>>> PRODUCTION OF "BROAD & HIGH" IS FUNDED IN PART BY THE GREATER COLUMBUS ARTS COUNCIL, CELEBRATING EXPRESSION, FOSTERING TALENT, AND CONNECTING THE COMMUNITY TO COLUMBUS ARTISTS, PERFORMANCES, EXHIBITIONS, CONCERTS, PUBLIC ART AND MORE AT COLUMBUSMAKESART.COM.

FROM THESE CONTRIBUTING SPONSORS.

AND VIEWERS LIKE YOU.

THANK YOU.

>>> THIS TIME ON "BROAD & HIGH" -- WE TRAVEL TO ZANSVILLE, OHIO, AND TALK WITH FOUR ARTISTS TO LIVE AND CREATE THERE.

FROM FIGURATIVE SCULPTURE TO MIXED MEDIA COLLAGE AND EVERYTHING IN BETWEEN, ZANESVILLE HAS AN EVER-GROWING AND TALENTED ARTIST COLONY THAT DATES BACK ALMOST 20 YEARS.

THIS AND MORE RIGHT NOW ON BROAD & HIGH.

WELCOME TO BROAD & HIGH.

I'M YOUR HOST KATE QUICKEL.

AN HOUR EAST OF COLUMBUS IN ZANESVILLE, OHIO, THERE'S A VIBRANT AND DIVERSE GROUP OF ARTISTS BREATHING NEW LIFE INTO THE CITY'S DOWNTOWN.

ONE OF THE CREATIVE FORCES BEHIND THE ARTIST COLONY OF ZANESVILLE, OR ARTCOZ, IS PAUL EMORY, A PAINTER AND MIXED-MEDIA ARTIST WITH A PASSION FOR SAVING HISTORIC BUILDINGS.

PAUL'S SUBJECTS ARE OFTEN SCENES FROM EVERYDAY LIFE, BUT HIS STRIKING AND COLORFUL WORK IS ANYTHING BUT ORDINARY.

LET'S TAKE A LOOK.

>> THE ARTISTS THAT I LOVE THE MOST ARE THE IMPRESSIONISTS AND GERMAN EXPRESSIONISTS, SO THAT'S ONE OF MY INSPIRATIONS, AND I'M SOMEWHERE BETWEEN THAT AND REPRESENTATIONAL PAINTING, AND I THINK IT FITS REAL WELL WITH MY SUBJECT MATTER, BECAUSE PEOPLE CAN IDENTIFY IT AND DON'T FEEL LIKE IT'S OUTSIDE OF THEIR REALM OF UNDERSTANDING.

>> A LOT OF IT I PAINT FROM LIFE, LIKE LANDSCAPES AND RURAL THINGS LIKE THAT, BUT ALSO ANYTHING THAT I FIND INTERESTING THAT MIGHT MAKE A GOOD PAINTING.

YOU KNOW, AN EXPERIENCE OR AN EVENT, SOMETHING THAT I SEE IN THE STREET.

I MIGHT PULL THE CAR OVER AND COA LITTLE SKETCH REAL QUICK TO REMEMBER IT BY, BRING IT TO THE STUDIO, AND BLOW IT UP ON A CANVAS.

WHEN I WAS IN UNDERGRADUATE SCHOOL, I MADE A LOT OF COLLAGES AND CONSTRUCTIONS, MOSTLY CUBIST COLLAGES FROM THE CUBIST PERIOD.

THEN WHEN I WENT TO GRAD SCHOOL I MET A PAINT WHO ARE DID FIGURATIVE PAINTING AND I GOT EXCITED ABOUT PAINTING AGAIN, SO I GOT STARTED ON FIGURATIVE PAINTINGS.

NOW I'M KIND OF HEADING BACK WHERE I STARTED WITH MAKING CONSTRUCTIONS AND COLLAGES AGAIN IN COMBINATION WITH PAINT, AND IT'S BEEN REALLY FUN TO EXPLORE THE TECHNIQUE AGAIN.

THIS PHOTOGRAPH IS WHERE IT STARTED, FROM WHERE I GREW UP.

I NOTICED I BEEN THINKING ABOUT AND TAKING DRIVES TO GRAVEYARDS.

