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>> PRODUCTION OF BROAD & HIGH

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IS FUNDED IN PART BY THE

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GREATER LUCAS ARTS COUNCIL,

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CELEBRATING EXPRESSION,

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FOSTERING TALENT AND CONNECTING

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THE COMMUNITY TO COLUMBUS

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ARTISTS, PERFORMANCES,

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EXHIBITIONS, CONCERTS, PUBLIC

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ART AND MORE AT

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COLUMBUSMAKESART.COM.

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FROM THESE CONTROLLING SPONSORS

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AND VIEWERS LIKE YOU.

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THANK YOU.

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>

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>> THIS TIME ON BROAD & HIGH

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MIDDAY, BEAUTY WOVEN INTO

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EVERYDAY OBJECTS.

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WRONGFUL CONVICTION ADVOCACY

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THROUGH THE ARTS.

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>

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>> IMMIGRATION EXPERIENCE

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ELIMINATED IN A VIDEO

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INSTALLATION.

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>

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>> AND, DON'T BE AFRAID OF A

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LITTLE NOISE.

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THIS AND MORE, RIGHT NOW ON

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BROAD & HIGH.

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>

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>> WELCOME TO BROAD & HIGH.

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I'M YOUR HOST, KATE QUICKEL.

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THIS BOTANICALLY INSPIRED

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CERAMICS ARE MADE FOR BEAUTY

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AND FUNCTION.

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MEG SLESSER INCORPORATES JOY

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AND PLAYFULNESS IN COLORS YOU

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WILL FIND NOWHERE ELSE.

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WE VISITED HER STUDIO TO LEARN

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MORE ABOUT HER JOURNEY.

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>> FOR ME, IT STARTED SLOWLY.

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I GOT MY FINE ARTS DEGREE IN

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CERAMICS.

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AFTER THAT, GRADUATING, THE

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PROCESS WAS COLLECTING

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EQUIPMENT AND MATERIALS.

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WHILE I WAS COLLECTING THOSE TO

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BUILD MY STUDIO, I WAS WORKING

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FOR DIFFERENT ESSENCES.

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I WAS BARTENDING AND WORKING

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FOR THE COLLEGE.

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AS I WAS DOING THAT, AND WAS

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LEARNING THINGS I WASN'T ABLE

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TO LEARN IN THE CLASSROOM

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SETTING, SUCH AS RUNNING A

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SMALL BUSINESS, THE FINANCIALS

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OF RUNNING A SMALL BUSINESS IN

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TERMS OF HOW TO TALK TO PEOPLE,

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HOW TO ENGAGE WITH PEOPLE,

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BEING HELPFUL IN SALES.

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THAT IS KIND OF HOW IT HAPPENED.

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MY INSPIRATION COMES FROM THE

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EVERYDAY SIMPLE MOMENTS THAT

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BRING ME JOY THAT ARE

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OFTENTIMES OVERLOOKED.

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THE LITTLE TINY SUNSETS OR

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DRINKING A YUMMY CUP OF COFFEE,

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PETTING A CAT OR A DOG.

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THESE LITTLE MOMENTS THAT CAN

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BE VERY IMPACTFUL.

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A LOT OF MY INSPIRATION OF THE

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ACTUAL PIECES AND CREATE COME

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FROM MY DAILY GRATITUDE

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PRACTICE OF THINGS I AM

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PERSONALLY GRATEFUL FOR AND I

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FEEL LIKE THAT CLASS PLATFORM

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IT'S OVER TO OTHER PEOPLE AS

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WELL.

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I WORK IN A TECHNIQUE TOWARD

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CLASS INSTRUCTION.

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I WILL OUT PIECES ON PLATFORMS

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LIKE YOU DO WHEN YOU'RE MAKING

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CUTOUT COOKIES, SAME KIND OF

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THING.

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THEN I CUT THEM OUT INTO

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DIFFERENT SHAPES WITH DIFFERENT

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PATTERNS I HAVE MADE AND I TAKE

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THE SLABS AND TRANSFORM THEM

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INTO THREE-DIMENSIONAL FORMS.

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THEN ONCE I DO THAT AND THEY

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TRIED A LITTLE BIT, THEN I WILL

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ADD THE COLOR, PAINT THAT ON

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AND FIRE IT.

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IT IS A MULTILEVEL PROCESS BUT

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IT IS PRETTY BASIC.

