

So it became very obvious that I needed to be around and do a performance.

And so the very first one that I was working on was the "Knockout Artist."

(audience clapping) (stage creaking) (bell dings) (light tense music) (audience speaking indistinctly) (audience clapping) (stage creaking) (boxing glove thuds) - [Audience] Whoa!

- And it was a spring-loaded mechanical boxing arm.

And originally I thought, "Wouldn't it be great if you came to my art show and there was this spring-loaded mechanical boxing arm that would threaten to punch you in the face as you walk by?"

Well, obviously, you know, 'cause of legal reasons, that was a terrible idea.

So then it became a natural that I was gonna be the one who was gonna get punched in the face by this spring-loaded mechanical boxing arm.

(boxing glove thuds) - [Audience] Whoa!

(audience clapping) - And during the act of that, there would be these paint brushes that would dangle below the boxing glove, and they would strike a canvas just as I was being punched in the face.

And then over a 12-round match, I would create this abstract action painting.

(audience clapping) The boxing glove is actually left-handed, and so it's my alter ego.

The "Knockout Artist" is essentially me.

A lot of my work is autobiographical.

When you're making artwork, you're always, like, in the process of beating yourself up.

You are trying to create artwork.

You're debating on whether or not it's good art or bad art, or if it's art at all.

Are people gonna like it?

So you're always in competition with yourself.

(uptempo music) The "Stationary Climber" was a 15-foot tall climbing tread wall.

I would have these cables and pulleys hooked up to my arms, and so that would go back to a drawing table and it would pull a marker in the X or Y-coordinate.

And as I climbed the tread wall, the tread wall was connected to this drawing table and it would spin the drawing table in circles.

It would also push the climbing jig from the center of the circle to the outside.

So we have these four different movements that would make this scribble line drawing.

(bright uptempo music) The performance pieces, a lot of them were actually really difficult to make.

And I was really kind of jealous about painters and photographers that could just send their artwork to a gallery, and it would get installed for them.

I mean, you know, with the performance work, it was always me setting up these pieces, and it was really hard to sustain.

People look at the "Knockout Artist" and they're thinking, "Oh, that's really abusive."

And, "Why would you do that to yourself?"

Well, I mean, that was the easy part.

I was struggling, and I was doing these really strenuous, laborious performances.

In the end, you really only have this tiny little drawing to show for it.

(audience clapping and cheering) The malleable artwork directions was really an answer to the problem that I had created with my performance pieces.

I really wanted a piece of artwork that was lightweight and easy to transport.

I originally started in 2008 when I got into a show in Scotland.

It was called In Transit, and it was all about how artwork gets from A to B.

And so I thought, "Oh, I'll just make a funny looking box with holes in it, and mail it to Scotland, and they'll take it right off the delivery truck and put it on a pedestal, and that's your piece."

And I thought everyone was gonna do that, right?

So I went to go check out the show online, and to my surprise, no one else had done anything like that.

And that's when I had that eureka moment.

I'm like, "Huh, I'm onto something here."

(light waltzing music) It wasn't long before I figured out how to make a bunch of pieces interconnect and turn into this monstrosity that it has become now.

It's pretty much taken over my whole house.

I do enjoy it and I like to move it around so that it stays fresh.

I definitely am compelled to make artwork.

I really need to build things.

It is definitely the thing that has defined my life.

(button clicks) Who really declares what is art?

I can say that it's art, but if it's not validated by the art institutions or by the art audience, then does it really matter?

(light waltzing music continues) - Patrick Harris is the president of Collectiveffort, a creative agency that supports the development of artists and entrepreneurs in the capital region.

And the agency is growing.

It recently expanded its footprint in Troy with Kickback Studios, and it's starting a retail program called Crafty.

Jade Warwick spoke with Patrick to learn more.

- Welcome to "A House for Arts," Patrick.

- Ooh, thanks for having me.

- I'm super excited to have you.

- Word, I missed you.

- I know, I missed you too!

- Word.

(Jade laughs) - So let's talk about some of the artistic endeavors you have been in.

You're known for Collectiveffort, but I know you've recently, like the past few years, have dived very much into the creative field, and building creative opportunities in Troy.

