Luz-Maria Lopez, Gary Dudley, Tim George, Steven Monser | Episode 110 | Art Rocks

Luz-Maria Lopez, Gary Dudley, Tim George, Steven Monser | Episode 110 | Art Rocks


>>THIS THIS EDITION OF “ART ROCKS,” A PAINTER WHO BELIEVES ART CAN BE A BRIDGE BETWEEN CULTURES.>>I DON’T KNOW WHAT MY STYLE IS. I THINK I DO — THE LATIN AMERICAN COLORS WITH SOME OF THE NATIVE AMERICAN — >>A SCULPTOR RECREATING MEMORIES IN CLAY. A LOT OF @.
DOND CANlFPL I GET THE CLAY IN MY HANDS.>>WESTERN ART OF RAWHIDE BRAIDING — >>A DETAILED AND PRECISE ART.>>AND WHY GLASS BLOWING IS SO REWARDING FOR AN ARTIST.>>I LIKE TO CREATE COLORED GLASS OBJECTS THAT TAKE ON THEIR OWN DIMENSION.>>IT IS ALL AHEAD ON THIS EDITION OF “ART ROCKS.”>>”ART ROCKS” IS MADE POSSIBLE BY THE FOUNDATION FOR EXCELLENCE IN LOUISIANA PUBLIC BROADCASTING. AND BY VIEWERS LIKE YOU.>>HELLO. I’M JAMES FOX SMITH, PUBLISHER OF COUNTRY ROADS MAGAZINE AND THIS IS “ART ROCKS.” WE BEGIN OUR SHOW TODAY WITH A PAINTER FROM COVINGTON, LOUISIANA, WHO ENJOYS PAINTING INDIGENOUS PEOPLE. LUZ-MARIA LOPEZ IS ORIGINALLY FROM HONDURAS. **>>MY NAME IS LUZ-MARIA LOPEZ. I GREW UP IN HONDURAS, AND BY THE TIME I WAS THREE, FOUR YEARS OLD, I WENT TO LIVE WITH MY GRANDMOTHER. MY FIRST EXPOSURE TO ART I ALWAYS FELT WAS THE — IN HER HOME. THE IMAGES THAT I PAINT, DON’T HAVE RELIGIOUS MEANING TO ME, THEY ARE JUST BEAUTIFUL THINGS, LIKE WHEN I LOOK AT THE IMAGE, YOU KNOW, THE COLORS, AND EVERYTHING IN IT JUST REMINDS ME OF THE — MY GRANDMOTHER, HER.IT IS ALL TO HONOR HER.|z|Z|Z|Z| SHE ELF — ONE THAT — FOR HIM TO SEND ME TO THE UNITED STATES. I DON’T KNOW WHAT MY STYLE IS, BUT WHAT I THINK I DO IS THAT I MAKE THE LATIN AMERICAN COLORS — I LIKE TO PAINT INDIGENOUS THINGS, MAYAN INFLUENCE IN HONDURAS, I DON’T HAVE A — A PICTURE, A FINISHED PICTURE IN MY MIND WHEN I START PAINTING, I JUST KNOW THAT I WANT TO PAINT AN ICONIC WOMAN THAT IS GOING TO BE AZTEC AND I START PAINTING A FACE. I’M ALWAYS — OVER THE YEARS, WHAT IS IMPORTANT TO ME IS THAT MY ART WILL BE A BREACH BETWEEN THE CULTURES, AND I JUST WANT TO — I WANT TO REALIZE THAT WE ARE MORE ALIKE THAN DIFFERENT AS PEOPLE. WE ARE HUMANS. WE ARE UNIVERSAL, AND THE — TO BRING BEAUTY AND UNITY TO THE HUMAN RACE, AEN I WANTED TO CONVEY THAT, TOO. I FEEL THAT ONE OF THE ROLES OF AN ARTIST IS TO PASS OUR WORK TO THE FUTURE GENERATION SO THAT THEY CAN BE INSPIRED TO DO BETTER WORK THAN WHAT WE ARE DOING, AND THAT’S HOW THE ARTISTS — THE ART GETS BETTER AND BETTER. AND, YOU KNOW, THAT IS FOOD FOR THE SOUL, AND I HOPE THAT WHAT I DO WILL BE FOOD FOR THE SOUL. **>>TO SEE MORE OF HER WORK, VISIT LUZ-MARIA LOPEZ.COM.