LIN EMERY.

BEGAN MAKING SCULPTURE AT THE TIME VERY FEW WOMEN WERE ARTISTS WHO COULD SHOW THEIR WORK, ESPECIALLY CAWPT RAL WORK.

THE WINNING WAYS OF WOODWORKING.

I SEE A TREE THAT'S BEEN CUT DOWN.

THAT WOULD MAKE A NICE BOX, A GREAT BOWL.

YOU HAVE TO LOOK FOR THE GRAIN IN THE WOOD.

GLASS ART REVEALS MANY VISIONS OF AMERICA.

I'M USING THIS GEL INDICATE GLASS TO IMITATE IT.

AND AN ART CRAWL THAT HAS TRANSFORMED ITS COMMUNITY.

ALL THAT UP NEXT ON "ART ROCKS."

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

HELLO.

THANK YOU FOR TUNING IN FOR "ART ROCKS" WITH ME, JAMES FOX-SMITH OF COUNTRY ROADS MAGAZINE.

IN THE WORLD OF LARGE SCALE SCULPTURE LOUISIANA LOST A GIANT IN 2021 WHEN LIMB EMERY PASSED AWAY AT THE AGE OF 94.

EMERY SEES SCULPTURES WERE ACCLAIMED WORLDWIDE FOR THE WAY THEY HARNESS KINETIC ENERGY SEEMINGLY DEFYING GRAVITY TO MAKE MOVEMENT SEEM EFFORT LTION.

HER DEFYING GRAVITY TO MAKE ELIH WEINSTEIN.

ENTER SHE WENT TO PARIS AT AN EARLY POINT IN HER CAREER PURSUING JOIRNLISMISM TED.

SHE ENTERED THE STUDIO OF A RUSSIAN SCULPTOR.

I HAPPENED TO LIVE ACROSS THE STREET FROM HIS STUDIO AND WENT IN TO SEE WHAT IT WAS ABOUT.

AND HE WAS TEACHING ADVANCED SCULPTORS.

HE TOOK ME IN, SENT ME TO SHOW THEM HOW TO TREAT ONEO-FIGHT WHO KNEW NOTHING ABOUT SCULPTURE.

HE WAS VERY CRUEL TO WOMEN.

HE DIDN'T LIKE WOMEN BUT HE LET ME STAY AND I FELT FASCINATED WITH THE CLAY.

AFTER A WHILE WHEN HE SAW HOW SERIOUS I WAS, HE LET ME SHARPEN HIS CARVING TOOLS.

SHE WAS THERE FOR ONLY ABOUT EIGHT MONTHS BUT LONG ENOUGH FOR HER TO FIND HER CALLING.

SHE WORKED THERE IN CLAY AND IN BRONZE AND IT WAS VERY RIGOROUS.

EVERY WEEK WE HAD A NEW MODEL AND WE MADE A LIFESIZE FIGURE OF CLAY.

THEN ON FRIDAY WE DESTROYED IT AND STARTED A NEW ONE THE FOLLOWING MONDAY.

WHEN EMERY BEGAN MAKING SCULPTURE AT A TIME WHEN VERY FEW WOMEN WERE ARTISTS WHO COULD SHOW THEIR WORK, ESPECIALLY SCULPT RAL WORK.

SHE ENJOYED NEW ORLEANS A GREAT DEAL AND DECIDED TO MAKE THAT HER HOME BASE IN LARGE PART BECAUSE THE CITY WAS MORE ACCEPTING OF FEMALE ARTISTS.

NEW ORLEANS HAD A HISTORY OF THE NEWCOME COLLEGE.

ARTISTS SUCH AS ANGELA GREGORY WHO WAS GETTING COMMISSIONS FOR THE STATE CAPITOL.

I STARTED MAKING MY OWN SCULPTURE AND DISCOVERED THAT SINCE I KNEW HOW TO DO FIGURES I COULD DO OVER LARGE SIZE FIGURES SO I DID THE SAINTS FOR ALL THE CHURCHES IN THIS AREA.

DOING THE LIFESIZE FIGURES THEY HAD TO HAVE AN INNER SUPPORT, AND FIRST I JUST USED WOOD, THEN I LEARNED THAT IT HAD TO BE MORE STABLE THAN THAT.