AND I DECIDED, THIS WOULD BE A GREAT GRAVEYARD, AND I WOULD HAVE SO MUCH FUN.

I GOT PAINTBRUSHES.

I DID HAVE A PAINTBRUSH.

JUST ODDS AND ENDS.

AND IT JUST SEEMS INTERESTING AND POETIC TO ME THAT, YOU KNOW, THE STEPS TO THE CHURCH -- TAKING THE STEPS, AS WE DO THROUGH LIFE.

IT'S FUN NOW BECAUSE I'M STILL NOT JUST TOTALLY NONOBJECTIVE.

I'M USING FIGURATIVE SUBJECT MATTER AND GLUING THINGS INTO THE PAINTING, AND IT'S MAKING AN INTERESTING COMBINATION.

A LOT OF THEM NOW ARE ABOUT THE PROBLEM OF TRASH AND PLASTICS, AND I THINK IT'S FUN AS AN ARTIST AND EXCITING TO EXPRESS PROBLEMS WE HAVE THAT NEED TO BE DEALT WITH, AND WE KNOW WE HAVE THEM.

BUT NOW WITH PLASTIC AND TRASH EVERYWHERE, I'M PICKING STUFF UP AND THINKING ABOUT MY NEXT PIECE AND MAYBE MAKING PAINTINGS OUT OF TRASH COMPLETELY IN THE FUTURE.

CHUNKS OF PLASTIC AND ANYTHING I FIND THAT CAN BE WORKED IN.

THAT I'M PAINTING ABOUT, I KNOW IT SO WELL, AND YOU CAN SEE THAT IN MY WORK.

YOU CAN SEE THE INTERSTATE I PAINTED HERE FROM ONE OF THE BRIDGES.

YOU CAN SEE SOME OF THE FARMS, SOME OF THE PEOPLE, AND SOME OF THE SITUATIONS THAT I'VE EXPERIENCED.

I AM TELLING STORIES IN MY PAINTINGS, AND OF COURSE I EXAGGERATE TO MAKE THEM MORE INTERESTING.

THAT'S PART OF BEING AN ARTIST IS EXAGGERATION FOR THE EMOTIONAL IMPACT.

I HAVE BEEN HERE IN ZANESVILLE SINCE ABOUT 1985, AFTER AGOT OUT OF GRAD SCHOOL AND OUT OF THE ARMY.

AND I GUESS I GOT ADDICTED TO THE OLD BUILDINGS HERE.

I HAD A STUDIO DOWN HERE.

IT'S BEEN TORN DOWN SINCE, BUT THEN I STARTED BUYING BUILDINGS.

I JUST LOVE PUT OLD BUILDINGS TOGETHER, AND WHILE I'M PUTTING THE BUILDINGS TOGETHER, I'M WORKING ON PAINTING AT THE SAME TIME.

THAT'S HOW IT EVOLVED.

THEN I STARTED ASKING PAINTER FRIENDS TO JOIN ME, BECAUSE I FELT LIKE I WAS ALONE HERE AND I NEEDED MORE HELP TO SAVE THE BUILDINGS.

SO EVENTUALLY I STARTED RECRUITING OTHER ARTISTS I MET IN SCHOOLS.

THERE'S A WHOLE VARIETY OF PAINTERS HERE AND SCULPTORS.

NOW WE HAVE QUITE A GROUP, AND I'M REALLY PROUD OF IT.

THE SUPPORT OF EACH OTHER IS REALLY GREAT, THE CAMARADERIE AND LOOKING AT EACH OTHERS' WORK AND FEELING GOOD ABOUT REHABBING OUR DOWNTOWN, BECAUSE NOBODY ELSE WANTED IT, AND IT'S BEAUTIFUL THE ARTISTS ALWAYS SEEM TO COME INTO A NEIGHBORHOOD LIKE THIS, SEE THE POTENTIAL, IMAGINE WHAT IT COULD BE, AND IT ALL STARTS WITH IMAGINATION AND BUILD IT UP TO WHERE IT IS NOW.

I THINK THE PEOPLE OF ZANESVILLE ARE VERY DOWN TO EARTH AND HONEST, AND THEY SEEM TO APPRECIATE THE ARTIST COLONY, WHICH I'M VERY HAPPY ABOUT.