>>LET’S LOOK AT SOME OF THE ARTS AND CULTURAL EVENTS COMING UP SOON AROUND LOUISIANA. **>>FOR MORE INFORMATION ON THESE EVENTS, VISIT THE WEB SITE, lpb.org/ARTROCKS, AND YOU CAN FIND MORE ART CONNECTIONS AT COUNTRYROADSMAG.COM.>>GREW UP WITH CLAY IN HIS HANDS AND NOW IT IS HIS PASSION. TAKES MEMORIES, TURNS THEM INTO SCULPTURES AND CASTS THEM INTO BRONZE. LET’S WATCH AS DUDLEY TAKES US THROUGH HIS CREATIVE PROCESS.>>HI, I’M GARY DUDLEY, I — I AM A SCULPTOR. FIRST EXPERIENCE, MY MOTHER DID CERAMICS. SO, I USED TO TRAVEL WITH HER TO — EIGHT, NINE, SHE WAS DRAGGING ME ALONG. I DON’T WANT TO GO. ONCE SHE GETS TO WHERE SHE IS DOING HER WORK, THE WAY SHE USED TO KEEP ME QUIET WAS TO GIVE ME CLAY. I REMEMBER THE FIRST TIME SHE GAVE ME THE CLAY WAS JUST AN AMAZING THING FOR ME BECAUSE MY MIND COULD DO A LOT OF THINGS ONCE I GOT THE CLAY IN MY HAND. IT OCCUPIED MY TIME. AND SO EVERYTHING WENT SILENT FOR ME AT THAT POINT. IRGINIA, IN ÷v SEGREGATED AT THE TIME, AND BELIEVE IT OR NOT, A LOT OF PEOPLE DON’T UNDERSTAND THAT, EVEN IN SEGREGATION, THE CULTURE, IT JUST IS A BEAUTIFUL CULTURE. SO, A LOT OF THINGS IN MY MIND I LIKE TO REMEMBER BY SCULPTING, HOW BEAUTIFUL PEOPLE SEEM TO ME. EVEN IN A TIME WHERE YOU WOULD THINK IT WOULD BE — THE CULTURE ITSELF, JUST LOOK AT THE UNDERLYING PART OF CULTURE, FAMILIES, FAMILIES THAT GO TO CHURCH, FAMILIES THAT, YOU KNOW, RAISING THEIR KIDS TO GO TO SCHOOL. AND THAT’S THE PART I REMEMBER. THAT’S THE PART I’M TRYING TO CAPTURE.>>IN SOME CASES, IT’S JUST PUSHING ON THE CLAY. SOMETIMES I DON’T HAVE AN IDEA. SOMETIMES I’M PUSHING ON CLAY AND AN IDEA COMES TO ME. OTHER TIMES, LIKE THE PIECE THAT I USE MY DAUGHTER AS THE MODEL, SUNDAY FLOWER, WHEN I STARTED THAT PIECE, I DIDN’T HAVE MY DAUGHTER IN MIND ACTUALLY, BUT I NEEDED A CHILD’S FACE AND MY DAUGHTER WAS FIVE AT THE TIME. AND I WENT THAT FACE WILL WORK FOR ME. AND THAT WAS A TOUGH ONE. BECAUSE SHE — SHE WAS FIVE, AND THE ONLY WAY I COULD GET HER TO SIT STILL WAS