And I know you have this studio called Kickback Studio?

- I do, I do.

- Give us a little bit of info about that.

What is Kickback?

- Yeah, so Kickback, that was like our answer to co-working in COVID, you know?

So like we initially came out, we were, like, doing marketing stuff, but, you know, as a part of who we always have been has been like, "How do we make space for community?"

And so coworking was our first example of that.

But then COVID happened, and everything changed.

And what we learned outta that was that like even during COVID, the people that kept coming back was always like the photographers.

Like, the people that were like, "I just need a studio for a second."

And so Kickback is like our solution and extension, I guess, of that.

And so all of the events that we host now and all the showcases that are happening in Troy, they're happening at a Kickback.

So initially it was like us doing like our own events and things like that, kind of like trying to set that foundation.

But over the last, like, three months with the assistance of Jonesy from Just Create, she kinda was like the fuel of like making it really cool for everybody that is like, - (laughs) Yep, that's Jonesy.

- You know, that 20-something age.

So like, all the 20-somethings that are in the music scene, especially, like, in like Hip-Hop and alternative, and like R&B, which there's not a lot of space for in the region, they're all just like flocking into Kickback and they throw their own shows now.

And so, yeah, it's been really like great because it's like kept us, one, like young and cool, you know, even though we're like, you know, getting in like the late thirties.

(Jade laughs) But then two is just like to watch like the generation after us kind of like flourish, and like have a thing that we didn't have is really, really fulfilling.

So, yeah, it's been exciting to watch.

- So what are some of the things that Kickback does?

Like, what are all the creative endeavors, you know, you cover?

- So right now we've got, what do we have, we've got four open offices right now.

One of the offices, basically we are like renting, right?

We're renting really flexible, affordable space for local creatives.

And so in three of our offices is D. Colin and Robert Cooper sharing an office.

Jamila is in there sharing an office, I think they have their own office.

And then there's a small, like, consulting company.

And so, like, that's one half of the space.

And then in the other half of the space is like seven-ish 100-square-foot, just like open box with an infinity wall, and we kind of just like let anybody and everybody do their thing.

So there's been like workshops, there's been a ton of showcases, a ton of just like, you know, you can just book it to do your own photo and video stuff.

And it's been a lot of that.

Like, folks have been coming in and really enjoying, like, learning how to DJ with Jamel.

D. Colin ran a ideation workshop.

Like, how do you, like, take a thing from like an idea to, like, I can make it now because it exists on paper at least.

And like, what is that process like?

So it's been a lot of that kind of thing, and it's been really fun.

- Nice, and I know my first experience with Kickback was the Basquiat & Bops Show.

- Oh, yeah, that was the kickoff party.

- Yeah, you wanna give a little bit of, like, how you do the gallery shows and everything there?

- Yeah, so Basquiat & Bops was our launch party for the studio, that was 2022 maybe, - [Jade] Yeah.

(laughs) - Right?

And so, yeah, we had like 400 people show up in like this 1,500 (laughs) square-foot, you know, space.

So, yeah, it was really fun.

And we kind of just, like, carved up all with the rooms before they were rented, and just, like, giving people like you to do your thing.

- That's true, a lot of creatives do just need the space.

That's a big thing within Troy, and upstate in general.

It's like, "Where are the spaces for us to create?"

'Cause we can't do it all in our rental homes, (laughs) you know?

You don't wanna get painted everywhere, or ruin your house, or anything like that.

So it's really nice.

And one of the things with that show, Basquiat & Bops, when you launched Kickback Studio, it actually made me realize, as an artist, that I focus a lot in political art, you know?

So that opportunity you gave me made me realize something within myself as an artist, 'cause that whole show I did was very political-driven, which kind of, like, light bulb, you know what I mean?

Now I know you have a new initiative called Crafty.

- [Patrick] Word, yeah.

- Wanna talk about that a little bit?

What is Crafty?

- So Crafty is like our Makers Market, right?

So the studio's for like all of the like photographers, musicians, that kind of thing.

I was like, "Alright, well, you know, I got people that are just like, 'Oh, I wanna paint and put my stuff up on the walls, and, like, sell it like a retail, like a gallery or a retail store.'"