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CERAMICS ARE HARD, THEY ARE A

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HARD OBJECT.

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I ALWAYS LOVE THE JUXTAPOSITION

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OF HARD AND SOFT AND HAVING

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SOMETHING THAT IS A HARD OBJECT

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THAT DOESN'T HAVE ANY GIVE OR

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PLAY TO IT TO HAVE THIS SOFT

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ESSENCE.

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I ACHIEVE THAT WITH THE

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HANDBUILT NATURE.

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IT'S GOING TO BE PERFECTLY

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IMPERFECT AND WITH A COLOR

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PALETTE AS WELL.

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I MAKE ALL MY OWN GLAZES AND

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THEN I AM ABLE TO DO A

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DIFFERENT COLOR PALETTE THEN

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YOU WILL FIND IN YOUR

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TRADITIONAL CERAMIC GLAZES.

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I WANTED MY COLOR PALETTE TO

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STAND OUT TO BE TOTALLY

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DIFFERENT AND ALSO WORK AND

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COINCIDE WITH FANATICALLY WHAT

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I AM TRYING TO DO.

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SAY I AM GOING TO DO A NEW

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STYLE OF MARGARET, I'M GOING TO

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DO WE DIFFERENTIATE, HOW DOES

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THAT RELATE BACK TO WHAT I'M

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ALREADY MAKING, DOES IT MAKE

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SENSE IN THE COLLECTION, WHAT

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OTHER DESIGNS COME INTO ON IT?

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IT IS KIND OF A LET'S DO SOME

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NEW BUT ALSO REACH BACK TO THE

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COLLECTION SO IT MAKES SENSE

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ALTOGETHER.

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MY FAVORITE PART IS CONNECTING

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WITH DIFFERENT PEOPLE.

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THE CERAMICS COMMUNITY IS A

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WONDERFUL COMMUNITY TO BE IN.

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IT IS EXPLORATORY, IT IS

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CURIOUS.

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I LOVE BEING A PART OF THAT

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COMMUNITY AND I LOVE HER BEING

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PART OF THE LARGER ARTS

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COMMUNITY.

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BY RUNNING A SMALL BUSINESS, I

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CAN ABLE TO SUSTAIN MYSELF IN

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THAT COMMUNITY AND BE ABLE TO

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DO WHAT I LOVE FULL TIME.

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THAT IS WHAT I LOVE.

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I THINK FOR ONE OF THESE THINGS

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THAT IS NOT SO GREAT ABOUT IT,

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IT IS JUST THE CONSISTENCY, THE

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UNKNOWN.

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IF YOU ARE WORKING, AT LEAST IN

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THE PAST WHEN I WORKED A 9:00

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TO 5:00 JOB, I SHOW UP AT 9:00,

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I AM THERE UNTIL 5:00, I GET

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THE MONEY.

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IT IS A LITTLE MORE NUANCED TO

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HOW YOU ARE APPROACHING YOUR

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INCOME AND YOUR CONNECTIONS

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WITH PEOPLE IS DIFFERENT.

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I HOPE THAT IT SPARKS A LITTLE

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JOIN IN AND HAS THOSE TINY

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MOMENTS WHERE, BECAUSE THEY ARE

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SEEING THAT IN MY WORK, THAT IT

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IS AN INVITATION TO INCORPORATE

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THAT INTO THEIR EVERYDAY LIFE

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AND CONNECT BACK WITH

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THEMSELVES.

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>> TO SEE MORE OF MEGS

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LEVESSEUR'S WORK, FIND HER

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ONLINE.

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>

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>> SIX MEN LIVING IN THE

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GREATER CLEVELAND AREA HAVE A

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SPECIAL BROTHERHOOD BUT IT IS

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NOT THE KIND OF CLUB YOU WANT

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TO BE ELIGIBLE FOR.

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THEY WERE ALL ACCUSED AND

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CONVICTED OF CRIMES THEY

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MAINTAIN THEY NEVER COMMITTED.

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NOW OUT OF PRISON, THEY ARE

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RAISING AWARENESS ABOUT

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WRONGFUL CONVICTION AND TAKING

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THEIR STORY TO THE STAGE AS

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VOICES OF INJUSTICE.

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>> I DON'T KNOW ANYMORE ABOUT

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THAT.

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>> I DON'T KNOW HOW TO ACT.