TO PUT CARTOONS ON. THE SKATEBOARDER IS A LITTLE BIT DIFFERENT BECAUSE I’VE HAD SOMEONE — A PHOTOGRAPH OF A SKATEBOARDER AND I LOOKED AT THAT AND I SAID THAT AS DYNAMIC PIECE. SOMEONE ASKED ME, DO YOU PLAN YOUR SCULPTURES? WELL, YES, BUT THOSE PLANS USUALLY GO OUT THE WINDOW. DO YOU DRAW A PICTURE OF YOUR SCULPTURES? I DID THAT IN THE BEGINNING, SKETCH THIS PART, AND THEN PUT THIS TOGETHER, BUT WHAT HAPPENS IS FOR ME, I WAS STRUGGLING TRYING TO STAY IN THE SKETCH. I WANT PEOPLE TO COME IN AND GO I LIKE IT. I DON’T LIKE IT. AND IT IS OKAY NOT TO LIKE IT. MOVE ON AND THEN FIND SOMETHING THAT YOU DO LIKE. THAT’S WHAT ART IS. DON’T TRY TO JUDGE WHAT SOMEONE ELSE IS SAYING ART IS. AND THAT IS I THINK WHERE WE ARE TODAY. A LOT OF TIMES SOMEONE ELSE IS WAITING FOR SOMEONE ELSE TO TELL THEM WHETHER OR NOT THEY LIKE THAT PIECE OF ART. IS THAT OKAY? IT IS OKAY, IF YOU FEEL THAT, IF YOU LIKE IT, IT IS OKAY. WHEN I STARTED, IT WAS — YES, YOU WANT TO — YOU WANT TO BE A GREAT ARTIST AND THAT’S — I’M STILL WORKING ON THAT, BUT MOST ARTISTS WILL TELL YOU WHEN THEY CREATE, THAT’S A SUCCESS. TO START SOMETHING FROM NOTHING, AND TO MAKE IT HAPPEN, IS JUST A GREAT FEELING. EVERYTHING ELSE AFTER THAT IS ICING ON THE CAKE.>>TO SEE MORE OF HIS SCULPTURES — **>>THE WESTERN ART OF RAWHIDE BRAIDING MIGHT BE DYING OUT, BUT FOR TIM GEORGE, A MASTER OF THE CRAFT, IT IS STILL VERY MUCH ALIVE. TAKE A LOOK AT HIS DETAIL-ORIENTED ART.>>THIS IS A CALF HIDE THAT HAS BEEN MADE INTO RAWHIDE. MOST ART — STRING AROUND IN A CIRCLE, ABOUT ONE AND A QUARTER INCHES. MY NAME IS TIM GEORGE. I AM A RAW HIDE BRAIDER AND I HAVE BRAIDED FOR OVER 35 YEARS. WE WILL HAVE TO REINTRODUCE MOISTURE TO IT SO THAT I CAN CUT IT AND IT WILL TAKE ABOUT THREE DAYS BEFORE IT IS READY TO CUT. WHEN I WAS A YOUNG MAN, I STARTED THE BUCCAROO, AND I MET A MAN WHO REPAIRED SADDLES AND DID SOME SIMPLE BRAIDING ON THE SIDE. ONE DAY HE WAS IN THERE BRAIDING, AND EVERY TIME HE WOULD GO TO PULL A STRING TIGHT, HE WOULD BUMP INTO ME. HE SAID IF I WAS GOING TO STAND AROUND IN THE WAY, I MIGHT AS WELL LEARN SOMETHING. ONCE A HIDE IS READY TO CUT, FIRST WE ARE GOING TO START SPLITTING IT DOWN OR BRINGING IT INTO ONE CONSISTENT THICKNESS. AND WE’RE GOING TO USE THE OLD OSBORNE 86 HERE. I GREW UP OVER ON THE OREGON COAST. WHEN I CAME OVER TO EASTERN OREGON IN ’75, I JUST FELL RIGHT INTO IT AND I HAVE BEEN THERE EVER SINCE. WHEN I GO TO THE COAST, DEPRESSION SETS ON ME, AND IT IS NOT UNTIL I COME BACK OVER THE MOUNTAIN THAT I FEEL MY WHOLE BODY JUST GO I’M HOME. THIS IS MY COUNTY.