I have people that make clothes.

I got people that make, like, you know, jewelry and like all these kinds of things.

People just kept asking, you know?

And that's kind of like our admin office technically.

We built like our little living room that we always build in the front half, and then we just had like this really cool counter, and people just kept coming in and asking, like, "Yo, can I sell my stuff here?"

And so I was like, "Alright, man, we'll figure it out."

And so, you know, at the start of the year, I started, like, kind of thinking about it, and then about June-ish, July-ish, I was like, "Alright, we should actually take it serious."

And so we had our first soft open at the last Farmer's Market in Troy last Saturday, and it was really cool.

We had, you know, probably about in that like three hours, maybe about 50 people came, about 10 people shopped.

You know, I think every vendor that was in there at the time, I think it was about eight of us, eight vendors in there, everybody sold a thing.

So yeah, it was like a kind of, like, nice little, like, soft launch.

And we're doing like a direct-to-artist like payment thing where it's like instead of us, like, managing all the money, I just put QR codes next to everybody's products, and people just can shoot it right to the artist themselves.

- Okay, so how do they pay?

Do you take a percentage?

How does this work, like, for the artist?

- Yeah, I just ask them for a couple of bucks a month just to, like, take up a little bit of space, you know?

So on our floor, if you're gonna do, like, a thing on the floor, it's 50 bucks a month.

If you're gonna do a thing on the countertop space, it's 10 bucks a month.

You want a shelf, it's 25 bucks a month.

And basically you sell like one thing, and your rent- - That covers your rent.

(laughs) Yeah, it covers your rent.

- Yeah, it's literally you sell one thing, and you're good.

So, yeah, and again, it's out of, you know, the necessity of people just like continuously needing space around here.

Especially, you know, the queer community, Black and Brown community.

Like, there's not a ton of availability for access to stuff like that, you know?

And, you know, times is a little rough right now.

And so, again, I'm just, like, always trying to figure out cool ways to invite people in, because it helps us with our marketing and stuff too, right?

It keeps us, like, relevant to the ground, you know?

We know what's going on, we know what people are caring about, and then, you know, who doesn't like to hang out with their friends?

- That is true.

Who doesn't wanna hang out with other artists and creatives?

- Yeah, yeah.

- So folks are having, like, a storefront.

Do you see a difference between artisans going online versus a storefront?

'Cause I've noticed a lot of folks are kind of like, being like, "Oh, online shopping for, like, local?

I don't know about that."

Do you see, like, do people like to shop locally more in-person or like online?

Like, what are your thoughts on that?

- Yeah, I would say, at least in my experience, appear people, like, definitely really prefer shopping local in-person.

And I think it's really about relationship building and storytelling.

I think that's really the thing.

Like, not, like, they're buying the thing, cool.

But, like, you know, you can buy a pillow, you know, at Target.

(Jade laughs) But, like, buying a pillow from you is way different because, like, they have the ability to know you and understand you and learn you.

And then, like, "Wow, I really like your story.

I wanna support you."

And so, yeah, those like kind of in-person interactions is like one of the things I'm always trying to push people towards, because especially when you're like living up here, we need each other a lot, you know?

And I think people often forget that, you know, because we're not in like that big market.

We don't have the critical mask.

And so we really have to, like, rely and lean on one another, and we need opportunities to do that.

And so really, like, you know, the necessity of space is really to try to create the opportunity for people to engage with each other more.

So, yeah, and, you know, it just so happens that being up here, you can do that a little bit cheaper.

'Cause, you know, the square footage is a little bit less offensive than New York City.

- (laughs) That's important.

- So, you know, get outside and go talk to people, go see people.

And I think too, like, artists, we don't really like social media like that, you know?

Having to be like crafting a message in an image of yourself to then be perceived, there's so many things about that.

I get it gives people the option to not have to do that and still be able to, like, fuel, you know, the community with their art, and hopefully pay some bills and all these kinds of things.

- Yeah, and that's great for somebody like me who also doesn't like social media, you know, where I can just go, "Oh, here, I'm gonna put up a couple prints."