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I AM TOTALLY OUT OF MY COMFORT

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ZONE.

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IT SHOULD BE SEEN LIKE IT IS

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EASY BECAUSE IT IS JUST MY

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STORY BUT I TRY TO LOOK AT IT

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LIKE I AM HAVING A CONVERSATION.

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WOULD LIKE THAT, THINK LIKE

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THAT, IT GETS EASIER.

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>> YOU KNOW YOU DON'T HAVE TO

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BE AFRAID OF HIM, RIGHT?

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>> I WANT YOU TO SEE A CLIP OF

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MY LIFE, FROM DIFFERENT STAGES.

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WHEN I WAS YOUNG, THEN I GREW

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OLDER AND WHEN I GOT ARRESTED

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FOR THE CRIME I DIDN'T DO, AND

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WHEN I GOT OUT, JUST TO SEE MY

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STORY, HOW I HELD ON AND HOW I

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SURPRISED EVERYBODY.

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EVERYBODY THOUGHT I WAS A

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KILLER.

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AT THE END OF THE DAY, I SAVED

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MY NEPHEW'S LIFE BY DONATING A

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KIDNEY.

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>> I BELIEVE IN USING THE LEAST

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AMOUNT OF WORDS IN GETTING

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ACROSS WHAT I'M TRYING TO GET

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ACROSS.

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WE HAVE A SIMPLE JOB.

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>> WE ARE HERE IN CUYAHOGA

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COUNTY, IT WAS JUST NOTABLE.

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IT JUST JELLED FOR US TO COME

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TOGETHER AND TO FORM A GROUP

217
00:08:01,300 --> 00:08:05,030
THAT CAN USE THE ARTS, MENTAL

218
00:08:05,030 --> 00:08:08,230
ILLNESS AND LOCAL POLITICS AS

219
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FAR AS JUDGES, PROSECUTION

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RACES, AND WE ARE INTERESTED IN

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WHAT IS GOING ON RIGHT HERE.

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THE PUBLIC THINKS EVERYTHING IS

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GOING TO BE OKAY SEEING THAT WE

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GOT OUT BUT THEY DON'T SEE THE

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DENIALS, THEY DON'T SEE THE

226
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APPEALS THAT HAVE BEEN DENIED

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FROM ONE DISTRICT, ONE COURT TO

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THE NEXT.

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THE HEARTBREAK.

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>> WE WANT TO PUT FLESH AND

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BLOOD ONTO THE STORIES SO

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PEOPLE CAN UNDERSTAND WHAT

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HAPPENED TO THE INDIVIDUAL,

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THAT TRAUMA, TO THE FAMILIES

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AND TO THE COMMUNITY.

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>> OUR SYSTEM STILL DOESN'T

237
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LIKE TO ADMIT THAT THEY MESSED

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UP.

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THEY DON'T WANT TO ADMIT THAT.

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YOU BARELY EVER SEEN A COURT

241
00:09:03,900 --> 00:09:04,970
OFFICIAL OR A PROSECUTOR OR

242
00:09:04,970 --> 00:09:06,900
ANYTHING LIKE THAT APOLOGIZE

243
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FOR WHAT THEY DID TO THE PERSON.

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>> YOU JUST LISTEN TO ME AND I

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CAN GET YOU A PLEA OR YOU CAN

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TAKE IT TO TRIAL AND YOU WILL

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BE WASTING YOUR GRIEF.

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>> I DIDN'T DO ANYTHING.

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>> WE CALLED IT "THE LYNCHED

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00:09:23,430 --> 00:09:28,030
AMONG US" BECAUSE WE DID SOME

251
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RESEARCH.

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WE SAW SOME STRIKING

253
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SIMILARITIES BETWEEN WRONGFUL

254
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CONVICTIONS AND THE LYNCHINGS

255
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FROM BACK IN THE EARLY 1800s OR

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1900s.

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THOSE SIMILARITIES, THESE MOBS

258
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WERE FORMED BECAUSE OF

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ALLEGATIONS, MANY TIMES FALSE

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ALLEGATIONS.

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MANY OF THE MENU HAVE BEEN

262
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INJURED BY WRONGFUL CONVICTION

263
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HAVE HAD EVIDENCE HIDDEN FROM

264
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THEM, THEY HAVE FABRICATED

265
00:10:03,030 --> 00:10:07,100
EVIDENCE, FALSE ACCUSATIONS

266
00:10:07,100 --> 00:10:11,900
HURLED AGAINST THEM.