I NEEDED TO LEARN HOW TO WELD, TO MAKE STRUCTURES THAT WOULD HOLD THE CLAY.

I WENT TO WHAT WAS THEN CALLED DELGADO.

THEY WOULDN'T ACCEPT ME BECAUSE THEY SAID THEY HAD NO WOMEN'S BATHROOMS SO I WENT TO NEW YORK TO LEARN HOW TO WELD, AND THAT'S HOW I GOT INTO WELDING.

I BECAME MUCH MORE INTERESTED IN THE WELDING AND THE STEEL STRUCTURES.

WHEN I WENT TO THE WELDING SCHOOL IN NEW YORK, IT WAS ALL MEN AND THEY THOUGHT I WAS SOME SORT OF A SOCIAL SPY, SEEING IF THEY WERE QUALIFIED TO DO THIS.

FOR THE LAST SIX DECADES SHE'S BEEN MAKING BEAUTIFUL KINETIC ART PIECES, VERY UNIQUE, ALL OVER OUR STATE, AS FAR AS SINGAPORE, CHINA, EVEN HER VERY EARLY WORKS LOOK AT IF THEY ARE MOVING.

THEY LOOK LIKE THEY WANT TO TAKE FLIGHT, AND IN FACT FLIGHT IS THE TITLE SHE HAS USED FOR A NUMBER OF HER WORKS THROUGHOUT HER CAREER.

WHEN I WAS IN PARIS, 11th AND 12th CENTURY SCULPTURES ON THE FACE OF THE CHURCHES ALL LOOKED AS THOUGH THEY WERE MOVING.

THEIR DRAPERY WAS SWUNG OPEN.

SO WHEN I CAME BACK AND STARTED DOING THE SAINTS I ALSO POSED THEM AS IF THEY WERE MOVING OR DOING SOMETHING, AND SO IT WAS A VISUAL INTEREST IN WISHING THAT I COULD MAKE THINGS MOVE.

SHE STARTED OFF MAKING KINETIC WORK AFTER THE THOUGHT STRUCK HER WHILE SHE WAS WASHING DIGITS.

A SPOON BALANCED ON THE EDGE OF A CUP.

AS THE WATER WOULD SLOP INTO THE SPOON AND IT WOULD ROCK BACK AND FORTH SHE GOT THE YID OF MAKING KINETIC WORK.

OVER TIME SHE BEGAN TO MAKE THEM LARGER AND MORE SOPHISTICATED.

AROUND THIS TIME THAT SHE WAS EMBARKING UPON THIS SHE MET A FAMOUS JAPANESE SCULPTOR.

HE WAS IN TOWN WORKING ON A COMMISSIONED PIECE THAT LIKEWISE INVOLVED WATER, APPEARED THROUGH HIM SHE LEARNED TO HAVE A MUCH STRONGER REGARD FOR NATURE.

A LOT OF HER AESTHETIC PHILOSOPHY TOOK SHAPE AFTER SHE MET NIGUCHE.

THEY BECAME LIFELONG FRIENDS.

HE'S KNOWN FOR HIS WORK IN GARDENS AND PARKS AND SETTINGS.

A NUMBER OF THEM INVOLVED WATER AND NATURAL ELEMENTS.

THE FIRST FORMS OF NATURE BEGAN TO APPEAR IN HER WORK.

HER FIRST MAJOR FOUNTAIN COMMISSION WAS A MEMORIAL PIECE TO MAYOR MORRISON.

IT INVOLVED A TYPE PREVALENT IN JAPANESE GARDENS CALLED THE DEER CHASER WHERE THE WATER WILL FILL UP IN A LITTLE PART AND ONCE THE WATER FILLS IT BEGINS TO ROCK AND MOVE.

YOU CAN SEE SOME OF THAT IN THE FOUNTAIN PIECE WE HAVE ON DISPLAY.

SHE STUDIED HYDRAULICS AT TULANE UNIVERSITY TO TRY TO LEARN MORE ABOUT HOW TO FASHION THE PUMP IN THE LARGER FOUNTAIN PIECES.