THEY DON'T REJECT IT, THEY FIT RIGHT IN, AND THEY HAVE A GOOD TIME HERE.

I THINK WHEN THEY LOOK AT MY WORK, THEY IDENTIFY SOME ASPECT OF THEIR OWN LIFE THAT THEY RELATE TO, AND THEY'LL PONDER IT AND HOPEFULLY THINK ABOUT IT MORE OFTEN AND COME BACK AGAIN AND LOOK AGAIN AND STILL STAY INTERESTED IN IT.

WHEN YOU MAKE A GOOD POINTING THAT YOU THINK IS GOOD, IT GIVES YOU A SENSE OF PURPOSE, AND IT MAKES YOU FEEL GOOD ABOUT YOUR DESTINY OR WHAT YOU'RE GOING TO DO WITH YOURSELF, AND THEN BEING IN SHOWS AND HAVING OTHER ARTISTS LIKE YOUR WORK IS VERY REWARDING.

>> TO SEE MORE OF HIS WORK, CHECK OUT PAULEMORY.COM.

>>> YAN SUN'S LIFE CHANGED DRAMATICALLY WHEN HE CAME TO THE UNITED STATES AS PART OF A SCHOLAR EXCHANGE PROGRAM FOLLOWING THE CULTURAL REVOLUTION IN CHINA, AND FOR THE LAST 30 YEARS, HE'S BEEN PAINTING, TEACHING, AND SHARING HIS STORY IN ORDER TO CHALLENGE THE NEGATIVE PORTRAYAL OF AMERICA HE LEARNED IN HIS YOUTH.

YAN GREW UP IN CHINA DURING THE COMMUNIST REVOLUTION.

AS A CHILD HE WAS REFUSED AN EDUCATION AND FACED INTENSE DISCRIMINATION.

DURING HIS TEENAGE YEARS, THE GOVERNMENT SEPARATED YAN SUN'S FAMILY, AND HE WAS FORCED TO WORK IN A COAL MINE.

DURING THIS DARK TIME, YAN SUN DISCOVERED ART.

>> AT THAT MOMENT I WAS LUCKY I MET THE ARTISTS WHO WERE VERY FAMOUS ARTISTS BUT WHO WAS NOT COMMUNIST PARTY MEMBERS, AND HE WAS FORCED TO THE COAL MINES.

HIS SMALL STUDIO HAS A SPECIAL SMELL.

WHAT KIND OF SMELL?

LINSEED OIL AND THE BRUSH AND COLORS.

WOW, THIS IS MY WAY.

AT THAT MOMENT I THINK PROBABLY I DON'T BE A DOCTOR.

A LOT OF MONEY, I KNOW, BUT I LIKE ART.

I USE THE PENCE AND BRUSH AND DRAWING.

EVERY DAY.

I'M A VERY INTERESTED ABOUT THE AMERICAN CULTURE.

AND NOT JUST IN THE 21st CENTURY, 20th CENTURY.

I WANT TO GO BACK TO A COUPLE HUNDRED YEARS AGO AND WANT TO KNOW MORE ABOUT THE WEST.

>> I WANT TO KNOW WHAT HAD HAPPENED IN OHIO.

THAT'S WHEN I FIND THE GOOD SUBJECT MATTER OF OHIO AND THE AMERICAN INDIANS AND I FOCUS ON THE DIFFERENT LIFE.

TRIBALS, OLD MEN, THEY HAD GREAT POWER.

THEY WERE LEADER.

THEY GIVE A STORY.

AND STORY NOT JUST WRITE DOWN.

THEY GIVE JUST -- TALK ABOUT STORY, THE HISTORY.

WHAT IS THIS GENERATION, WHAT IS NEXT GENERATION.

THE YOUNG GIRLS, THEY LIKE TO GO BACK.

THEY WANT TO FIND THE ROOT OF THE THEIR CULTURE.

I LIKE TO USE OIL BECAUSE OIL COLOR, BIG BRUSH OR SMALL BRUSHES.

THE BIG BRUSH CAN REPRESENT THE FEELINGS, THE EMOTIONS.

I NEVER MIX TOO MUCH.

FOR EXAMPLE, THIS IS STARTER.

YOU CAN SEE COLORS.

