>>> 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 MEET PAPER SCULPTURE ARTIST CHEONG-AH HWANG, PAINTER AND MURALIST KELLEY BOOZE, CERAMIC ARTIST SCOTT DOOLEY AND PAINTER NATHAN CONNOR, WHO ALL CALL HATCH ARTIST STUDIOS IN SPRINGFIELD, OHIO THEIR CREATIVE HOME.

THIS AND MORE RIGHT NOW ON "BROAD & HIGH."

>>> WELCOME TO "BROAD & HIGH. "

I AM YOUR HOST, KATE QUICKEL.

PAPER RELIEF SCULPTURES ARE METICULOUSLY MADE WITH MULTIPLE LAYERS OF PAPER THAT ARE CUT, CREASED OR EMBOSSED.

AND, IN THE CASE OF ARTIST CHEONG-AH HWANG, ALSO HAND TINTED.

HER WORK IS SOMETIMES WHIMSICAL, BUT OFTEN SO REALISTIC YOU MIGHT THINK A BOOKSHELF IN HER STUDIO IS REAL INSTEAD OF A RE-CREATION.

OH!

>> IT IS RELIEF SCULPTURES MADE OUT OF PAPER.

RELIEF SCULPTURE WE SEE ON COINS AND MAYBE LIKE STONES ON THE WALL, BUT PAPER SCULPTURES ARE A LITTLE DIFFERENT BECAUSE PAPER IS THIN SHEET.

UM, THEN YOU CUT IT INTO LAYERS AND PUT THEM TOGETHER BUT BECAUSE THEY ARE SO THIN, IT HAS LIKE A FLOATING EFFECT FROM THE WALL.

IT HAS A MORE DIMENSIONAL EFFECTS TO IT.

SO IT IS LIKE, IF YOU SEE A PAPER SCULPTURE, RELIEF SCULPTURE, YOU KIND OF HAVE A LITTLE ILLUSION MORE THREE- DIMENSIONAL.

>> BECAUSE WE LIVE AS A COMBINATION OF TWO-DIMENSIONAL AND THREE-DIMENSIONAL ELEMENTS TOGETHER, SO THIS IS WHY YOU ARE SEEING, A PICTURE, BUT THEN THERE IS ALL DEPTHS TO IT, LAYERS TO IT, TEXTURES TO IT.

THAT IS WHAT YOU ARE GOING TO SEE.

I CAME HERE IN THE UNITED STATES AS A STUDENT.

AND WITH MY FAMILY, WE TRAVELED A LOT AND THEN BECAUSE I HAD A STUDENT VISA, I HAD TO ALWAYS BE STUDENT.

[ LAUGHTER ] >> YOU KNOW, I WOULD GO TO COMMUNITY COLLEGES AND, LIKE, I DIDN'T EVEN KNOW I WANTED TO BE AN ARTIST.

I MEAN, THAT IS WHAT I JUST DREW IN, SO I WAS, LIKE, TAKING ART CLASSES.

THOSE ARE MORE THAN 30 YEARS AGO IN COMMUNITY COLLEGE.

THAT IS HOW I STARTED, YOU KNOW?

DOING ART.

I MEAN, WHEN I WAS IN HIGH SCHOOL IN KOREA, I DID LIKE SCULPTURES, CLAY SCULPTURES AND ALSO DRAWINGS.

BUT STILL, BACK THEN, I DID NOT WANT TO BE AN ARTIST, I JUST DID IT.

[ LAUGHTER ] YEAH.

THEN I CAME HERE AND WAS SETTING UP THE STUDIO AND I FOUND THOSE.

AND THEN, OH, IT HAS BEEN SO LONG.

I HAVEN'T DONE SKETCHES.

THAT IS WHERE CORE IS, LIKE.

LIKE I LOVE TO DO HUMAN FIGURES.

THE PAPER IS SO EXPRESSIVE MATERIAL, ESPECIALLY WHEN I DO THE HUMAN FIGURES, OH, THE MUSCLE TONES, AND LIKE I CAN DO THE VEINS AND HAIR AND, OH, IT IS SO FUN.

AND PAPER IS JUST, LIKE, PERFECT.

IT CAPTURES ALL OF THAT.

I LOVE IT.

>> I LIKE THE PROCESS OF CRAFT.

THE CRAFTSMANSHIP, LIKE TRADITIONAL.