AFTER THE SUCCESS OF THE MORRISON FOUNTAIN SHE RECEIVED A NUMBER OF OTHER COMMISSIONS FROM HOSPITALS AND UNIVERSITIES, AND MADE A LARGE NUMBER OF THEM ACROSS THE COUNTRY IN THE '60s AND '70s, EVEN INTO THE EARLY '80s.

FOUNTAIN WORK CAN HAVE PROBLEMS.

PUMPS CAN BREAK.

ICE CAN MAKE THE WATER FREEZE OVER TIME SHE DECIDED THAT IT WAS REALLY TOO TAXING TO MAKE KINETIC ART USING WATER AND BEGAN TO INVESTIGATE OTHER NOTIONS AND CAME ACROSS THE THOUGHT OF USING MAGNETS WHILE LOOKING AT SOME TRADE PUBLICATIONS.

MAGNETS HAVE A TURNTABLE EMBEDDED INSIDE THAT HAS MAGNETS ON IT AND THE MAGNET IS PIECES ON SOME OF HER FORMS.

THAT CAUSES THEM TO MOVE WHEN THEY INTERACT, THIS MAGNETIC FORCE.

THE WIND WORKS.

WE PUT FANS ON THEM.

SOME ARE DISPLAYED ON TURNTABLES IN THE GALLERY BUT IF THEY WERE OUTSIDE THE WIND WOULD POWER THEM.

HER GOAL HAS BEEN TO MAKE KINETIC ART THAT MOVES IN AS LIFE LIKE A MANNER AS POSSIBLE THAT ARE NOT SIMPLE MACHINES BUT HARNESS NATURE TO BECOME MORE ANIMATED BY NATURAL FORCES.

WE HAVE MUSICAL WORKS AND WORKS THAT YOU CAN PUSH A BUTTON AND THEN SEE THEM OPEN OR CLOSE OR THEY WILL MAKE A MUSICAL NOTE.

IT'S ANOTHER ASPECT OF HER WORK.

LYNN HAS ALWAYS BEEN VERY INTERESTED IN THEATER AND EARLY ON ACTUALLY MADE FOR TELEVISION AND THEATER.

THAT INTEREST IN THEATER AND IN PLAY HAS NEVER LEFT HER.

SHE BEGINS WITH DESIGN WORK COMING UP WITH HER IDEAS.

SHE DOESN'T DRAW WITH PENCIL AND PAPER LIKE OTHER ARTISTS.

SHE MAKES 3-D MODELS AND BEGINS TO MAKE THEM MORE SOPHISTICATED, I IDENTIFYING PATTERNS AND PIECES.

SHE DECIDES HOW SHE WANTS THEM TO MOVE.

INITIALLY I BELIEVE SHE DID ALL OF IT HERSELF.

SHE DOES HAVE ASSISTANTS AT THIS POINT WHO HELP CUT AND WELD THE METAL TOGETHER.

SHE STILL IS DESIGNING, STILL MAKING NEW PIECES.

THE 20 FOOT PIECE THAT WE HAVE HERE WAS MADE IN HER STUDIO.

SHE'S REALLY PUSHED THE BOUNDARIES OF WHAT KINETIC ART CAN BE.

HER WORK COMBINES ART AND DESIGN AND ENGINEERING AND NATURE ALL IN ONE.

I THINK THE NATURE ELEMENT IS SOMETHING THAT I THINK IS VERY UNIQUE ABOUT HER WORK.

BECAUSE OF HER REFLECTIVE SURFACES NOT ONLY IS SHE HARNESSES NATURE THEY BECOME ONE CAN NATURE WHEN THEY ARE IN THE ENVIRONMENT, WHICH IS PART OF HER UNIQUE VOICE.

PERHAPS BECAUSE SHE IS IN NEW ORLEANS AND LOUISIANA, NOT IN A CENTER SUCH AS NEW YORK, SHE'S FLOWN SLIGHTLY UNDER THE RADAR BUT I THINK HER STAR IS STILL RISING.

IT SAYS LIFETIME ACHIEVEMENT AWARD KINETICCARD ASSOCIATION.

SO AS A KINETIC ARTIST I HAVE A LIFETIME OF ACHIEVEMENT.

READY FOR A CHANGE OF PERSPECTIVE?

