PHOTOGRAPHER PHILIP GOULD IS IN STUDIO TO GIVE US A GLIMPSE INTO HIS NEW BOOK, "BRIDGING THE MISSISSIPPI."

THE BRIDGES LOOK VERY DIFFERENT IN WINTER.

THERE ARE SO MANY STYLES AND VINTAGES OF BRIDGES THAT I THOUGHT WAS AN AMAZING COLLECTION.

GRANTING FREE ACCESS TO WORLD-CLASS PERFORMANCES IN THE CITY OF ANGELS, FLORIDA'S COLONIAL HISTORY, CHRONICLED IN OIL PAINT.

I KEEP AN EXTENSIVE LIBRARY OF HISTORICAL AND REFERENCE GROUPS.

I READ EVERYTHING I CAN ABOUT THAT PARTICULAR SCULPTOR.

AND A SWEDISH SCULPTOR'S MAMMOTH ACCOMPLISHMENT.

I NEED TO DO THIS, THE SIZE AND SCALE AND, YOU KNOW, AT LEAST TWO YEARS OF MY LIFE.

THOSE STORIES UP NEXT ON "ART ROCKS."

CAPTIONING PERFORMED BY LNS CAPTIONING WWW.LNSCAPTIONING.COM ART ROCKS IS MADE POSSIBLE BY THE FOUNDATION OOF EXCELLENCE IN LOUISIANA PUBLIC BROADCASTING AND BY VIEWERS LIKE YOU.

HELLO, I'M JAMES FOX SMITH, PUBLISHER OF "COUNTRY ROADS" MAGAZINE AND YOU ARE OUR GUEST FOR THIS EDITION OF "ART ROCKS."

I'D LIKE YOU TO IMMEDIATE THE RENOWNED LAFAYETTE-BASED PHOTOGRAPHER, PHILIP GOULD.

ALTHOUGH BORN IN MASSACHUSETTS AND RAISED IN THE BAY AREA, SINCE THE'70s, GOULD HAS FOCUSED ON CAPTURING THE UNIQUE LANDSCAPE AND CULTURES OF LOUISIANA IN PHOTOGRAPHS THAT CAPTURE ITS INTIMACY AND ITS POWER.

IS FOR HIS LATEST PROJECT, THOUGH, PHILIP HAS WIDENED HIS FOCUS, DOCUMENTING THE COUNTRY'S CONNECTIVE TISSUES IN A UNIQUE NEW BOOK NAMED "BRIDGING THE MISSISSIPPI."

PHILIP, FOR THIS PROJECT, YOU SET OUT TO DOCUMENT ALL THE BRIDGES THAT SPAN THE MISSISSIPPI BETWEEN MINNESOTA AND SOUTH LOUISIANA?

THAT'S QUITE THE TRAVELOGUE!

TELL US ABOUT HOW YOU PUT IT TOGETHER.

THE MAIN THING TO HAVE IT HAPPEN IS I HAD TO DISCOVER THE SUBJECT.

I WAS TRAVELING WITH ROBERT -- THE FAMOUS ARTIST, GOING UP TO KENTUCKY.

IT WAS LATE AT NIGHT, TRAVELING ACROSS THE SOUTHERN TIP OF ILLINOIS, GOING INTO PADUCAH.

IT WAS LIKE 15 DEGREES OUTSIDE.

WE CROSSED THE TWO MISSISSIPPI BRIDGES AT THE SOUTHERN TIP, MISSISSIPPI AND OHIO.

I LOOKED UP AND I SAW THESE TRUCK LIGHTS, THESE HEADLIGHTS RICOCHETING OFF THE BRIDGE, THE WORLD HAD AN ICINESS TO IT AND A FROZEN MIST.

I SAID, THAT IS AMAZING.

DID I STOP AND TAKE A PICTURE?

NO.

I THOUGHT HARD.

IT WAS COLD AND IT WAS LAID LATE AND WE HAD TO GET TO PADUCAH.

THAT DECISION HAUNTED ME TO THE POINT WHERE I SAID MAYBE THIS IS AN INTERESTING PROJECT.

IF THIS BRIDGE SO INTERESTING, WHAT ABOUT THE REST OF THEM ALONG THE RIVER.

I KNEW LOUISIANA BRIDGES, OBVIOUSLY, TRAVELED OVER MANY OF THEM.