267
00:10:11,900 --> 00:10:12,970
>> CHANGE MY LIFE BY AN ENTRY

268
00:10:12,970 --> 00:10:13,900
AND A COMPUTER.

269
00:10:13,900 --> 00:10:15,030
YOU ARE ALREADY A NUMBER.

270
00:10:15,030 --> 00:10:17,900
>> THIS JUDGE, AT ONE POINT,

271
00:10:17,900 --> 00:10:19,900
WHEN HE WAS ACCUSED, THEY WERE

272
00:10:19,900 --> 00:10:21,030
TEENAGERS ACCUSED OF A HORRIBLE

273
00:10:21,030 --> 00:10:22,170
SHOOTING.

274
00:10:22,170 --> 00:10:23,900
TWO PEOPLE.

275
00:10:23,900 --> 00:10:26,830
POLICE EVEN SAID THEY SHOT AT

276
00:10:26,830 --> 00:10:29,270
THEM.

277
00:10:29,270 --> 00:10:34,900
BUT, A JUDGE READ THAT EVIDENCE

278
00:10:34,900 --> 00:10:35,900
IN THE HEIGHT OF THE EXTERIOR

279
00:10:35,900 --> 00:10:36,900
OF THE CASE AND SAID, YOU KNOW

280
00:10:36,900 --> 00:10:38,500
WHAT, SOMETHING IS NOT RIGHT

281
00:10:38,500 --> 00:10:40,300
HERE.

282
00:10:40,300 --> 00:10:47,230
SHE CHOSE TO RELEASE THEM.

283
00:10:47,230 --> 00:10:53,030
>> 2007 HIGH SCHOOL DIPLOMA,

284
00:10:53,030 --> 00:10:55,900
SOUTH HIGH.

285
00:10:55,900 --> 00:10:56,970
>> FOR SOME REASON, SOME

286
00:10:56,970 --> 00:10:58,900
DECISION-MAKERS SAID LET'S GO

287
00:10:58,900 --> 00:11:00,030
TO THIS KIDS GRADUATION.

288
00:11:00,030 --> 00:11:02,970
A MOMENT HE WILL NEVER FORGET

289
00:11:02,970 --> 00:11:07,930
IN HIS LIFE, AND ARREST HIM.

290
00:11:07,930 --> 00:11:11,130
AND BRING HIM BACK TO JAIL WHEN

291
00:11:11,130 --> 00:11:14,130
HE WAS SENTENCED TO

292
00:11:14,130 --> 00:11:17,270
ASTRONOMICAL TIME.

293
00:11:17,270 --> 00:11:22,900
>> IS A THEATRICAL PART OF IT

294
00:11:22,900 --> 00:11:24,030
MAKES YOU BE WITH THE STORY,

295
00:11:24,030 --> 00:11:25,900
YOU ARE IN THE STORY.

296
00:11:25,900 --> 00:11:27,130
YOU ARE WATCHING IT AND YOU ARE

297
00:11:27,130 --> 00:11:27,900
IN IT.

298
00:11:27,900 --> 00:11:28,900
WHEN YOU LEAVE, IT BECOMES MORE

299
00:11:28,900 --> 00:11:30,030
IMPACTFUL THAT YOU ARE ABLE TO

300
00:11:30,030 --> 00:11:32,930
VISUALIZE WHAT WE ARE SAYING.

301
00:11:32,930 --> 00:11:34,900
IT IS A PART OF THE HEALING

302
00:11:34,900 --> 00:11:36,130
JOURNEY WHEN YOU USE THE ARTS

303
00:11:36,130 --> 00:11:39,030
TO EXPRESS YOURSELF.

304
00:11:39,030 --> 00:11:41,930
YOU HAVE TO REMEMBER, WE CAME

305
00:11:41,930 --> 00:11:45,030
FROM A PLACE THAT TRIES TO TAKE

306
00:11:45,030 --> 00:11:48,270
THAT FROM YOU.

307
00:11:48,270 --> 00:11:51,900
>> DEFINITELY RAISING AWARENESS

308
00:11:51,900 --> 00:11:52,900
THAT WRONGFUL CONVICTION IS A

309
00:11:52,900 --> 00:11:54,370
HUGE PROBLEM THAT NEEDS TO BE

310
00:11:54,370 --> 00:11:56,900
ADDRESSED.