ACCOMPLISHED ARTISTS ARE SHOWCASING WORK IN COMMUNITIES NEARBY AND EVERYWHERE ONLINE.

SO HERE ARE OUR PICKS FOR UPCOMING EXHIBITS AT MUSEUMS AND GALLERIES IN OUR PART OF THE WORLD FOR MORE ABOUT THESE AND MANY MORE EVENTS IN THE ARTS, VISIT LPB.ORG/ARTROCKS THERE YOU'LL FIND LINKS TO EVERY EPISODE OF THIS PROGRAM, SO TO SEE OR SHARE ANY SEGMENT AGAIN VISIT LPB.ORG/ARTROCKS.

ONCE UPON A TIME SHOP CLASS HAD A PLACE IN MOST AMERICAN HIGH SCHOOL CURRICULA.

YOUNG MEN, BECAUSE IT WAS MOSTLY MEN, WERE TAUGHT THE BASIC SKILLS FOR WORKING WITH WOOD.

HE'S TON'S THOMAS IRVEN FELL IN LOVE WITH WOOD TURNING IN HIS SHOP CLASS YEARS AGO AND HE'S STILL TURNING TODAY.

LET'S WATCH.

IT'S THE WOOD ITSELF IN THE WORK ITSELF.

IT'S ALWAYS OUT THERE AND I ALWAYS THINK ABOUT IT.

REALLY GOOD TO BE RIGHT IN THE MOMENT AND NOT HAVE TO WORRY ABOUT OTHER THINGS.

JUST FOCUS ON WHAT YOU'RE DOING AT THE TIME AND TIME SEEMS TO FLY AWAY.

I SEE A TREE OR A PIECE OF WOOD THAT'S BEEN CUT DOWN.

OH, THAT WOULD MAKE A NICE BOX OR THAT WOULD MAKE A GREAT BOWL.

YOU HAVE TO LOOK FOR THE FURTHER GRAIN IN THE WOOD.

THERE'S DIFFERENT COLORS, DIFFERENT VIRGIN MARY YATIONS IN THE GRAINS.

MY NAME IS THOMAS IRVEN, AND I'M A WOOD ARTIST.

7th OR 8th GRADE OR 9th GRADE WE HAD A WOOD AND METALS CLASS AND I GOT TO TURN A CLOCK.

I ALWAYS REMEMBERED IT AND IT WASN'T UNTIL AFTER I WAS WORKING ON MY MASTER'S DEGREE THAT I CAME BACK TO IT.

JUST LATENT BACK THERE BUT IT POPPED OUT.

GROWING UP IN INDIANA AND WE HAD A LOT OF ACORN TREES SO THAT KIND OF STARTED MY DOING BOXES AND ACORNS AND IT'S GROWN FROM THERE.

WOOD TURNING IS TYPICALLY DONE ON THE LATHE.

IT'S KIND OF LIKE A POTTER'S WHEEL ONLY TURNED SIDEWAYS SO THE WOODS SPINS ON THE MACHINE AND THEN YOU USE SHARP TOOLS TO CARVE IT OUT.

SOMETIMES THE WOOD WILL JUST WILL TELL YOU WHAT IT WANTS TO BE AND I'LL JUST LOOK AT IT OVER A PERIOD OF TIME AND THEN EVENTUALLY IT'S LIKE THAT LITTLE PIECE OF WOOD MANTLEICLY SAYS THAT'S WHAT I WANT TO BE.

A BOWL IS BASICALLY A BEAD IN A COVE.

YOU HAVE A BEAD UNDERNEATH IF YOU TURN IT OVER YOU'D HAVE A ROUND BOTTOM THAT IS A BEAD.

IF YOU TURN IT THE OTHER WAY ARE THE HOLLOW IS, THE HOLLOW IS A COVE.

THERE'S NOT REALLY MUCH IN WOD TURNING THAT IS OTHER THAN A BEAD IN A COVE AND A BREAK OR A TRANSITION THAT'S BASICALLY ALL THERE IS AN ETERNITY.

SO IF YOU CAN MASTER DOING THAT IT'S NOT TOO HARD TO DO WHATEVER YOU WANT TO.

IN PRACTICE IT'S A LITTLE BIT HARDER THAN IT SOUNDS.