>>STILL, TIM HASN’T LEFT THE OCEAN BEHIND ENTIRELY. ESTERN RAWHIDE BRAIDING GREW OUT OF THE KNOTS SAILORS WERE TYING FOR CENTURIES.>>BRAIDING IS NOT UNCOMMON. IF YOU GO TO SOUTHEAST OREGON, PAISLEY FIELDS, JORDAN VALLEY, THAT COUNTRY, YOU SEE PEOPLE BRAIDING. TIM HAS TAKEN THAT COWBOY ART TO THE ULTIMATE LEVEL. I DON’T BELIEVE THERE IS MORE THAN 10 PEOPLE IN THE WORLD THAT CAN BRAID AT THE LEVEL THAT TIM DOES.>>LIKE THE SAILORS BEFORE THEM, ORIGINAL RAWHIDE BRAIDERS TOOK UP THE CRAFT OUT OF A PRACTICAL NEED.>>MOST OF IT WAS DEVELOPED BY — COMING UP THROUGH ARGENTINA, MEXICO, WHENEVER THEY HAD TIME OFF IN THE EVENING OR WHATEVER, LET’S SAY THEY WANTED TO PLANT A ROPE, IF THEY HAD A NEED FOR A STALL, A SET OF REIGNS, THEY WOULD SIT DOWN AND BASICALLY MAKE THE FUNCTIONING PIECES THAT THEY NEEDED.>>MATERIAL TO MAKE THE GEAR –>>RAWHIDE IS NEARLY THE COW HIDE, ELK HIDE — WITH NOTHING MORE THAN THE HAIR AND FLESH REMOVED, WHERE LEATHER IS A CHEMICALLY TREATED PROCESS. AND RAWHIDE IS 10 TIMES LEATHER.’|HANTL Y ROT.t,@.Gñ@í@ñ@vHfHfNeHO IT WILL STAY IN THIS CONDITION LITERALLY FOREVER.>>THIS PRACTICAL CRAFT EVOLVED INTO AN ART FORM. MOST OF TIM’S WORK NOW GOES STRAIGHT TO COLLECTORS.>>WE ARE NOW GOING TO SPLIT IT DOWN TO A 32nd OF AN INCH. THIS IS A 32 OF AN INCH, AND WE WILL CUT YOU ONE 64th OF AN INCH.>>TIM’S RENOWN IS EARNED BY THE CARE HE TAKES WITH EVERY STEP OF THIS DEMANDING PROCESS.>>NOW WE’RE READY TO BEVEL THE EDGE OF THE STRING. THIS JUST TAKES THAT LITTLE SHARP EDGE OFF.>>THE STRING IS TOO SMALL TO RUN THROUGH THE SPLITTER. SO, TIM DOES THIS STEP BY HAND. JUST TO BE CLEAR, THAT STRING IS A 64th OF AN INCH WIDE.>>OKAY. AT THIS POINT, IT, TOO, IS READY TO BE BRAIDED IN A KNOT.>>CAN YOU DO THAT WITH YOUR LEFT HAND?>>YES, MA’AM. THIS IS PURE SHOWMANSHIP HERE.>>YOU DID THAT WITH YOUR LEFT HAND.>>WELL, THAT’S WHAT YOU WANTED.>>AS EXACTING AND EXHAUSTING AS THE PROCESS IS ALREADY, IT IS ALL STILL JUST PREPARATION FOR THE ACTUAL BRAIDING. TODAY, TIM IS BRAIDING A SPANISH STYLE FLEXIBLE WHIP.