AND BRUSHES, YOU CAN USE DIFFERENT COLORS.

BIG BRUSH.

DO NOT MIX TOO MUCH.

HOW NICE.

WHEN YOU STAND FAR AWAY, THIS COLOR, IT'S JUST TO GIVE YOU ANOTHER FRESH IMPRESSION.

IN THE 19th CENTURY, MONET AND THE FRENCH ARTISTS USED THE SAME STYLE.

THEY REPRESENT A VERY GOOD TREE.

REMEMBER THAT, THE TREE IS NOT GREEN.

YOU CANNOT USE GREEN TO REPRESENT GREEN.

YOU NEED TO USE SOME BLUE, YELLOW, BLACK AND WHITE TO REPRESENT THE GREEN.

THE STYLE DEPEND ON THE SUBJECT MATTER.

FOR EXAMPLE, THIS, YOU CANNOT USE A BIG BRUSH, BECAUSE THEY HAVE DETAIL, THEY HAVE PAPER.

YOU NEED TO USE THE SMALL BRUSHES AND MANY LAYERS.

FOR THE LANDSCAPE, YOU CAN CANNOT USE THIS ONE.

YOU NEED TO USE A BIG BRUSH, JUST LIKE THE IMPRESSIONISTS.

THAT'S WHY IN MY PAINTINGS, YOU CAN A SEE I HAVE SO MANY DIFFERENT SUBJECT MATTER OF DIFFERENT STYLE FROM TRUMP L' OEIL OR SOMETHING SIMILAR OR REALISTIC STYLE OR IMPRESSIONIST.

THE TITLE OF THAT WORK IS ON THREE SIDES OF MONA LISA.

THE POSE IS THE MONA LISA.

I SELECTED A BOY.

I WANT TO COMBINE THE HISTORY OF TWO VERY FAMOUS, BUT COMBINED BY CONTEMPORARY WORK.

PEOPLE ASK, WHY YOU THINK THIS IS COMPLETE.

THIS IS A GOOD QUESTION.

SOME WORKS, IT DEPEND ON MY FEELING.

FOR EXAMPLE I WANT TO MAKE -- WORKS, AND I NEED TO KEEP THE WORKING ON THE SURFACE -- A GOOD ARTIST MUST UNDERSTAND WHEN IT NEEDS TO BE STOPPED.

DO NOT DO TOO MUCH.

FOR EXAMPLE, THIS MIX THE EMOTION -- YOU CANNOT SEE THE FLOWER OR THIS IS TREES.

THAT IS NOT IMPORTANT.

I CAN SAY THIS IS A SPIRIT, AND THE EMOTION.

AND SOME TIME YOU HAVE TO KEEP THIS EMOTION.

THAT'S OKAY.

DO NOT THINK ABOUT, OH, THIS FLOWER I NEED TO ADD SOME DETAIL.

DO NOT MIX ALL THE DETAILS.

ALL THE SELECTIONS.

IF YOU DO THAT, PROBABLY YOU LOST EMOTIONS.

THIS COLOR, THIS IS MY FAVORITE COLOR.

AND ALSO THE ORANGES AND MAKES GREAT CONTRAST OF THE BACKGROUND.

IN MY EARLIEST WORK, I USED THE ORANGES.

JUST MAKE THE VIOLIN OR CELLO.

BUT BACKGROUND BE BLACK OR DARK.

MAKES A GREAT CONTRAST TO REPRESENT MY FEELINGS.

WHAT IS THE HOPE OF THE PEOPLE?

WHAT IS THE HOPE IN THE FUTURE?

WHAT IS THE DREAM?

>> TO SEE MORE OF HIS INCREDIBLE PAINTINGS, CHECK HIM OUT AT YANSUN.US.

>>> THE FIRST TIME HE TOUCHED CLAY, ALAN COTTRILL DISCOVERED THE CREATIVE MEDIUM HE D SPENT YEARS IN SEARCH OF.

SINCE 1990, HE'S SCULPTED AND CAST HUNDREDS OF STATUES THAT CAN BE FOUND THROUGHOUT THE WORLD.

WE MET UP WITH ALAN IN HIS STUDIO WHERE HE DISCUSSED HIS PASSION FOR CAPTURING HUMAN EMOTION THROUGH ENDURING STATUES.