WOOD TURNERS LIKE WHAT CARPENTERS WILL JUST KIND OFS TO ASIDE WHEN YOU CAN AWT A GREEN TREE DOWN YOU HAVE THESE CROTCH PIECES.

THEY WILL THROW THEM IN A PILE AND NOT USE THEM BECAUSE THEY DON'T MAKE GOOD STRAIGHT LUMBER.

IF EYE ANGRY ABOUT SOMETHING ELSE IT'S GOING TO SHOW UP IN THE WORK.

ALL THE EMOTIONS KIND OF COME INTO PLAY.

CAN BE A WONDERFUL THING.

THERE'S A PIECE IN THE BACK OF THE SHOP HERE THAT I I MADE AFTER MY FAITH'S DEATH, SO I KNOW THAT THAT'S THAT PART OF MY LIFE THRARKS PERIOD OF TIME.

WOOD IS A LIVING OBJECT AND SOMETIMES YOU THINK IT'S STILL ALIVE WHEN IT'S FLYING OFF THE LATHE AT YOU, BUT YOU KNOW THEIR BARK INCLUSIONS AND THINGS THAT YOU CAN'T SEE SOMETIMES SO YOU HAVE TO BE VERY CAREFULLY ON WHAT'S IN THERE AND JUST AWARE OF WHAT YOU'RE DOING.

I HOPE MORE PEOPLE LOOK AT WOODWORKING AS ART, BUT I'LL JUST KEEP MAKING WHAT I MAKE AND HOPEFULLY THEY LIKE IT.

THROUGH THE MEDIUM OF BLOWN GLASS, EMILY BARTELT JEUL WHICH PLORS ASPECTS OF DAILY LIFE AND THE CHANGING FABRIC OF AMERICAN CULTURE.

HEIR CREATIONS ARE OBSERVATIONS ABOUT AN AMERICAN WASTELAND, ADDRESSING FORGOTTEN ARCHITECTURES, OBSOLETE TRANSPORTATION AND INVISIBILITY COMMUNITIES IN WAYS THAT CHALLENGE OUR ASSUMPTIONS ABOUT THE PLACES ON SOCIETY'S FRINGES.

SO EVERYONE WANTS AN ENJEN.

I JUST WANT A BOXCAR.

A BOX ON WHEELS.

BUT THERE'S SO MUCH MORE TO IT.

IF YOU LOOK AT TRAIN AND YOU LOOK AT THE WHEELS OF IT AND THE CANVAS OF IT, IT'S JUST THIS, LIKE, MARVEL.

I JUST LOVE T. I LOVE THE WAY IT LOOKS.

I IMAGINE BEING INSIDE OF IT.

I JUST THINK ABOUT, LIKE, ALL THE CRAZY PLACES YOU COULD GO.

MY NAME IS EMILY BARTELT JEUL AND I'M A MIXED MEDIA ARTIST.

TRAINS ARE THESE SOLID HUNKS OF, LIKE, STEEL THAT ARE IMPENETRABLE AND I'M USING THIS LIKE COMPLETE LIDDELL INDICATE GLASS TO IMITATE IT.

I LOVE PEOPLE'S REACTION WHEN THEY ARE LIKE, IT'S GLASS?

IT WAS A MEDIUM I WAS ALREADY WORKING IN.

GLASS, FLAME WORK GLASS, CAST GLASS, AND ENAMEL PAINT.

I ALWAYS JOKE THAT WHEN I LIVED IN ITALY MAYBE A GLASS PINCHED MY CHEEK BECAUSE MY MOM SAID I USED TO GET THAT A LOT AND I GOT THE GLASS BUG.

THEY SAY THE GLASS GODS STEAL YOUR SOUL AS SOON AS YOU TOUCH IT AND IT'S 100% TRUE.

THE MOVEMENT, THE TEMPERATURE, EVERYTHING ABOUT IT YOU GET LOST IN THE MATERIAL.

I GUESS NONE OF THEM IN PARTICULAR HAVE A SPECIFIC MESSAGE EXCEPT I'M TRYING TO FAMILIARIZE PEOPLE WITH ART ON TRAINS.