>>THE BARREL IS 24 STRINGS, AND WE HAVE A SERIES OF KNOTS. WE MIGHT TAKE IT TO AN UNDER FOUR, OVER FOUR, HERE WE’RE ACTUALLY UP OVER SEVEN AND EIGHT STRINGS. AT THIS POINT, WE’RE STARTING TO RAISE IT FROM UNDER ONE OVER ONE TO UNDER TWO OVER TWO. WE ARE SIMPLY INCREASING THE DIAMETER OF THE KNOT. NOW THAT WE’RE GOING UNDER THREE, WE’RE GOING TO GO OVER TWO, UNDER ONE.>>IF YOU ARE LOST ALREADY, YOU WILL BE FORGIVEN. BUT TIM INSISTS THAT IT IS ACTUALLY PRETTY SYMBOL.>>THE — THE FOUNDATION OF ALL OF THESE KNOTS. I CAN INCREASE IT TO A LARGER TURK’S HEAD OR AT THIS POINT I CAN START INTERWEAVING IT.>>LEFT-HANDED TOO?>>VERY FUNNY. EVEN IF IT IS SIMPLE ENOUGH TO DO WITH YOUR NONDOMINANT HAND, TIM IS THE FIRST TO ADMIT THAT THIS ART FORM IS NOT FOR EVERYONE.>>IT IS A VERY DETAILED AND A VERY PRECISE ART. IF YOU DON’T LOVE WORKING WITH YOUR HANDS, YOU DON’T HAVE THE TIME OR THE PATIENCE, YOU SIMPLY AREN’T GOING TO MAKE IT. SO, I REALLY HAVE TO FOCUS ON WHAT I’M DOING TO BE ABLE TO KEEP EVERYTHING STRAIGHT, GET EVERYTHING TO FIT LIKE IT IS WITHOUT MAKING ANY MISTAKES.>>SO, WHAT HAPPENS WHEN HE DOES MAKE A MISTAKE?>>NOT ONLY CAN I TIE SAILOR’S KNOTS, I CAN CUSS AND CURSE LIKE ONE, TOO.>>TIM IS A MASTER OF THE CLASSICAL WESTERN STYLE, BUT HE IS ALSO PRETTY HANDY AT THE SOUTH AMERICA GOUCHO STYLE. THIS REQUIRES A TOOL TO SEPARATE THE FINE STRINGS — >>THE GAUCHO STYLE IS MORE ARTISTIC THAN OURS BUT DOES NOT HAVE THE DURABILITY THAT OURS FINENESS OF THE [email protected]ç YOU PROBABLY AREN’T GOING TO WANT TO STAY HERE UNTIL THIS IS DONE, BECAUSE WE WILL BE AT IT FOR SEVERAL HOURS.>>THIS ART FORM TAKES TIME. AND IT MIGHT BE FOR THIS REASON MORE THAN ANY OTHER THAT IT IS NOW IN DANGER OF DYING OUT.>>WE’RE IN THE COMPUTER AGE. WE WANT IT NOW. WE HAVE TO SEE IT NOW. WE DON’T HAVE THE PATIENCE THAT A CRAFTSMAN NEEDS. WE JUST DON’T HAVE THAT ANYMORE.>>FOR JIM GEORGE, EASTERN OREGON’S OPEN SPACES AND MORE RELAXED PACE OF LIFE ARE THE INGREDIENTS THAT HE NEEDS TO KEEP THIS VANISHING ART FORM ALIVE.>>TO ME IT’S WORTH THE TIME. I JUST LOVE WORKING WITH MY HANDS AND THE IDEA THAT I TAKE A COW HIDE AND MAKE AN ARTICLE THAT IS GOING TO LAST A LONG, LONG TIME. IT WILL BE HERE LONG AFTER I’M GONE.