>> A LOT OF ARTISTS, THEY DO IT MECHANICALLY, TRY TO MAKE IT LOOK JUST LIKE THE PERSON.

I WANT TO IT FEEL LIKE THE PERSON.

WHEN I TOUCHED CLAY, IT WAS SO TACTILE, AND IT GAVE ME A MEANS TO EXPRESS HUMAN EMOTION.

I ALWAYS CARED A LOT ABOUT AND TRIED TO INTUIT PEOPLE'S FEELINGS, AND WHAT THEY HAD BEEN THROUGH AND TO INSTILL A PIECE WITH THOSE EMOTIONS.

I SCULPT BECAUSE OF HUMAN EMOTION, AND THAT'S WHAT I TRY TO CONVEY.

GROWING UP, I DIDN'T KNOW ANYTHING ABOUT SCULPTURE.

MY DAD WENT TO THE TENTH GRADE.

HIS DAD, MY GRANDPA WENT TO THE SECOND GRADE, SO INTELLECTUAL CURIOSITY, NEVER HEARD OF IT.

>> I BECAME A MILK MAN LIKE MY DAD.

IN MY FIRST LIFE I STARTED THAT PIZZA CHAIN AND PUT JOINT VENTURES TOGETHER IN CHINA, JAPAN.

I WENT TO INDIA.

FOR A POOR COUNTRY BOY, THAT PIZZA BUSINESS WAS A WAY TO ELEVATE MY SOCIAL STATION.

BUT IT DIDN'T FEED MY SOUL.

CALIFORNIA UNIVERSITY OF PENNSYLVANIA.

MY BUDDIES WERE ALL PROFESSORS THERE.

I BUILT A CORPORATE HEADQUARTERS AND I BOUGHT ALL ORIGINAL ART.

SOME OF IT'S ON THE WALLS HERE.

I MET THE ARTISTS.

AND STARTED HANGING OUT WITH THEM.

AND I REALIZED THAT WE WERE SYMPATICOS.

WE WERE ALIKE.

I HAD BEEN CHARACTERIZED IN THE PRESS OFTEN AS A CREATIVE ENTREPRENEUR.

I DON'T KNOW.

I JUST WAS WHAT I WAS.

BUT I DIDN'T REALIZE THAT I HAD THAT CREATIVE ENERGY AND GENE AND A PASSION FOR CREATING.

THE FIRST TIME I TOUCHED CLAY, I HAD DISCOVERED THE MISTRESS I HAD TRAVELLED THE WORLD IN SEARCH OF.

I LEFT ZANESVILLE THE WEEK I TURNED 18, NEVER THINKING I'D BE BACK HERE.

WELL, I FOUND THIS BUILDING FOR $50,000, AND WHEN I WALKED IN, I FELT LIKE I WAS IN SOHO.

IT WAS PERFECT.

SO, I SAID, I'M MOVING TO ZANESVILLE.

STARTED MY BRONZE FOUNDRY HERE.

I WAS DRIVING BACK AND FORTH EVERY MONTH OR TWO.

ALL OF MY FAMILY HAD MOVED BACK TO ZANESVILLE.

I'M GLAD I CAME BACK.

THE PACE OF LIVING IS SLOWER.

PEOPLE ARE FRIENDLIER.

CHEAPER.

AND I HAVE THE PERFECT WORK SPACE.

I HAVE A THEORY THAT, IN READING BIOGRAPHIES OF GREAT ARTISTS, A PERSON CAN ONLY EVER PUT AS MUCH PASSION INTO A PIECE AS THEY HAVE THEMSELVES.

IT'S RARE TO BE ABLE TO ACHIEVE THAT, BUT THAT'S THE MOST YOU CAN PUT IN.

HAVING WORKED THROUGH A LOT OF PAIN IN CHILDHOOD AND YOUNG ADULTHOOD, I LOVED TO PUT SOME OF THAT IN.

I WILL DO THAT INSTINCTIVELY, SO SOMETIMES I HAVE TO RATCHET THAT BACK.

BUT IT HELPS A LOT WITH MY COAL MINER STATUES, WITH MY MILITARY STATUES.