WHEN YOU TIE IN GRAFFITI TO TRAINS AND BOXCARS IT'S LIKE THIS STREAM OF MESSAGING THAT'S HAPPENING.

MY DAD WAS MILITARY SO WE MOVED A LOT BETWEEN ITALY, WISCONSIN AND VIRGINIA.

WHEN I WAS WITH MY GRANDPARENTS I REALLY MISSED MY FAMILY.

THERE WAS THIS TRAIN THAT WENT BY EVERY NIGHT.

IT WAS AWFUL.

OH, I'M NEVER GOING TO SLEEP, I HATE THIS PLACE.

I WANTED A REASON TO COMPLAIN.

IT ENDED UP BEING THE THING THAT I WAITED FOR ARE TO GO TO SLEEP.

WHEN I HEAR IT NOW IT MAKES ME THINK OF HOME, MY GRANDPARENTS, I THINK IT CHANGED MY PERSPECTIVE ON TRAINS.

I LOVE THEM.

I THINK IT'S REALLY INTERESTING THAT WHEN YOU LOOK IN THE PAST OF AMERICAN TRAINS ARE SUCH A HUGE PART OF THE WAY WE CONNECT AS A COMMUNITY AND IN OUR SOCIETY THAT YOU SEE EVERY DAY ESPECIALLY IN OUR TOWN IS REALLY INCREDIBLE.

THINK OF IT AS THIS BEAUTIFUL CROSSOVER WHERE YES, THESE THINGS WEREN'T BUILT FOR ART BUT WHY NOT PUT A LITTLE PIECE OF ART ON THEM?

I FEEL REALLY BEAUTIFUL ART GOING PAST.

YOU SEE THIS WEIRD THING AND IT'S BEAUTIFUL IN ITSELF BUT ART NEVER HURT ANYONE.

FINALLY, LOTS OF COMMUNITIES HOST EVENTS KNOWN AS ART CRAWLS.

SOCIAL GATHERINGS WHERE FOLKS CONGREGATE OFTEN IN A DOWNTOWN AREA TO EXPERIENCE AND PURCHASE ART.

DURING ITS SEASONAL ART CRAWLS THE CITY OF WAUKESHA, WISCONSIN, EVOLVES INTO A VERITABLE HUB OF ART ACTIVITY.

SO LET'S MEET SOME OF THE PEOPLE WHO FELT INSPIRED TO CHANGE THEIR COMMUNITY BY GIVING THE GIFT OF ART.

IN A LOT OF COMMUNITIES THE ARTS ARE A BIG REDEVELOPMENT TOOL.

ARTISTS ARE VERY GIVING PEOPLE, AND THEY LIKE TO COME INTO PLACES WHERE THEY CAN MAKE A DIFFERENCE.

MY NAME IS JEFF SEYMOUR.

I'M FOUNDER OF THE ART CRAWL.

THE ART CRAWL IS AN EVENT THAT WE HAVE FIVE TIMES A YEAR THAT IS AN OPPORTUNITY FOR PEOPLE TO COME DOWNTOWN WAUKESHA, GATHER, MEET FRIENDS, PURCHASE ART AND REALLY CELEBRATE LIFE.

MY HUSBAND AND I DISCOVERED JEFF SEYMOUR.

WE WHO TAKE WALKS THROUGH DOWNTOWN AND WE NOTICED SOMETHING COOL HAPPENING IN THAT BUILDING AT 378 WEST MAIN.

I WAS TRAINED AS A FINE ARTIST, AND I WAS FROM THE MILWAUKEE AREA.

WHEREAS IN THE MILWAUKEE AREA THERE WAS A LOT GOING ON IN THE ARTS WAUKESHA DIDN'T HAVE MUCH GOING ON.

WHAT I WAS LOOKING TO DO WAS COME TO WAUKESHA TO OPEN A DREAM OF MINE, WHICH IS A RESTAURANT AND A CAFE THAT WOULD ALSO HAVE A GALLERY COMPONENT TO IT.

I THOUGHT THAT MIGHT BE A GOOD OPPORTUNITY FOR ME TO COME TO A COMMUNITY THAT NEEDED HELP, BECAUSE WAUKESHA WAS PRETTY DEPRESS WHD I CAME HERE, AND THERE WASN'T A LOT OF BUSINESSES OPEN, AND THERE CERTAINLY WASN'T A PRESENCE OF THE ARTS.