LIKE, YOU KNOW, THE CRAFTSMANSHIP FROM, LIKE, CENTURIES AGO.

THEY HAD, LIKE, RULES AND PROCEDURES AND ALL THE STEPS AND THESE CERTAIN THINGS.

I WANTED TO KIND OF HAVE THAT.

NOT LIKE MUCH MOTION INVOLVED BUT WITH HANDS AND, I DON'T KNOW, KIND OF, SO IT'S LIKE I HAVE TO IMAGINE SOMETHING AND DECIDE TO MAKE SOMETHING AND MAKE A LOT OF SKETCHES.

AND THEN I SCANNED ALL OF THAT AND MAKE PATTERNS.

I SEPARATE THE LAYERS AND THEN CUT ALL THE PAPER AND THEN PUT THEM TOGETHER.

AND THEN I FRAME IT.

[ LAUGHTER ] >> YEAH, A LOT OF STEPS.

>> JUST, UM, I LOVE PAPER, THE MEDIUM.

I USUALLY THINK IT IS NOT MY WORK, ACTUALLY, IT IS WHAT PAPER CAN DO.

I JUST LOVE PAPER.

PAPER IS AWESOME.

>> IT IS THE BEGINNING OF EVERYTHING.

IT'S HOPE.

[ LAUGHTER ] >> THERE IS BIGGEST, LIKE, THE BEST ARCHITECTURE, THERE THE IDEAL.

SOMEBODY HAD THE IDEA PROBABLY DRAWN ON IT HERE FIRST, ON A NAPKIN OR WHATEVER BUT THE BEST NOVEL IDEA OR THE BEST MATHEMATICS FORMULA, WHATEVER, THE BIGGEST, THE BANK ROBBERY HEIST, WHATEVER, YOU KNOW, A PIECE OF NAPKIN IS THE BEGINNING OF SO MANY GREAT THINGS.

[ LAUGHTER ] >> IT'S LIKE, I WANT PEOPLE TO REALIZE WHATEVER, LIKE SOME COMMON THINGS LAYING AROUND YOU OR EVEN PEOPLE, WHATEVER.

IT HAS THE POTENTIAL OF, LIKE, WHAT IS IT, POSSIBILITIES.

THE SKY'S THE LIMIT.

>> TO SEE MORE OF CHEONG-AH HWANG'S WORK, FIND HER ONLINE AT PAPERNOODLE.COM.

>>> ARTIST KELLEY BOOZE WEARS MANY HATS.

SCHOLAR, PREPARATOR AND INSTRUCTOR, JUST TO NAME A FEW.

HER PAINTINGS EXPLORE THE RELATIONSHIP BETWEEN MAN-MADE AND NATURAL WORLD.

SHE CREATES URBAN LANDSCAPES THAT URGE THE VIEWER TO EXPERIENCE WHAT'S FAMILIAR, BUT UNDERAPPRECIATED.

LET'S LEARN MORE.

>> AS A PAINTER, I'M INTERESTED WITH OUR RELATIONSHIP TO THE SPACES AROUND US AND OUR IMMEDIATE SURROUNDINGS, HOW WE RELATE AND INTERACT WITH PLACES THAT ARE FAMILIAR TO US.

SO A LOT OF MY WORK, FOR SEVERAL YEARS, HAS BEEN, REALLY, ABOUT THESE AREAS THAT ARE QUITE EMPTY OR QUIET.

THINGS YOU MIGHT EASILY PASS BY THAT DON'T RECEIVE A LOT OF ATTENTION, BUT I FIND THOSE TO BE AREAS THAT ARE QUITE PEACEFUL AND PLACES FOR INTROSPECTION.

BEING IN THOSE PLACES ALLOWS FOR CAREFUL ATTENTION, NOTICING AND JUST THE ACT OF SEEING AND LOOKING AND USING IMAGINATION TO THINK OF MAYBE A DIFFERENT FUTURE FOR THAT SPACE OR IMAGINE THE HISTORY OF A SPACE.

>> MY PROCESS USUALLY INVOLVES, FIRST, JUST EXPERIENCING A PLACE OR A SPACE I AM INTERESTED IN OR THAT IS FAMILIAR TO ME.

REALLY, IF I JUST SEE SOMETHING THAT I AM CURIOUS ABOUT OR STUMBLE UPON SOMETHING THAT MAYBE I HAVEN'T NOTICED BEFORE IN A PLACE I HAVE BEEN MANY TIMES, THAT ACT OF NOTICING IS INTRIGUING TO ME.