WORKED MY WAY NORTH.

FIRST TRIP ALL THE WAY TO LAKE OTASKA.

ONCE THE PROJECT STARTED I HAD MOMENTUM.

WHAT KIND OF TIME FRAME?

TWO YEARS.

I DID A TRIP IN THE SUMMER, IN THE FALL AND IN THE WINTER.

YOU CAN'T PHOTOGRAPH THE MISSISSIPPI RIVER UNLESS YOU INCLUDE IT BEING FROZEN.

YOU TIES TOGETHER THE WHOLE OF THE AMERICAN CLIMATE.

SURE.

ABSOLUTELY.

IT IS ESSENTIAL.

YEAH, AND THE RIVER AND BRIDGES LOOK VERY DIFFERENT IN THE DEAD OF WINTER.

THERE ARE SO MANY DIFFERENT STYLES AND VINTAGES OF THE BRIDGES THAT I THOUGHT WAS AN AMAING COLLECTION, IF YOU THINK ABOUT IT THAT WAY, A PORTRAYAL OF AMERICAN BRIDGES AND BRIDGE ARCHITECTURE.

SOME OF THE OLDEST BRIDGES STILL IN USE ON A DAY-TO-DAY BASIS.

HOW OLD ARE WE TALKING ABOUT?

THE OLDEST BRIDGE IS THE EVES BRIDGE, 1874 OPENED IN ST. LOUIS.

THAT IS ON THE COVER OF THE BOOK.

THERE IS AN AMAING STORY TO THAT BRIDGE.

JAMES BE, A MAN IN ST. LOUIS WHO COULD DO NO WRONG HAD AN AMAZING HISTORY BEFORE BUILDING THE BRIDGE.

HE NEVER WENT TO ENGINEERING SCHOOL, HE NEVER BUILT A BRIDGE.

PEOPLE IN ST. LOUIS HAD SUCH CONFIDENCE IN HIM THEY HIRED HIM TO DO IT ANYWAY.

HE GOT HIS TEAM TOGETHER.

IT IS A VERY INTERESTING CONVERSION.

MID 19th CENTURY, YOU HAD THE RAILROADS COMING UP, YOU HAD THE RIVERBOATS WITHIN A TOTAL LOCK POLITICALLY AND ECONOMICALLY ON THE RIVERS.

YOU HAD THIS NEED FOR WESTERN EXPANSION.

WE HAVE TO GET TRAINS ACROSS THE RIVER.

AND THE PROBLEM WAS THAT THE TECHNOLOGY DID NOT EXIST.

EVES WAS AWARE OF VERY NEW STEEL TECHNOLOGY AND HE SOLD THE CITY ON DOING THIS WITH STEEL.

EXTRAORDINARY.

IT IS THE FIRST BRIDGE BUILT WITH STEEL ON A LARGE SCALE AND IT IS STILL STANDING.

IF YOU LOOK AT IT CLOSE UP, IT IS JUST AMAZING.

ALL THE INTRICATE PIECES, IT IS A SIGHT TO BEHOLD.

I LOVE THE BRIDGE.

IT IS A TREAT TO BE THERE, SEE IT, STAND ON IT.

THAT IS INCREDIBLE.

YOU WERE EXPLAINING SOME OF THE EARLIEST BRIDGES WERE BUILT FOR TRAINS FOR WESTWARD EXPANSION.

RIGHT.

A BRIDGE IN MINNEAPOLIS IN 1854 I BELIEVE WAS A PEDESTRIAN AND HORSE BUGGY BRIDGE, BUT IT WAS NOT A BIG -- THE RIVER WAS NOT REAL WIDE THERE SO THEY COULD DO THAT EASILY.

STARTING WITH THE EXTENSION OF THE RAILROAD, THEY HAD TO GET THE BRIDGES BUILT AND BUILT STRONG.

THERE IS A GREAT STORY OF ABRAHAM LINCOLN'S LEGAL EFFORTS TO ENSURE WE COULD CROSS THE BRIDGES.

1856, THE FIRST RAILROAD BRIDGE ACROSS THE MISSISSIPPI RIVER AT WHAT IS NOW DAVENPORT, IOWA, TWO WEEKS AFTER, A RIVERBOAT FLOATED UP, HIT THE BRIDGE AND A FIRE ENSUED WITH THE BOAT AND THE BRIDGE.

