I remember taking field trips as a child toThe Center of Science And Industry (COSI). The long bus ride seemed to take days, but we were always rewarded with a kid’s museum built for fun, tinkering, and science. Even as an adult I am in total wonder of this place. Its magical atmosphere seems almost otherworldly with creative possibilities.
I imagined a day when I was an adult and I could make such splendid futuristic things…
To borrow a few sentences from the Broad & High website: [The show is] “an exciting and original weekly magazine show, developed by the award-winning production team of WOSU Public Media, explores the character and creativity of Columbus and beyond.”
I believe this whole heartedly and I’m tremendously honored to have been part of this lovely series.
A huge thank you goes out to producer Jackie Shafer, videographer Kenny Sato, and the entire team at WOSU-PBS Broad & High for putting on a thoughtful and enriching show. The entirety of this series seems to be aiming for an ever-increasing understanding of culture both locally and abroad. I’m truly grateful to be selected for such a feature.
What It’s Like Being Filmed For An Afternoon?
Since this video was posted, I’ve had several people ask me what it was like to be filmed while working. This is a question asked more from other artists than anyone else. As you can imagine, art-making can often be a fairly solitary occupation and so it comes as sort of a shock to the system for some that a person would be filming one’s every artistic move.
My honest answer:
Strangely, I was more nervous with anticipation during the month or so between filming and air date than I was during the actual art-shadowing. There’s a whole list of strategic planning and editing processes that the public never sees in preparations for a production like this. The episode I was featured in was slotted for a distant time that seemed ages away from the original filming date. Although I was entirely comfortable in front of the camera, I found myself itching like a kid before Christmas for the air date. I was restless to unwrap the goodies under the tree.
As a former teacher, I’ve grown accustomed to giving demos and speaking intensely about the theories of art making. It was an extra benefit that Kenny Sato (the man behind the camera) was calm and quite easy to talk to. Sato’s genuine interest in my work and pleasant demeanor made it possible for me to remain true to those previously learned teaching habits. He was comfortable which made me feel comfortable. A true professional.
Somewhere in the ethos there’s a saying that goes something like, “For every minute of air time, there’s an hour of recording”.
I’m not entirely sure how true this is in reality, but I can say that my interview lasted a fair amount of my afternoon. The camera followed me for several hours while I worked and I was surprised to find that after some time I actually became fairly oblivious to it. Again, I would say that Sato’s ‘fly on the wall’ approach aided in this comfortability. On minimal occasions he’d interject a question as I switched tasks or stopped recording to change memory cards. But for the most part, I brought my normal day’s worth of work and he let me do just that–work. It was sort of nice actually. Like having a quiet friend hang out with me while I was on the clock. Only I had just met him.
After filming my process for a while, we had an informal interview upstairs in an opened space. This was a little more like the TV interviews I’ve encountered before. Bright lights, cameras, sound booms, and cords-a-plenty pointed directly at me while I pretend they aren’t there. I always find this to be a pretty surreal experience. Immediately, I am reminded that I do that one thing with my hands too much. Next is usually a wave of forgetting how to breathe naturally. Then, a simultaneous amusement/bewilderment creeps in as I contemplate how one can think about breathing normally while giving an interview AND worrying about hand gestures… all while still not autonomously regulating one’s breathing. So, I gave up on multi-tasking brain faculties and settled into myself again. From there on out things sailed smoothly and I had a great time.
Again, it was a great experience. Thanks Jackie Shafer and Broad & High! Please navigate to their website or check out their broadcast on TV every Wed. night at 7:30p WOSU-PBS.
What’s your sacred place? Where do you go to contemplate?
If you’re at all familiar with my blog, you’ve no doubt gotten to know me a little. I’m the type of person who likes to venture out on little day-trips to get into the right mental spot. Building a little bit of happiness ‘to go’ into my workday is crucial for my creative process. Especially during the warmer seasons.The pursuit of the right materials and thinking spaces for the latest two “Absolute” paintings has taken me on a journey that has spanned through woods, over miles of railroad tracks, into an apparently abandoned man-made prairie, and even atop of a 2,000 year old Adena Native American burial mound. Read onward to see the whole process.
Sketching usually comes first for me. Hours are spent drawing out different ideas and different scenarios regarding how the next pieces should look. Then I select the appropriate piece of wood from my library to use as the canvas if you will. I enjoy this process and am generally pretty good at getting out my ideas this way. Occasionally, a piece of wood will come across my table saw and I’ll know that it’s the starting point instead. This time, the wood panel came first.
After a few days of ideation and not coming up with anything, I realized that I was drawing out plenty of stellar future paintings… but I couldn’t quite figure out this piece. And you know what, that’s not a bad thing. Read on to learn why.