SO I AM USUALLY COMPELLED TO EITHER JUST TAKE A PHOTOGRAPH, A VIDEO, DO A DRAWING.

A LOT OF TIMES, AN IMAGE WILL STRIKE ME AS JUST SEEING SOMETHING AND THINKING, I WANT TO PAINT THAT.

SO IT KIND OF EVOLVES FROM THERE.

I HAVE ALWAYS JUST LOVED DRAWING.

DRAWING FEELS LIKE MY FIRST LANGUAGE, RATHER THAN EVEN SPEAKING OR, UM, WRITING.

I DO A LOT ON SITE AND A LOT OF TIMES I'LL COME BACK TO THE STUDIO AND KIND OF PIECE TOGETHER IMAGES OR MEMORY OR THOSE SKETCHES OR THOUGHTS THAT I HAD, LIKE, COMBINING ALL THESE FRAGMENTS TO KIND OF COLLAGE TOGETHER MORE OF A UNIFIED PIECE.

>> A LOT OF THE AREAS I PAINT OR THE IMAGES THAT I AM INTERESTED IN FEEL SILENT.

AND THEY FEEL STILL.

I WANT THAT SENSATION TO PULL THE VIEWER IN AND BE MORE INTROSPECTIVE OF THEIR OWN INTERPRETATION OF MAYBE THEIR OWN SURROUNDINGS OR THEIR EXPERIENCE OF THE WORK THAT IS PRESENT IN FRONT OF THEM.

IN A LOT OF THE IMAGES ARE EITHER OBSCURED OR KIND OF AMBIGUOUS SO THERE IS THIS UNDERLYING FAMILIARITY THAT I THINK IS NICE FOR OTHER PEOPLE TO RELATE TO.

>> SOME OF THE PUBLIC ART PROJECTS THAT I'VE DONE IN THE PAST HAVE BEEN THE RESULT OF MORE OF A COLLABORATIVE COMMUNITY EFFORT WITH ORGANIZATIONS OR PARTNERS HERE IN SPRINGFIELD.

I DO LIKE BEING PART OF A LARGER PROJECT THAT IS NOT JUST MY ARTISTIC VISION.

IT'S A GROUP EFFORT.

THAT WAY IT IS MORE REPRESENTATIVE AS US AS A COMMUNITY RATHER OF JUST AN INDIVIDUAL AS AN ARTIST.

>> REALLY, I FIND INSPIRATION FROM JUST ABOUT EVERYTHING.

I KNOW THAT IS SUCH A BROAD ANSWER BUT I TRULY BELIEVE THERE IS NOTHING THAT IS BORING.

AND NO MATTER WHAT SMALL DETAIL YOU HAPPEN TO COME ACROSS, YOU CAN DRILL DOWN INTO KIND OF THE INERT ENERGY OF WHATEVER THAT THING IS.

FOR INSPIRATION, I MEAN, A VACANT PARKING LOT, I FOCUSED ON PAINTING VACANT PARKING LOTS FOR A VERY LONG TIME OR JUST SOMETHING I SEE WHEN I AM WALKING TO MY STUDIO.

I THINK THE ART-MAKING PROCESS, FOR ME, IS QUITE ANALOGOUS ALSO TO LIKE A MEDITATION PRACTICE.

AND IN THAT SENSE, ART-MAKING IS A WAY OF THINKING, A WAY OF JUST BEING AND EXPERIENCING THE WORLD AROUND US.

I THINK EVEN JUST VIEWING ART, APPRECIATING IT, IS SIMILAR IN THAT WAY, THAT YOU ARE CREATING MEANING, YOU'RE MAKING INTERPRETATIONS THAT CONNECT TO YOUR LIVED EXPERIENCE.

I DON'T HAVE EVERYTHING FIGURED OUT AT THE BEGINNING.

I ALMOST NEVER DO.

>> RIGHT NOW THAT I AM IN GRADUATE SCHOOL, I WORK WITH A LOT OF UNDERGRADUATE STUDENTS.

AND ONE THING I SEE, UM, FOR A YOUNGER GENERATION OF ARTISTS THAT I THINK WILL BE HELPFUL IS JUST THE UNDERSTANDING THAT IT IS A PRACTICE.

IT'S NOT KIND OF A FINISH LINE THAT YOU GET TO.