THE BOAT SANK, THE BRIDGE WAS SEVERELY DAMAGED.

AND THE RIVERBOAT OWNER SUED THE RAILROAD BECAUSE THEY CLAIMED THE BRIDGE WAS A DANGEROUS OBSTRUCTION FOR RIVER COMMERCE.

THE RAILROAD INCLUDED ABRAHAM LINCOLN AND ABRAHAM LINCOLN HAD A GOOD POLITICAL TOUCH, SPEAKING IN PARLANCE AND CLEAR, CLEAN LOGIC.

ONE COULD SAY HE IS THE ONE WHO MADE THE CASE FOR THE RAILROAD BASICALLY SAYING PEOPLE HAVE AS MUCH RIGHT TO CROSS ON A BRIDGE TO SAFELY SAIL UNDER A BRIDGE.

AND THE CASE WENT BACK AND FORTH AND WASN'T DECIDED UNTIL LINCOLN WAS PRESIDENT BY THE SUPREME COURT.

THE RIVERBOAT PEOPLE TRIED AND TRIED AGAIN.

SO THERE IS THIS ALWAYS THIS ONE GUY, ONE ENGINEER DESCRIBED IT AS A LONG, DELICATE DANCE BETWEEN RIVERBOATS AND BRIDGES.

AND WE HAVE NO CHOICE.

WE'RE ON THE FLOOR TOGETHER AND WE JUST HAVE TO BE CAREFUL.

A NOTCH OF PROGRESS.

YOU PHOTOGRAPHED 75 OF MORE THAN 130 BRIDGES THAT SPAN THE MISSISSIPPI.

ROUGHLY 75.

TELL ME ABOUT IS THERE A PARTICULAR FAVORITE THAT STANDS OUT?

THAT IS HARD BECAUSE THERE ARE SO MANY FAVORITES.

FROM THE LOUISIANA PERSPECTIVE, I REALLY ENJOY THE LONG BRIDGE, ESPECIALLY THE NEW EXPANDED LONG BRIDGE.

IT IS AN AMAZING STRUCTURE AND AMAZING ENGINEERING PROJECT TO DO WHAT THEY DID.

THE THING THAT WAS MOST IMPORTANT IS THEY MAINTAINED THE PROFILE OF THE BRIDGE AND THAT WAS IMPORTANT.

THE BRIDGE IN IOWA CALLED THE BLACK HAWK BRIDGE, ALWAYS AN AMAZING TIME WARP STRUCTURE AND ARCHITECTURALLY ENGINEERING WISE PRETTY IMPRESSIVE.

PHILIP GOULD, THE BOOK IS "BRIDGING THE MISSISSIPPI."

THANK YOU SO MUCH FOR SHARING YOUR STORIES.

YOU'RE WELCOME.

THE WORLD OF VISUAL ART, BE IT PHOTOGRAPHY, PAINTING, SCULPTING, OR DIGITAL WORK, BRING HEIGHTENED AWARENESS, BROADENED PERSPECTIVE, AND GREAT BEAUTY INTO OUR LIVES.

SO HERE ARE SOME OF OUR PICKS FOR NOTABLE EXHIBITS COMING UP AT MUSEUMS AND GALLERIES IN YOUR PART OF THE WORLD.

FOR MORE ABOUT THESE AND LOADS MORE EVENTS IN THE ARTS, VISIT LPB.ORG/ARTROCKS, WHERE YOU'LL FIND LINKS TO EVERY EPISODE OF THIS PROGRAM.

SO, TO SEE OR SHARE ANY SEGMENT AGAIN, VISIT LPB.ORG/ARTROCKS.

THE CITY OF LOS ANGELES, CALIFORNIA, HAS ALWAYS BEEN A BEACON ATTRACTING A-LIST PERFORMERS FROM AROUND THE GLOBE.

A STUNNING DOWNTOWN L.A. VENUE IS OFFERING ANGELINOS AND VISITORS ALIKE THE CHANCE TO ENJOY A VARIETY OF CULTURAL PERFORMANCES AT NO CHARGE.

TAKE A SEAT FOR A FEW GRAND PERFORMANCES.

[ MUSIC ] GRAND PERFORMANCE, THIS IS DEFINITELY A PLACE OF DISCOVERY.