>>EACH WEEK ON “ART ROCKS,” WE CELEBRATE AND EXAMINE ANOTHER OF LOUISIANA’S TREASURES. ELEMENT OR CULTURAL WITH A UNIQUE CONNECTION TO LOUISIANA. LET’S EXPLORE SHADOWS-ON-THE-TECHE. IBERIA, UNDER THE SHADOWS OF TOWERING LIVE OAKS, 180-YEAR-OLD HOME — BUILT BY DAVID AND MARY WEEKS, WEALTHY SUGAR CANE PLANTERS IN THE REGION, SHADOWS WAS A SECOND HOME, TOWNHOME TO ACCOMMODATE THE ENTERTAINMENT AND SOCIAL LIFE OF A WEALTHY FAMILY. FEATURING EIGHT WHITE COLUMNS ALONG THE FAÇADE. UPON ITS COMPLETION IN 1834, MARY WEEKS AND HER SIX CHILDREN MOVED IN. HER HUSBAND, DAVID, WHO HAD BEEN CHRONICALLY ILL AS THE HOME WAS BUILT, WAS TRAVELING IN NEW ENGLAND SEEKING MEDICAL ADVICE. TRAGICALLY DAVID WEEKS DIED IN CONNECTICUT AWAY FROM HIS FAMILY AND BEFORE EVER SPENDING A SINGLE NIGHT AT THE SHADOWS. MARY WEEKS WENT ON TO MANAGE THE PLANTATION AND WAS ALSO RESPONSIBLE FOR THE WELFARE OF THE SLAVES. OVER 150 MEN, WOMEN, AND CHILDREN. SHE REMARRIED A LAWYER, BUT A MARRIAGE CONTRACT KEPT HER CHILDREN’S PROPERTY SEPARATE AS ALLOWED BY LOUISIANA LAW. WILLIAM WEEKS, THE OLDEST SON OF DAVID AND MARY EVENTUALLY TOOK OVER MANAGEMENT OF THE FAMILY’S SUGAR PLANTATION. JOHN MOORE BECAME A JUDGE AND U.S. CONGRESSMAN. IN 1861, HE WAS A DELEGATE TO THE LOUISIANA CONVENTION THAT VOTED TO SECEDE FROM THE UNION. THE PLANTATION ECONOMY DEPENDED UPON LOUISIANA SLAVERY, AND JUDGE MOORE AND MARY WEEKS MOORE SUPPORTED THE POLITICAL CHANGES THEY SAW NECESSARY TO SAVE IT. DURING THE CIVIL WAR, MOST OF THE WEEKS’ FAMILY EVACUATED THE SHADOWS, BUT MARY REMAINED, ALONG WITH A SISTER-IN-LAW AND THREE SLAVE HOUSE SERVANTS. IN NOVEMBER, 1863, FEDERAL TROOPS OCCUPIED THE OUT BUILDINGS AND GROUND FLOOR OF THE PLANTATION HOME. MARY WEEKS AND THE OTHERS SEQUESTERED THEMSELVES IN THE FAMILY ROOMS ON THE SECOND AND THIRD FLOORS. MARY DIED IN END,ú’ BURIED ON THE GROUNDS. HER PRESENCE AT THE SHADOWS PROBABLY SAVED THE PROPERTY FROM FURTHER DAMAGE AND CONFISCATION. FEDERAL TROOPS MOVED ON WITHIN A FEW WEEKS AND THE WAR ENDED NOT LONG AFTERWARD. WHEN WILLIAM WEEKS RETURNED TO THE SHADOWS AS MANAGER OF THE PLANTATION, HE WAS FORCED TO STRIKE AN AGREEMENT WITH THE NEWLY EMANCIPATED MEN AND WOMEN OF COLOR. THE WEEKS SHADOW REMAINED AT SHADOWS-ON-THE-TECHE, BUT AS THE FAMILY’S FORTUNE SLIPPED AWAY, THEY SOLD OFF MUCH OF THE LAND SURROUNDING THE HOME TO MEET EXPENSES AND THE TOWN OF NEW IBERIA BEGAN TO