IT'S AN ONGOING PROCESS.

IT'S A --IT'S KIND OF A LIFESTYLE, IT'S A WAY OF THINKING, IT'S A WAY OF JUST BEING IN THE WORLD.

>> TO LEARN MORE ABOUT KELLEY'S WORK, FIND HER ONLINE AT KELLEYBOOZE.

COM.

> >> IN OUR NEXT SEGMENT, WE MEET CERAMIC ARTIST AND KANSAS NATIVE SCOTT DOOLEY.

HIS LOVE FOR NOSTALGIC ITEMS AND THE VISUAL LANGUAGE OF MECHANICS INSPIRES HIS WORK.

HIS HANDBUILT PORCELAIN VESSELS HARKEN TO CHERISH EVERYDAY ITEMS OF THE RURAL LANDSCAPE OF THE MIDWEST AND SOUTHWESTERN UNITED STATES.

>> I DO TWO DIFFERENT BODIES OF WORK, WHICH IS NOT UNCOMMON FOR ARTISTS WHERE THEY WILL WORK IN ONE BODY AND GET CURIOUS AND DEVELOP SOMETHING ELSE.

>> I'VE ALWAYS BEEN A WHEEL THROWING.

FUNCTIONAL WORK, THAT'S WHAT ORIGINALLY DREW ME TO CLAY.

THE HANDLE STUFF IS A LITTLE MORE DIFFICULT TO UNDERSTAND, BUT I ALWAYS TELL PEOPLE THAT CERAMICS IS A SPECTRUM BETWEEN SCULPTURE AND FUNCTION.

AND SO THE HANDBUILT STUFF IS RIGHT IN THE MIDDLE.

SO IT REFERENCES VESSELS, BUT IT IS MORE SCULPTURAL.

THEY ARE NOT UTILITARIAN IN THE SENSE THAT SOMEBODY IS GOING TO USE THEM AND SO THEY ARE MORE FOR A VISUAL STATEMENT.

THE HANDLE WORK IS SORT OF IN A PLACE WHERE I USE MECHANICAL LANGUAGE FROM SORT OF NOSTALGIC ITEMS, WATERING CANS, YOU KNOW, OLD OIL FUNNELS, THINGS LIKE THAT YOU SEE IN ANTIQUE SHOPS.

SILOS, YOU KNOW, MUFFLERS ON SIDE OF THE ROAD, THINGS THAT ARE DENTED, BEAT UP.

UM, AND SO, THE WORK IS REFERENCING METAL, USING SIMILAR PROCESSES IN TERMS OF SHEETS OF CLAY AS OPPOSED TO SHEETS OF METAL.

AND THEN THERE IS NO INTEREST IN RE-CREATING THOSE OBJECTS FOR ME SO, IN TERMS OF MAKING IT HYPERREALISM, SO I STARTED USING COLOR AND TEXTURE AND OTHER THINGS TO MAKE THEM MORE EXPRESSIVE, MORE IMAGINATIVE.

>> AND SO I AM FIRST-GENERATION OFF THE FARM, SO THESE OBJECTS IN THE GARAGE GOING UP, THINGS MY DAD HAD SALVAGED AND KEPT, I WAS ALWAYS A TINKERER AS A KID SO FINDING THINGS IN THE BASEMENT, FINDING THINGS IN THE GARAGE THAT I WOULD PLAY WITH, BUILD, YOU KNOW, MAKE MY OWN BOW AND ARROWS, THINGS LIKE THAT.

SO I WAS ALWAYS BUILDING STUFF.

AND SO, WHEN YOU START THINKING ABOUT BUILDING, AS A CLAY ARTIST, YOU HAVE TO THINK ABOUT WHAT THE PROCESS IS.

SO THE POTTER'S WHEEL SOLVES THAT.

YOU CENTER THE CLAY, YOU THROW THE POT.

UM, BUT IF YOU'RE GOING TO HANDBUILD, YOU THINK ABOUT, YOU KNOW, ARE YOU COILING, ARE YOU SLAB BUILDING?

SO, THESE OBJECTS PROVIDE NOT JUST SORT OF AN INSPIRATION IN TERMS OF BEING INTERESTING FORMS, BUT SORT OF A ROADMAP FOR HOW TO BUILD VERTICAL FORMS AND START WORKING WITH VESSELS, HOLLOW OBJECTS, SEAMS, RIVETS AND THINGS LIKE THAT, UM, TO BUILD COMPLEX FORMS.