THIS IS ONE OF THE THINGS THAT WE ARE VERY, VERY PROUD OF, ONE OF THE THINGS THAT I BELIEVE IS THAT WHAT WE DO IS MEDICINE WRAPPED IN MAGIC.

WE TELL A STORY ABOUT THE HUMANITY AND THE COMMON THINGS THAT WE SHARE AS HUMAN BEINGS THROUGH THOSE SHARED MUSICAL EXPERIENCES, THROUGH THOSE SHARED PERFORMANCES, WHETHER THEY ARE THEATER OR DANCE.

THE OPPORTUNITY TO PUT THOSE THING ON OUR STAGE, REMARKABLE.

IT'S A REAL PRIVILEGE.

AND IT'S A REAL RESPONSIBILITY TO MAKE THOSE CHOICES.

SOMETIMES PEOPLE SAY YOU'RE A TASTE MAKER.

I DON'T THINK WE ARE TASTE MAKERS SO MUCH AS WE ARE AN ORGANIZATION THAT OPENS THE DOORS TO THE REST OF THE WORLD.

WHEN THIS PROGRAM STARTED, IT WAS NEUTRAL AND IT DIDN'T BELONG TO ANY COMMUNITY, THEREFORE, COULD BELONG TO ALL COMMUNITIES.

AND WE'VE MADE REAL CONCERTED EFFORTS TO GET THE WORD OUT THAT EVERYTHING WAS WELCOME.

WE WOULD BUY ADVERTISING AND COMMUNITY NEWSPAPERS, WE ENGAGE WITH PEOPLE AND COMMUNITY ACTIVISTS ALL OVER THE CITY AND THE RESULT IS WE'VE BEEN TOLD WE HAVE THE MOST DIVERSE AUDIENCE IN THE COUNTRY.

I HAVE ALWAYS BEEN A PROPONENT OF LOOKING AT FREE PERFORMANCE ARTS AND PERFORMING AS A WAY OF UNITING PEOPLE AND REALLY SORT OF DISARMING THEM IF YOU WILL.

WHATEVER TENSIONS THEY CAME IN WITH, WHATEVER PRECONCEIVED NOTIONS THEY COME IN WITH IN THE SENSE TO LET ART, MUSIC, DANCE, ALL SPOKEN WORD, DISARM PEOPLE TO GET TO THE ESSENCE OF HUMANITY WHERE PEOPLE COME ACROSS TO EACH OTHER AS HUMANS FIRST.

IT'S AN OPPORTUNITY TO BE YOURSELF, BLEND AND BE WITH COMMUNITY, THAT IS REPRESENTATIVE OF NOT ONLY LOS ANGELES, BUT THE ENTIRE WORLD.

VERY, VERY IMPORTANT AND SPECIAL ABOUT GATHERING WITH OTHER PEOPLE AND THAT IS A MUST.

PEOPLE WANT TO BE WITH OTHER PEOPLE WHEN THEY EXPERIENCE THE ARTS.

SO THAT MOMENT IN TIME WHICH IS TWO HOURS, TO TAKE YOU TO A PLACE THAT YOU MIGHT NOT HAVE EVER HAD BEFORE.

PEOPLE REMEMBER THAT.

THE SIGHTS, SMELLS AND ALL OF THAT.

THAT IS THE MAGIC OF THE PERFORMING ARTS INDUSTRY.

I THINK THERE IS A LOT OF OPPORTUNITY AND A LOT OF PEOPLE WANTING TO KNOW MORE ABOUT THAT.

TO SEE BEHIND THE CURTAIN TO UNDERSTAND HOW IT ALL WORKS.

I THINK THE ARTISTS, IN A LOT OF WAYS, THEY ARE EXTREMELY APPRECIATIVE OF HAVING THE ABILITY TO ACCESS AN AUDIENCE IN THIS VENUE, OFTEN BECAUSE IT IS A FREE VENUE.

OFTENTIMES AUDIENCES THAT ARE COMING TO THIS VENUE AND MIGHT NOT HAVE THE OPPORTUNITY TO PAY FOR AN ARTIST ON STAGE.

ARTISTS KNOW THEY ARE REACHING A DIFFERENT AUDIENCE AND THAT IS REALLY, REALLY MEANINGFUL.

A GENTLEMAN CAME UP TO ME AND SAID I WANT TO THANK YOU FOR THESE PROGRAMS.

I HAVE BEEN HOMELESS FOR 63 DAYS.