WE WOULD HAVE AS MANY AS 50 TO 75 ARTISTS EVERY ART CRAWL, EVERY MEDIUM FROM OIL PAINTING, WATERCOLOR, PAINTING, ACRYLIC, SCULPTURE.

LOTS OF JEWELRY, CLOTHING.

AFFORDABLE ART FOR EVERYBODY.

WE'RE GOING TO GET STARTED WITH OUR 100th ART CRAWL CENTENNIAL PROCLAMATION.

20 YEARS AND 100 ART CRAWLS, THAT'S SOMETHING TO BE VERY PROVIDE OF.

I'M PROUD TO SAY I HAVE BEEN TO ALL 100 OF THEM AND IT'S FUN JUST TO MEET UP WITH OLD FACES AND TO EDUCATE PEOPLE ABOUT THE ART AND SO THEY ARE NOT AFRAID OF ORIGINAL ART.

CINDY BARAN IS A TALENTED ARTIST LOCATED AT THE SPRINGS GALLERY AND STUDIOS.

SHE WAS A BUSINESS PROFESSIONAL AND CAME FROM THE CORPORATE WORLD AND IS NOW EXPLORING HER CREATIVE SIDE WITH HER PAINT NOT GUILTY THE WINDOW OVER AT THE SPRINGS BUILDING.

SHE HAS SO THE GREAT MANY ABSTRACT ART.

ROWS LANGE IS ANOTHER ARTIST WHO IS A VERY TALENTED ARTIST.

SHE HAS A TEACHER BACKGROUND.

SHE DOES A LOT OF PIECES THAT USE RECYCLED MATERIALS APPEARED SHE CREATES THESE UPCYCLED ART PIESES THAT ARE SCULPTURAL AND MOSAIC.

BEAUTIFUL PIECES THAT ARE KIND OF PAINTINGS WITH OBJECTS.

SHE ALSO DOES THESE CRAZY WIRE SCULPTURES THAT SHE USES SNACK BAGS.

PUT THE SNACK BAGS IN THE MICROWAVE.

IT CRINGE WILLS UP AND THEN SHE THUNDERSTORMS THEM INTO LITTLE DRESSES AND WHATEVER, AND SHE'S GOT THESE BIG SHOES ON THEM, APPEARED THEY ARE JUST VERY COMICAL, WHIMSICAL CREATURES.

CALLS THEM CHIP GIRLS.

NANCY WILSON IS ANOTHER TALENTED ARTIST THAT COMES FROM THE PROFESSIONAL WORLD.

SHE DOES WEAVING.

SHE TEACHES WEAVING CLASSES.

SHE ALSO SPINS YARN AND SHE CAN SPIN THIS WOOL AND MAISK BEAUTIFUL WEAVING BLANKETS.

VERY BASIC AND OLD ART AND SHE'S VERY INVOLVED IN IT AND DOES A REALLY GREAT JOB.

WHAT'S TERRIFIC ABOUT THE ART CRAWL IS THAT IT'S A CELEBRATION OF THE COMMITMENT OF THE COMMUNITY TO PROMOTE THE ARTS.

WHEN PEOPLE SAY ART CRAWL THEY COINCIDE THAT WITH WAUKESHA.

IT'S NOW WE'RE KNOWN FOR HAVING AN ARTS COMMUNITY.

AND THAT'S THAT FOR THIS EDITION OF ART REMARKS, BUT LUCKY YOU CAN ALWAYS SEARCH, SEE, AN MORE IMPORTANTLY SHARE EPISODES OF THE PROGRAM AT LPB.ORG/ARTROCKS AND IF THIS GLIMPSE INTO THE CREATIVE PROCESS LEAVES YOU WANTING MORE COUNTRY ROADS MAGAZINE MAKES A GREAT RESOURCE FOR DISCOVERING NEW ADVENTURES IN THE ARTS AND CULTURE ALL ACROSS THE STATE.

UNTIL NEXT WEEK I HAVE BEEN JAMES FOX-SMITH.

THANKS FOR WATCHING.

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