AND USING CLAY SLURRY AND SCORE AND SLIPPING RATHER THAN, YOU KNOW, WELDING AND ALL THAT.

AND WHEN I FIRST STARTED THIS BODY OF WORK, I HAD ALL THESE PHOTOS OF, YOU KNOW, PEELING PAINT, RUSTING METAL, THINGS THAT WERE FALLING APART.

I DIDN'T WANT PLASTIC-LOOKING FORMS.

I WANTED SOMETHING THAT WERE AGED AND METAL.

SO THE TEXTURING IS PART OF THE PROCESS THAT HAPPENS WHEN THE CLAY IS STILL SOFT.

AND IT IS JUST RUBBING CONCRETE AGGREGATE ALL OVER THE SURFACE TO PIT IT TO MAKE IT LOOK DINGED UP AND AGED.

AND THEN I PUT A COPPER OXIDE WASH ON AND SPONGE IT AWAY SO IT STAYS IN ALL THOSE CREVICES.

AND THEN THAT BURNS THROUGH SO IT CREATES SOMETHING THAT HAS SOME DEPTH TO IT, SOMETHING THAT LOOKS LIKE IT'S BEEN WELL LOVED OR FORGOTTEN, YOU KNOW, EITHER ONE, GIVING IT THE LOOK THAT IT IS NOT SOMETHING THAT WAS JUST MANUFACTURED HAS ALWAYS BEEN INTERESTING TO ME.

>> I STARTED WITH WHEEL THROWING SO I WAS INTERESTED IN MAKING, UM, VESSELS THAT WERE UTILITARIAN, MEANT TO BE USED EVERY DAY.

UM, I'VE NEVER GIVEN UP THAT INTEREST.

I STILL DO THAT ALL THE TIME.

BUT WHEN I STARTED THINKING ABOUT DEVELOPING NEW WORK, I THOUGHT, WELL, I DON'T WANT TO LEAVE THAT FULLY BEHIND BUT I NEED TO DO SOMETHING THAT IS DEFINITELY DIFFERENT.

UM.

I'VE ALWAYS BEEN VERY INTERESTED IN VESSELS AND, UM, CERAMICS IS LARGELY ABOUT VESSELS.

UH, YOU KNOW, FOR EXAMPLE, THE TEAPOT IS SORT OF A CONTENT AREA, JUST LIKE A LANDSCAPE IS OR A PORTRAIT IS FOR A PAINTER.

SO, UH, WHEN I STARTED WORKING ON THESE NEWER FORMS, I THOUGHT THEY NEED TO BE VESSELS, BUT THEY DON'T NEED TO BE UTILITARIAN.

THEY CAN LOOK FUNCTIONAL, THEY CAN LOOK FUNKY, THEY CAN BE STRANGE, BUT THEY NEED TO REFERENCE THIS OTHER IMAGINATIVE, EXPRESSIVE SIDE OF WORK THAT I AM TRYING TO DEVELOP.

AND SO, TAKING THE METAL LANGUAGE AS SORT OF A STARTING POINT AND PUTTING IT THROUGH THE FILTER OF MY CREATIVITY AND THE MATERIALS AND COMING OUT THE OTHER END WITH SOMETHING YOU CAN SEE THE CONNECTION, BUT IT HAS BEEN PUT THROUGH A MIXER.

UM, IT COMES OUT THE OTHER END AS SOMETHING DIFFERENT.

>> ARTISTS RARELY HAVE JUST ONE LANE, RIGHT, UM THAT THEY MOVE BACK AND FORTH.

SOMETIMES THEY MOVE FROM MEDIA TO MEDIA OR THEY MOVE WITHIN A CERTAIN MEDIA.

SO, UH, THE WHEEL THROWING WORK AND THE HANDLE WORK SERVE DIFFERENT FUNCTIONS IN MY SORT OF CREATIVE LIFE.

THE HANDLE WORK, UM, IS SLOWER.

UM, IT'S QUIETER.

IT'S MORE UNIQUE.

EACH PIECE IS A LITTLE BIT MORE ITS OWN LITTLE BEING.

I AM NOT TRYING TO, YOU KNOW, CREATE THE SAME THING OVER AND OVER AGAIN, LIKE YOU DO WITH THE POTTER'S WHEEL.