I HAD A HEART ATTACK, HAD NO HEALTH INSURANCE AND I LOST MY CONDO AND I LOST MY CAR.

I HAVE TWO SETS OF CLOTHES AND THESE ARE THE GOOD ONES.

AND IF IT WASN'T FOR YOUR PROGRAM AND THE PUBLIC LIBRARY, I WOULD HAVE GONE CRAZY.

AND HE TOLD ME THAT ALL OF US INVOLVED IN THE ARTS, WHETHER IT IS PUBLIC TELEVISION OR THOSE OF US INVOLVED IN LIVE PERFORMING ARTS IN THE GALLERIES OR MUSEUMS, ARE KEEPING OUR WHOLE SOCIETY FROM GOING CRAZY AND PLAYING A VERY IMPORTANT ROLE.

THAT HAS MADE IT EASY TO WAKE UP IN THE MORNING AND COME TO WORK.

[ MUSIC ] ORLANDO, FLORIDA-BASED PAINTER, JACKSON WALKER HAS A REPUTATION FOR CREATING HISTORICALLY ACCURATE PAINTINGS THAT DOCUMENT THE SUNSHINE STATE'S HISTORY.

THROUGH DETAILED RESEARCH, JACKSON PORTRAYS STORIES OF LIFE IN FLORIDA FROM THE EARLY SEMINOLE WARS AND THE SPANISH CONQUISTADORS THROUGH TO WORLD WAR II.

I THINK OF MYSELF AS A HISTORIAN WITH A PAINT BRUSH OR VISUAL HISTORIAN.

I GET STARTED AS A YOUNG BOY AND INITIALLY I WANTED TO BE A MOVIE DIRECTOR.

I HAD REALLY NO INTEREST IN BEING A PAINTER.

BUT I WAS VERY YOUNG WHEN I DETERMINED THAT I WOULD NEVER MAKE IT TO HOLLYWOOD AND I PROBABLY WOULD NEVER MAKE A MOVIE.

SO I THOUGHT, WELL WHAT'S THE NEXT BEST THING?

AND THAT'S WHAT GOT ME INTERESTED IN PAINTING.

YOU STILL GET TO CAST YOUR CHARACTERS, YOU GET TO MAKE YOUR LOCATIONS, THE COSTUMES, THE STORIES, BUT YOU'RE ONLY MAKING ONE FRAME.

I HAVE DONE WORK FOR DIFFERENT MILITARY REGIMENTS THAT HAVE A BIG HISTORY IN THE CIVIL WAR OR IN THE INDIAN WARS OR IN WORLD WAR II.

I LOVE TO PICK A SUBJECT THAT I THINK WILL MAKE AN INTRIGUING PORTRAYAL OF SOMETHING AND IT IS NOT ALWAYS MILITARY.

A LOT OF TIMES IT IS OTHER TYPES OF HISTORY.

THE SPANISH ERA IN FLORIDA IS VERY INTRIGUING.

A LOT OF THE PIONEER ASPECT OF FLORIDA IS ALSO VERY INTERESTING.

I KEEP AN EXTENSIVE LIBRARY OF HISTORICAL AND REFERENCE BOOKS AND I FIND I READ EVERYTHING I CAN ABOUT THAT PARTICULAR SUBJECT.

I SPEAK WITH HISTORIANS, I GO TO MUSEUMS, IT'S EXTREMELY IMPORTANT TO BE AS ACCURATE AS POSSIBLE.

IT IS A PIECE THAT A STARTED A COUPLE OF MONTHS AGO, ACTUALLY.

IT IS CALLED "THE WINTER PEOPLE."

AND IT BASICALLY A SCENARIO OF FLORIDA AROUND THE TURN OF THE CENTURY WHEN THE SEMINOLE INDIANS WERE ABLE AND STILL WOULD ROAM THE LANDS AND HUNT.

ABOUT THAT SAME TIME IS WHEN THE RIVERBOAT TRAFFIC BEGAN AND A LOT OF TOURISTS FROM THE NORTH WOULD COME DOWN HERE DURING THE WINTER.

THE HISTORICAL WORK I DO STARTED BECAUSE OF MY INTEREST IN THE SEMINOLE WARS THAT WERE FOUGHT DOWN HERE IN THE EARLY 1800s.