ANYBODY THAT'S BEEN TO WAR AND SEEN THE THINGS THAT THEY'VE SEEN.

IF YOU SEE PHOTOGRAPHS OF THEM, YOU CAN JUST SEE THAT PAIN ETCHED IN THEIR FACE, THE STUFF THEY'VE SEEN.

MY PAINTING BUDDIES WOULD ASK, OKAY, YOU CAN SAVE ONE PAINTING IF THERE'S A FIRE.

WHAT ONE DO YOU SAVE?

WELL, MINE WOULD HAVE TO BE MY WIFE AND MY TOMBSTONES BEHIND ME, BECAUSE IT'S A TRIBUTE TO HER.

SHE'S A DAD GONE ANGEL, AND IT'S A TRIBUTE IN THE BROADER SENSE TO LONG LASTING LOVE.

AND I STUDY A LOT THE SCIENCE OF HUMAN PAIR BONDING.

YOU HAVE TO BE INCREDIBLY FORTUNATE TO HAVE THE KIND OF PAIR BONDING THAT SHE AND I HAVE.

A WHOLE BUNCH OF BIG BRONZE STATUES AROUND THE COUNTRY.

PEOPLE WILL LOOK AT IT 200 OR 300 YEARS FROM NOW, AND REALLY CONNECT WITH ONE, AND THEN LOOK DOWN AND SEE MY NAME IN BRONZE -- A COTTRILL, WHATEVER DATE, AND SAY, WOW, THAT GUY DID THAT 200, 300 YEARS AGO.

IT'S STILL HERE.

I'M DUST.

IT'S STILL THERE.

SO THAT'S WHAT I HOPE.

I CAN'T WAIT TO GET INTO WORK.

I WORK SEVEN DAYS A WEEK.

NOT AS MANY HOURS AS I USED TO, BUT I DON'T WANT TO LEAVE HERE, MAN.

LIKE COMING IN MAKING LOVE ALL DAY LONG.

IT'S PRETTY GOOD STUFF.

>> TO SEE MORE OF HIS WORK, CHECK HIM OUT AT ALANCOTTRILL.COM.

>>> SUSAN STUBBINS IS AN ARTIST WHOSE CREATIVE ENERGY MANIFESTS IN EXTENSIVE TRAVELS AND EXTRAORDINARY ARTWORK.

HER PIECES ARE PRONE TO A VARIETY OF TEXTURES, LAYERS, AND THE OCCASIONAL INCORPORATED QUOTE.

THE UNIFYING THREAD AMONG HER COLLAGES, QUILTED OBJECTS, AND PAINTINGS IS THE MEDITATIVE PROCESS SHE EMPLOYS.

LET'S LEARN MORE ABOUT THIS ARTIST WHO CALLS THE ART LOFT HER CREATIVE HOME.

>> I PLAN -- BUILD UP SOME OF THE LAYERS.

I HAD THIS PIECE OF PAPER THAT HAD BLACK PAINT ON IT, AND I LAID IT ON HERE AND I THOUGHT IT LOOKED PRETTY COOL.

YOU CAN STILL SEE SOME OF THE UNDERPAINTINGS THROUGH THIS, AND I REALLY LIKE THE FACT THAT LAYERS ARE STILL VISIBLE THROUGH THE DIFFERENT PIECES OF PAPER.

I LIKE ORGANIC EDGES.

FOR SOMETHING LIKE THIS.

I'LL SIT AND LET THEM SIT AND LOOK AT THEM FOR A WHILE AND THEN MAKE OTHER DECISIONS.

I HAVE A COLOR PALETTE THAT I REALLY LIKE.

THE BLUE AND THE ORANGEY BROWNINGS AND I TEND TO WORK WITH THOSE COLORS A LOT.

I DON'T ALWAYS STICK WITH THEM.

SOMETIMES THERE'S SOMETHING, A PIECE OF PAPER OR SOMETHING THAT LEANS TOWARD ANOTHER COLOR DIRECTION.

I LIKE TEXTURE.

I LIKE THE LAYERS.

I LIKE INCORPORATING TRANSPARENT AND TRANSLUCENT THINGS TOGETHER.

I GOT THAT IN VENICE.

IF YOU LOOK AROUND, THOSE ARE KINDS OF AMAZING PAPER.