UM, SO I THINK, OVER, YOU KNOW, 25, 26 YEARS OF WORKING, IT'S BEEN VERY HELPFUL TO HAVE BOTH --BOTH OF THOSE, UM, ASPECTS OF MY CREATIVE LIFE BEING FULFILLED.

SOMETHING THAT IS VERY --I CAN CRANK OUT 25 COFFEE MUGS AND FEEL LIKE I'VE GOT A WHOLE LOT DONE, OR I CAN SPEND TWO OR THREE HOURS TRYING TO FIGURE OUT HOW TO GET A SPOUT AND PUT A HANDLE ON A PIECE.

EITHER ONE OF THOSE, IF I DO ONE OF THEM FOR TOO LONG, I START KIND OF GETTING BOGGED DOWN AND I HAVE TO KIND OF JUMP OVER TO THE OTHER THING.

I THINK IT HELPS LOOSEN UP THE ROCKS IN MY HEAD A LITTLE BIT.

>> TO SEE MORE OF SCOTT'S WORK, FIND HIM ONLINE AT SCOTTDOOLEYCERAMICART.

COM.

> >> WE END THIS EPISODE WITH THE WORK OF NATHAN CONNER.

NATHAN STARTED HIS ART JOURNEY AS A CHILD, DRAWING WHAT HE SAW OUT OF A PICTURE WINDOW IN HIS FAMILY HOME IN TOLEDO, OHIO.

HIS THOUGHT-PROVOKING PAINTINGS ARE A RESULT OF A LIFETIME OF PAYING ATTENTION TO HIS SURROUNDINGS AND TRANSLATING THOSE INTO VISUAL CONVERSATIONS.

HE SHARED WITH US THAT HATCH ARTIST STUDIOS IS A COMMUNITY OF ART-MAKING THAT HAS BECOME A WAY OF LIFE FOR HIM.

>> MY WORK IS KIND OF ECLECTIC.

IT'S ABOUT THOUGHT-PROVOKING AND CONVERSATIONS.

THAT IS WHAT I TRY TO CREATE.

SOME THINGS ARE ABOUT, UH, FAMILY.

SOME THINGS ARE ABOUT POLITICS.

I JUST TRY TO CREATE THINGS THAT ARE ABOUT LIFE.

I THINK, AS AN ARTIST, OUR EYES WILL ALWAYS CONSTANTLY VISUALLY BE LOOKING AT SOMETHING.

THE AVERAGE PERSON CAN BE WALKING DOWN THE STREET.

WE COULD SEE A PAINTING IN THAT.

SO MY PROCESS IS, IS THAT I AM ALWAYS CONSTANTLY LOOKING.

I AM ALWAYS CONSTANTLY VISUALIZING, I AM THINKING OF IDEAS, SOME THINGS JUST COME OUT OF MY HEAD.

YEARS AGO, I DID A PAINTING.

IT WAS CALLED, UM, IT WAS ABOUT ADDICTION.

AND, UM, I DID THIS ONE PAINTING ABOUT ADDICTION.

AND AT THAT PARTICULAR TIME, SADLY ENOUGH, I WAS IN THE GRIP OF THAT ADDICTION.

AND I HAD POURED MY HEART AND SOUL INTO THAT PAINTING.

I SOLD IT FOR DRUGS.

AND I FELT LIKE I SOLD MY SOUL.

I COULD NOT BELIEVE THAT I ACTUALLY GAVE SOMETHING, A PART OF MYSELF, AWAY TO ANOTHER HUMAN BEING.

THAT WAS ONE OF THE LOWEST POINTS I HAD IN MY LIFE.

IT WASN'T TOO MUCH LONGER I GOT CLEAN.

UM, I AM IN A 12-STEP FELLOWSHIP, I'VE BEEN CLEAN OVER 29 YEARS.

UM, I GIVE BACK TO THE COMMUNITY AND I HELP ADDICTS THAT ARE REACHING OUT IN RECOVERY.

I ACTUALLY WORK PART-TIME FOR A RECOVERY CENTER.

AND I HELP ADDICTS, TAKE THEM TO MEETINGS AND STUFF.

>> SO I DECIDED TO RE-CREATE THAT PAINTING.

AND, UM, I DID THE SAME THING, MONOCHROMATICS, BLACK AND WHITE, WITH A DIFFERENT SUBJECT MATTER, BUT IT WAS SO DIFFERENT BECAUSE, AT THAT PARTICULAR TIME, I HAVE EVOLVED.