AND THROUGH THE PAINTINGS I DID ON THAT, IT BECAME REALLY INTERESTING TO ME TO PORTRAY HOW SPECIAL THEY HAD BEEN OVER THE YEARS IN FLORIDA.

I TRY AND GIVE AS MUCH VISUAL INFORMATION, PUT AS MUCH IN THE PAINTING AS I CAN.

AND I THINK THAT'S PROBABLY THE MOST IMPORTANT THING I DO, IS TELL THAT STORY.

AND I THINK THAT'S PROBABLY GOING TO BE THE THING I'M BEST KNOWN FOR.

SWEDISH SCULPTOR, KENT ULLBERG, IS KNOWN WORLDWIDE FOR HIS MONUMENTAL SCULPTURES OF WILD ANIMALS.

ONE OF HIS VAST CREATIONS TOOK CENTER STAGE AT THE DENVER MUSEUM OF NATURE AND SCIENCE IN COLORADO.

HERE'S ULLBERG TALKING ABOUT HOW HE AND HIS TEAM WENT ABOUT FASHIONING A LARGER-THAN-LIFE MASTODON.

SO LET'S TAKE A LOOK AT HIM.

YEAH.

THAT'S OKAY.

RIGHT.

IN EVERY DETAIL RIGHT FROM THE BASE TO THE TIP, IN SOME WAY, WAS ROOTED TO WHAT WAS FOUND IN SNOWMASS.

ABSOLUTELY.

YEAH.

EVEN A BIT OF THE STRUCTURE OF THE BASE AND THEN, OF COURSE, THE HIDDEN ICONS.

LITTLE SECRETS.

SECRETS.

YES.

FOR KIDS.

FOR DISCOVERING.

WHEN YOU ARE ASKED ABOUT THE PROCESS, WHAT DID YOU INITIALLY THINK?

I THOUGHT IT WOULD BE INCREDIBLE, IT WOULD BE CLOSING OF THE CIRCLE.

IT WOULD BE SO ALMOST EMOTIONAL TO DO IT BECAUSE THIS MUSEUM BROUGHT ME HERE EXACTLY 40 YEARS AGO TO BECOME AN AMERICAN, TO LIVE MY DREAM AND THEN EVENTUALLY TO LIVE ON MY OWN SCULPTORS.

ONE OF THE WORLD'S SCULPTORS CAME FROM SWEDEN TO THE UNITED STATES TO WORK AS AN EXHIBIT ARTIST AT THE DENVER MUSEUM OF NATURE AND SCIENCE.

EVENTUALLY HE WOULD SCULPT FULL TIME.

HE HAS CREATED HUNDREDS OF WORKS FOR PUBLIC AND PRIVATE ENTITIES, BECOMING KNOWN OF LARGE SCALE BRONZES OF ANIMALS OF ALL SORTS.

WEIGHING IN AT 5,000 POUNDS AND 22 FEET FROM GROUND TO TUSK SNOW MASTODON IS THE LARGEST MA MALL YAN WORK HE HAS CREATED.

I REALLY NEED TO DO THIS DESPITE THE CHALLENGES.

THE SIZE, THE SCALE, AND THE TWO YEARS, AT LEAST, OF MY LIFE.

IN THIS STAGE OF MY CAREER.

WHILE IT IS RELATIVE THE WOLY MAMMOTH HAS BEEN FOUND COMPLETELY FROZEN IN THE SIBERIAN TUNDRA, NO SUCH DISCOVERY HAS BEEN MADE FOR THE AMERICAN MASTODON.

THAT LEFT ROOM FOR ARTISTIC LICENSE YOU HAVE TO STAY WITHIN THE EXPRESSIONS, THE EYES, VERY, VERY IMPORTANT.

THEY ARE THE MIRROR OF THE SOUL ON ANIMALS.

I HAD THE FREEDOM TO DO THE SOFT TISSUE, THE FACE, THE EYES, TO MAKE HIM LOOK KIND OR, YOU KNOW, BENEVOLENT.

THE TEAM THAT HELPS TO PUT TOGETHER A SCULPTURE, LET'S TALK ABOUT SOME OF THOSE PARTS.

ONCE YOU HAVE MADE THE MOLD, THEN WHAT HAPPENS?

FIRST OF ALL, WE HAVE A TEAM HERE, OF COURSE, THAT I HAVE PEOPLE HELPING ME AND THEN WE MAKE A MOLD HERE.