I'll stay there for like a few hours, you know, out of the week and bond and connect with people.

So it's really good, because you're able to create an accessible environment for artists to be able to sell their wares, but also be able to connect with the community.

So, therefore, they're building sustainability and, I don't know, connection with folks so they'll keep buying from you.

Well, thank you.

- That's what it's about.

- Yeah, right?

Well, thank you so much, Patrick, for joining us today and telling us - I appreciate it.

- About everything Crafty.

(Jade laughs) - Yeah, thank you.

- Please welcome Hot Club of Saratoga.

- One, two, three.

(light gypsy jazz music) ♪ I'd work for you ♪ ♪ I'd pray for you ♪ ♪ I'd be a beggar or a knave for you ♪ ♪ If that isn't love, it will have to do ♪ ♪ Until the real thing comes along ♪ ♪ I'd gladly move the Earth for you ♪ ♪ To prove my love, dear, and it's worth for you ♪ ♪ If that isn't love, it'll have to do ♪ ♪ Until the real thing comes along ♪ ♪ With all the words, dear, at my command ♪ ♪ I just can't make you understand ♪ ♪ But I'll always love you, darlin', come what may ♪ ♪ My heart is yours, what more can I say ♪ ♪ I'd lie for you, I'd cry for you ♪ ♪ I'd tear the stars down from the sky for you ♪ ♪ If that isn't love, it will have to do ♪ ♪ Until the real thing comes along ♪ (light gypsy jazz music continues) (light gypsy jazz music continues) ♪ With all the words, dear, at my command ♪ ♪ I just can't make you understand ♪ ♪ I'll always love you, darling, come what may ♪ ♪ My heart is yours, what more can I say ♪ ♪ I'd lie for you, I would cry for you ♪ ♪ I'd tear the stars down from the sky for you ♪ ♪ If that isn't love, it'll have to do ♪ ♪ Until the real thing comes along ♪ (mellow gypsy jazz music) ♪ Carolina ♪ ♪ Gave me Dinah ♪ ♪ I am the happiest man ♪ ♪ Beneath the sun ♪ ♪ Rumors are spreadin' ♪ ♪ About a weddin' ♪ ♪ I hear those church bells ringin' ♪ ♪ Here's the song that my hearts singin' ♪ (uptempo gypsy jazz music) ♪ Dinah, is there anyone finer ♪ ♪ In the state of Carolina ♪ ♪ If there is and you know her, ♪ ♪ Show her to me ♪ ♪ Dinah, with her eyes blazin' ♪ ♪ How love sitting gazin' ♪ ♪ Into the eyes of Dinah Lee ♪ ♪ Every night, why do I shake with fright ♪ ♪ Because my Dinah might change her mind about me ♪ ♪ Dinah, should you wander to China ♪ ♪ I would hop an ocean liner ♪ ♪ Just to be with Dinah Lee ♪ (uptempo gypsy jazz music continues) (uptempo gypsy jazz music continues) (uptempo gypsy jazz music continues) (uptempo gypsy jazz music continues) ♪ Oh, Dinah ♪ ♪ Dinah ♪ ♪ Oh, Dinah ♪ ♪ Dinah ♪ ♪ Is there anyone finer ♪ ♪ Finer ♪ ♪ If there is and you know her ♪ ♪ Show her to me ♪ ♪ Dinah ♪ ♪ Dinah ♪ ♪ With her blue eyes blazin' ♪ ♪ Dinah ♪ ♪ I love to sit and gaze in ♪ ♪ Dinah ♪ ♪ Into the eyes of Dinah Lee ♪ ♪ Now every night ♪ ♪ Why do I shake with fright ♪ ♪ 'Cause my Dinah might ♪ ♪ Change her mind about me ♪ ♪ Oh, Dinah ♪ ♪ If you should wander to China ♪ ♪ I would hop an ocean liner ♪ ♪ Just to be with Dinah Lee ♪ (spirited gypsy jazz music) (spirited gypsy jazz music continues) (spirited gypsy jazz music continues) (spirited gypsy jazz music continues) (smooth light music) - Thanks for joining us.

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

I'm Matt Rogowicz.

Thanks for watching.

(smooth light 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.