SOME OF IT HAS DESIGNS, TEXTURES.

I LIKE TO PULL THINGS OUT OF WHATEVER, AND REPURPOSE THEM INTO SOMETHING.

BUT ALL THESE WERE FROM THE TEA BAG -- TEA BAG.

THIS HAS A LOT OF COLORED PENCIL ON IT.

THIS SAT ON MY DESK AND I STARTED DOODLING.

THIS WAS OUT OF AN ADVERTISEMENT.

SEVERAL ADVERTISEMENTS WHEN WE HAD BEEN ON A TRIP SOME PLACE.

SOME OF IT HAS TISSUE PAPER BUT ACRYLIC PAINT.

SOMETIMES I PULL THINGS OUT BECAUSE OF THE COLOR, SOMETIMES THE TEXTURE, SOMETIMES JUST THE SHAPE.

THERE ARE SEVERAL OF THEM.

I JUST USE MAPS OUT OF AN ATLAS AND STARTED BUILDING.

I WOULD PUT COLOR ON IT.

I HAD SOME PHOTOGRAPHS THAT I HAD TAKEN, AND I CUT THOSE PHOTOGRAPHS UP AND INCORPORATED PIECES OF THE PHOTOGRAPHS.

THE "JOURNEY OF A THOUSAND MILES MUST BEGIN WITH A SINGLE STEP", A LOT OF TIMES I INCORPORATE QUOTES, AND THE QUOTES HAS A DIFFERENT -- THEY PULL IN ANOTHER AURA, MAYBE.

I HAVE OTHER PROJECTS THAT I'VE STARTED.

THE QUILTS UP HERE.

THIS IS AN EXAMPLE OF ONE OF THE -- DURING THE PANDEMIC IT WAS VERY MEDITATIVE TO JUST SIT AND HAND SEW.

YOU'RE NOT REALLY WORRYING ABOUT TOMORROW.

YOU'RE NOT REALLY WORRYING ABOUT YESTERDAY.

YOU'RE JUST FOCUSING ON WHAT YOU'RE DOING WITH YOUR HANDS, YOUR MIND, YOUR EMOTIONS.

THESE PIECES WERE FROM A SERIES I DID A NUMBER OF YEARS AGO, AND THEY ARE SHOULDER PADS I EMBELLISHED WITH BEADS AND BUTTONS.

AND THIS ONE TITLED "EVE".

AND ALL OF THESE PIECES I ADDED FISHING WEIGHTS.

AND THEY'RE SHOULDER PADS, SO THAT KIND OF REPRESENTS THE WEIGHT WOMEN HAS ON THEIR SHOULDERS.

THERE'S QUITE A COMMUNITY OF ARTISTS HERE, AND THAT'S BEEN REALLY ESPECIALLY NICE FOR ME BECAUSE NOT BEING FROM ZANESVILLE, BUT THERE'S INCREDIBLE GENEROSITY AND CREATIVE ENERGY THAT'S REALLY NICE TO SHARE.

>> TO SEE MORE OF HER WORK, FIND HER ONLINE AT THEARTLOFTZANESVILLE.COM.

WELL, THAT'S OUR SHOW.

REMEMBER, YOU CAN FIND ALL OF OUR STORIES ONLINE AT WOSU.ORG AS WELL AS ON OUR YOUTUBE CHANNEL.

FOR ALL OF US HERE AT WOSU, I'M KATE QUICKEL.

THANKS FOR WATCHING.

MUSIC'S IN MY HEAD KIND OF LIKE A PSYCHIC RADIO I GOT MUSIC IN MY HEAD DON'T KNOW IF IT'S MINE OR NO IT'S LIKE VOICES IN MY HEAD BUT YOU KNOW THERE'S -- BABY I GOT MUSIC IN MY HEAD >>> PRODUCTION OF "BROAD&HIGH" IS FUNDED BY -- THE GREATER COLUMBUS ARTS COUNCIL, CELEBRATING EXPRESSION, FOSTERING TALENT, AND CONNECTING THE COMMUNITY TO COLUMBUS ARTISTS, PERFORMANCES, EXHIBITIONS, CONCERTS, PUBLIC ART AND MORE AT COLUMBUSMAKESART.COM.