WITH THE TEAM.

WHICH IS AN IMPRESSION OF THE CLAY HERE.

AND THAT IS DONE IN A LOT OF PIECES.

WE HAVE OVER 100 MOLDS.

WE TAKE THEM TO THE FOUNDRY.

FOR MANY YEARS WE HAVE DONE IT ALL HERE IN MY SHOP.

IT IS EASIER TO HAVE THE GUYS TAKE IT DOWN TO THE FOUNDRY.

IT WAS DONE IN, LET'S SEE, 180 PIECES.

180 PIECES OF BRONZE WELDED TOGETHER.

IT IS LIKE DOING IT ALL OVER AGAIN.

TO GET IT RIGHT, A LOT OF PEOPLE IN THE FOUNDRY ARE ARTISTS THEMSELVES.

MANY OF THE ARTISTS IN THIS AREA STARTED WORK IN THE FOUNDRY.

TODAY WITH THE TECHNOLOGY, THAT HAS BEEN BROUGHT TO THE ART WORLD IS REMARKABLE.

IT IS A REALLY DELICATE PROCESS, TOO, BECAUSE IF NOT DONE PROPERLY, YOU WILL SEE WHERE THOSE 180 PIECES WILL COME TOGETHER.

EXACTLY.

IT WILL LOOK LIKE A ROAD MAP, YOU KNOW.

THAT IS THE FINAL TOUCH OF SKILL, SENSITIVITY AND DUPLICATE MY TEXT IN CLAY.

WHAT IS IT ABOUT SCULPTURE THAT YOU CONNECT WITH?

I CONNECT WITH SCULPTURE IN MANY WAYS.

I FEEL LIKE YOU'VE DONE AN HONEST DAY WORK WHEN YOU HAVE SCULPTED A BIG PIECE.

THAT IS ONE THING.

THE OTHER THING, TOO, IS, OF COURSE, THE OBVIOUS.

IS THAT YOU HAVE THREE DIMENSIONAL OPPORTUNITY OF COMMUNICATING.

AND IT IS A CHALLENGE.

WHAT DO YOU THINK OR HOPE HIS ROLE WILL BE AS A PIECE OF PUBLIC ART?

THE MASTODON.

WELL, THEY MIGHT LOOK AND SAY, WOW, LOOK AT THAT.

THE KIDS TURN IN THE CAR AND THEY SAY, OH, WE KNOW WHAT THAT IS.

THAT IS AN ELEPHANT.

AND THEY CAN COMMUNICATE WITH IT AND THE PARENT SAYS, NO, IT IS A MASTODON.

THEN YOU CAN START TALKING ABOUT EXTINCTION, ALL THE TIME PERIODS, CLIMATE CHANGES, YOU KNOW, FRAGILITY OF NATURE.

THERE IS SO MUCH YOU CAN SAY.

WELL, AND THEY THINK THAT'S A REALLY BEAUTIFUL PART FOR YOU TO HAVE CONSIDERED, THE NUMBER OF PEOPLE WHO WILL BE ABLE TO ENJOY IT THAT WAY.

WELL, YOU KNOW, IT HAS INCREDIBLE MEANING FOR ME.

OF COURSE, WHEN I WAS A KID, THE NATURAL HISTORY MUSEUM IN GOTHENBURG, SWEDEN, THAT IS WHERE I GREW UP.

I SPENT EVERY MINUTE I COULD AND STUDIED THERE.

NOW I CAN PASS IT ON TO OTHER KIDS.

AND THAT IS THAT FOR THIS EDITION OF "ART ROCKS."

REMEMBER, YOU'LL FIND EPISODES OF THE SHOW ARCHIVED AT LPB.ORG/ARTROCKS.

AND IF YOU'RE KEEN TO LEARN MORE ABOUT LOUISIANA'S MOST INTERESTING PEOPLE AND PLACES, "COUNTRY ROADS" MAGAZINE MAKES A GREAT RESOURCE FOR FINDING OUT WHAT'S GOING ON, OUT AND ABOUT IN THE BAYOU STATE.

UNTIL NEXT WEEK, I'M JAMES FOX SMITH.

THANKS FOR WATCHING.

ART ROCKS IS MADE POSSIBLE BY THE FOUNDATION FOR EXCELLENCE IN LOUISIANA PUBLIC BROADCASTING AND BY VIEWERS LIKE YOU.