I WAS NO LONGER THE SAME PERSON THAT I WAS BEFORE WHEN I FIRST DID THAT PAINTING.

IT WAS ALMOST LIKE COMING FULL CIRCLE FOR ME.

YOU KNOW?

UM, THAT IS WHAT ART IS ABOUT FOR ME.

IT'S ABOUT, YOU KNOW, IF YOU ARE GOING THROUGH A TOUGH TIME, IF YOU'RE NOT FEELING GOOD ABOUT YOURSELF, IF YOU FEEL SORRY ABOUT SITUATIONS OR LIFE OR LIFE TERMS GETS YOU DOWN, YOU CAN CREATE.

IF YOU'RE FEELING GOOD ABOUT SOMETHING, IF YOU'RE FEELING POSITIVE ABOUT THINGS AND LIFE IS GOING WELL FOR YOU, YOU CAN CREATE.

I'M SITTING UP HERE RIGHT NOW TAKING THIS INTERVIEW WITH YOU AND I AM A 64-YEAR-OLD MAN.

AND OVER THE YEARS, I HAD A LOT OF MISSED OPPORTUNITIES THAT I DID NOT TAKE ADVANTAGE OF AS AN ARTIST.

I DIDN'T GRADUATE FROM THE UNIVERSITY OF TOLEDO.

I BARELY MADE IT THROUGH CCAD.

I COULDN'T AFFORD IT.

I FELT AT THAT PARTICULAR TIME I WAS A DISAPPOINTMENT, NOT ONLY TO MY FAMILY, BUT TO MYSELF.

I HAD SO MANY HIGH EXPECTATIONS OF MYSELF.

AND THEN OVER THE YEARS, LIFE ON LIFE'S TERMS SHOWED UP AND EVENTUALLY I ENDED UP WORKING AT A MANUFACTURING PLACE.

AND I RETIRED FROM THERE, BUT THE ONE THING I NEVER DID, THE ONE THING I NEVER STOPPED DOING, I NEVER STOPPED CREATING.

I NEVER STOPPED PAINTING.

EVEN WHEN I WAS GOING THROUGH THE DIFFICULT TIMES IN MY LIFE, I NEVER STOPPED CREATING.

>> AND THE WHEN THIS HAPPENED, FOR ME, JUST SHOWING UP AT THE STUDIO, IT MADE ME BECOME RELEVANT.

IT GAVE ME AN OPPORTUNITY TO BE AROUND OTHER SURROUNDING ARTISTS AND GET CREATIVE IDEALS AND WE'RE LIKE A LITTLE SMALL COMMUNITY IN HERE.

>> MY LEGACY, THAT IS A REALLY GOOD QUESTION.

[ LAUGHTER ] >> MY LEGACY IS TO CREATE JOY.

MY LEGACY IS TO INSPIRE OTHER ARTISTS.

MY LEGACY IS TO INSPIRE PEOPLE AND A LOT OF THE TIMES, I THINK MY LEGACY FOR MYSELF IS, THAT I WANT TO SHOW PEOPLE THAT, YOU KNOW, YOU CAN FIND SOMEBODY, YOU CAN FALL DOWN, PICK THEMSELVES UP, EVEN AT A LATER AGE IN LIFE, STILL CREATE, STILL GO FOR THE GUSTO, STILL TRY TO MAKE AN IMPACT IN SOCIETY, STILL HAVE A PASSION FOR ART.

KNOWING SOMETHING I COULD PAINT SOMETHING THAT COULD BE IN SOMEONE'S HOME.

AND THEN IT MIGHT BE PASSED DOWN TO THE NEXT GENERATION, YOU KNOW?

THAT IS WHAT MY LEGACY IS.

IT'S ABOUT DROPPING LITTLE, SMALL NUGGETS OF LOVE TO DIFFERENT PEOPLE.

AND I THINK THAT IS WHAT I WANT FOR MY LEGACY TO BE.

NOTHING GRANDIOSE.

NOTHING REALLY BIG.

IF IT IS BIG, I'LL TAKE IT.

>> TO SEE MORE OF HIS WORK, CHECK NATE OUT ON INSTAGRAM @ARTISTICVISIONSBYCONNOR.

> >> 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 AM KATE QUICKEL.

THANKS FOR WATCHING.

[ "HELLO FROM OHIO" GUINEA WORMS, COLUMBUS, OHIO ] >>> 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.