CLOSE IN AROUND THE STATELY STRUCTURE. WHEN WILLIAM WEEKS HALL, THE 4th GENERATION GREAT GRANDSON OF DAVID WEEKS BECAME THE OWNER, THE MANSION WAS IN SERIOUS DECLINE. WEEKS-HALL, TRAINED AS AN ARTIST, SPENT THE REST OF HIS LIFE RESTORING SHADOWS-ON-THE-TECHE. HE REALIZED EARLY ON THAT THE LEGACY OF HIS FAMILY AND THE PRESERVATION OF THE GRAND PLANTATION HOME WERE HIS RESPONSIBILITY. ONE OF HIS PASSIONS WERE THE MAGNIFICENT GARDENS SURROUNDING THE HOME. TO KEEP THE ENCROACHING CITY AT BAY, BAMBOO HEDGE AROUND THE PROPERTY, AND GARDEN ROOMS — HE BEGAN TO SEARCH FOR A NATIONAL ORGANIZATION TO ACCEPT THE HOUSE AND INSURE ITS PRESERVATION. A COLORFUL, EVEN ECCENTRIC CHARACTER, INVITING TO HIS HOME WHERE MANY LEFT THEIR SIGNATURES. HENRY MILLER, CECIL DEMILL, EMILY POST, WALT DISNEY, ALL CHARMED BY HIS PERSONALITY AND IMPRESSED BY HIS PRESERVATION EFFORTS. NATIONAL TRUST FOR HISTORIC PRESERVATION PARTNERED WITH WEEKS HALL AND ACCEPTED THE ESTATE SHORTLY BEFORE HIS DEATH IN 1958. THE TRUST RECEIVED THE HISTORIC WEEKS FAMILY PAPERS OF 17,000 ITEMS, MAKING IT ONE OF THE MOST DOCUMENTED HISTORIC HOMES IN THE COUNTRY. PRESERVED IN TRUNKS IN THE ATTIC, LINENS, FURNISHINGS, AND FAMILY CLOTHING, PROVIDING A COMPLETE PICTURE OF LIFE AT THE SHADOWS. ATIONAL TRUST OVERSAW RENOVATIONS AND OPENED THE SITE TO THE PUBLIC IN 1961. HEY RECEIVED OVER 25,000 LY.ITORS ANNUAL SHADOWS-ON-THE-TECHE WAS NAMED A NATIONAL HISTORIC LANDMARK IN 1974. AND REMAINS A TREASURE TO THE TOWN OF NEW IBERIA AND TO LOUISIANA.>>THE ART OF GLASS BLOWING IS MORE COMPLEX THAN ONE MAY THINK. ART IS IN — STEVEN MONSER, UNLIKE PAINTERS, YOU CAN PAINT, STOP AND COME BACK LATER, GLASS BLOWING IS A TIME-SENSITIVE ART.>>WHAT I TRY TO DO IS IN MY OWN WAY, I’M NOT TRYING TO RECREATE THE WHEEL. IT HAS BEEN DONE. WHAT I LIKE TO DO IS CREATE COLOR GLASS OBJECTS THAT TAKE ON THEIR OWN DIMENSION. I LOOK INTO THE BED OF CLEAR 2,100 DEGREE GLASS AND IT IS LIKE A PALATE. IT CAN BE ANYTHING YOU WANT IT TO BE. A VESSEL, A PLATE, A BOWL, A PAPER WEIGHT. CLEAR GLASS, IT IS ALL AROUND US ALL YEAR LONG. TURN IT INTO SOMETHING BEAUTIFUL AND AMAZING. W TO DESCRIBE O IT. SO REWARDING WHEN IT COMES OUT WITH A FINISHED PRODUCT AND YOU CAN REALLY BE PROUD OF IT. GLASS IS VERY DELICATE. YOU HAVE TO BRING IT UP TO TEMPERATURE VERY SLOWLY SO IT TAKES ABOUT 24 TO 46 HOURS TO GET IT UP TO 2,100 DEGREES. IT IS A PROCESS. A FIRE PIT KEEPS IT HOT. IT IS LIKE A DRIPPY, HONEY TYPE OF THING ON THE PIPE. YOU TAKE IT TO THE BENCH. YOU WORK IT. AND AS IT COOLS, YOU HAVE TO WORK p|T SO THAT YOU CAN IT AGAIN. 1,400 ,100 DOWN TO SAY ANYMORE. WON’T WORK YOU HAVE TO REHEAT IT AND ADD COLOR AND THE FINISHED PRODUCT ENDS UP IN AN ANILOR, WHICH TAKES 10 HOURS TO COOL IT DOWN TO ROOM TEMPERATURE SO THAT IT DOESN’T CRACK. IT SOUNDS INVOLVED, BUT THERE IS A MESSAGE TO EACH PIECE. FOCUS IS REALLY IMPORTANT. YOU ARE FOCUSING ON WHAT YOU ARE DOING AND YOU ALSO HAVE TO REMEMBER WHAT COMES NEXT. AND YOU REALLY HAVE TO PAY ATTENTION BECAUSE WE’RE WORKING WITH 2,100 DEGREE GLASS. AND SO YOU HAVE TO IN A WAY TRY TO RELAX MENTALLY, BUT ON THE OTHER HAND, YOU’RE GIVEN A CERTAIN AMOUNT OF TIME, ABOUT A MINUTE AND A HALF TO WORK IT. SO, THERE IS THE COORDINATION OF PATIENCE, BUT HURRY UP BECAUSE IT IS GETTING COLD TYPE OF THING. TO ME, GLASS BLOWING IS VERY REWARDING BECAUSE IT TAKES SO LONG TO DO, SO LONG TO LEARN, AND THERE IS SO MUCH INVOLVED, AND I THINK THAT IS WHAT DRAWS ME TO IT. IT IS NOT A SIMPLE — SOMETIMES I ENVY PEOPLE WHO CAN JUST PAINT BECAUSE YOU CAN TAKE UR EASEL AND PAINT AND STOP AND COME BACK. THIS HAS A LITTLE MORE COMPLEXITY TO IT WHICH IS PROBABLY WHY I’M DRAWN TO IT MORE. MY PARENTS TOOK ME TO THE CORNING MUSEUM OF GLASS WHEN I WAS A KID. WE HAD COLORED GLASS IN THE HOUSE AND FOR THE WINDOWS AND IT JUST — THAT STUCK WITH ME I’VE ITE AWHILE AND ALWAYS BEEN DRAWN TO IT. SOMEBODY WILL ASK ME WHAT IT IS LIKE TO BLOW GLASS OR WHAT IT FEELS LIKE, AND IT IS A HARD THING TO DESCRIBE HOW IT FEELS, AND I — I SAY, WELL, HAVE YOU EVER SEEN A DOG WITH HIS HEAD OUT OF WINDOW? THAT IS SORT OF WHAT IT FEELS LIKE, YOU CAN’T REALLY EXPLAIN IT, BUT IT IS JUST A REALLY ELING OF DOING IT.>>WHEN STEVEN MONSER ISN’T MAKING GLASS PIECES, HE TEACHES OTHERS THE ART OF GLASS-BLOWING IN CENTRAL FLORIDA, NORTH OF ORLANDO. WELL, THAT WRAPS UP ANOTHER EDITION OF “ART ROCKS.” CHECKOUS OUT ANY TIME ONLINE ON lpb.org/ARTROCKS. FEATURED VIDEOS AND INFORMATION ON UPCOMING ARTS EVENTS IN LOUISIANA. I’M JAMES FOX SMITH, AND THANKS FOR WATCHING. Captioning Performed by
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