311
00:11:56,900 --> 00:11:58,030
I FEEL LIKE IT IS NOT BEING

312
00:11:58,030 --> 00:11:58,900
ADDRESSED.

313
00:11:58,900 --> 00:11:59,900
THESE ARE HUMAN BEING LIVES

314
00:11:59,900 --> 00:12:01,330
THAT ARE BEING TAKEN AWAY FROM

315
00:12:01,330 --> 00:12:01,970
US.

316
00:12:01,970 --> 00:12:04,900
THESE ARE PEOPLE THAT WE LOSE

317
00:12:04,900 --> 00:12:06,130
IN PRISON THAT WERE NEVER SEEN

318
00:12:06,130 --> 00:12:06,900
AGAIN.

319
00:12:06,900 --> 00:12:07,970
MOMENTS OF OUR KIDS LIVES WE

320
00:12:07,970 --> 00:12:10,200
WILL NEVER GET BACK AGAIN.

321
00:12:10,200 --> 00:12:14,970
I JUST FEEL LIKE NOBODY SEES

322
00:12:14,970 --> 00:12:15,900
THIS AS URGENT.

323
00:12:15,900 --> 00:12:16,900
THIS HAS TO STOP RIGHT NOW.

324
00:12:16,900 --> 00:12:17,970
WE CAN'T KEEP SENDING INNOCENT

325
00:12:17,970 --> 00:12:20,030
PEOPLE TO PRISON FOR CRIMES

326
00:12:20,030 --> 00:12:23,130
THEY DIDN'T COMMIT AND LET THEM

327
00:12:23,130 --> 00:12:26,900
OUT LIKE EVERYTHING IS OKAY.

328
00:12:26,900 --> 00:12:27,900
>> IT IS MORE THAN JUST MY

329
00:12:27,900 --> 00:12:28,970
WRONGFUL CONVICTION, IT IS MY

330
00:12:28,970 --> 00:12:29,930
FAMILY AS WELL.

331
00:12:29,930 --> 00:12:30,970
I LOST FAMILY MEMBERS

332
00:12:30,970 --> 00:12:31,900
THROUGHOUT THIS.

333
00:12:31,900 --> 00:12:33,030
WHEN I CAME HOME, I CAME HOME

334
00:12:33,030 --> 00:12:34,900
TO A WHOLE NEW WORLD.

335
00:12:34,900 --> 00:12:35,900
I AM THINKING ABOUT THE PEOPLE

336
00:12:35,900 --> 00:12:37,500
WHO CARE FOR ME, LOVE ME THE

337
00:12:37,500 --> 00:12:39,130
MOST.

338
00:12:39,130 --> 00:12:42,330
A LOT OF THEM WERE GONE.

339
00:12:42,330 --> 00:12:45,030
IT IS DEEP.

340
00:12:45,030 --> 00:12:47,900
IT IS MORE THAN JUST YOU THAT

341
00:12:47,900 --> 00:12:48,900
HAS TO GO THROUGH THINGS, IT IS

342
00:12:48,900 --> 00:12:49,930
YOUR WHOLE FAMILY AND THE

343
00:12:49,930 --> 00:12:51,030
PEOPLE THAT YOU KNOW.

344
00:12:51,030 --> 00:12:53,970
YOU COME HOME, 27 YEARS AND SIX

345
00:12:53,970 --> 00:12:56,970
MONTHS AND 20 DAYS THAT IS A

346
00:12:56,970 --> 00:12:57,970
WHOLE LIFETIME.

347
00:12:57,970 --> 00:12:59,900
YOU DON'T EVEN KNOW THE PEOPLE

348
00:12:59,900 --> 00:13:00,900
THAT YOU THOUGHT YOU KNEW.

349
00:13:00,900 --> 00:13:02,330
YOUR FAMILY MEMBERS, PEOPLE

350
00:13:02,330 --> 00:13:04,430
CHANGE.

351
00:13:04,430 --> 00:13:08,900
THE WORLD CHANGES.

352
00:13:08,900 --> 00:13:09,900
>> I WORK FOR THE CITY OF

353
00:13:09,900 --> 00:13:11,230
CLEVELAND, I WORK IN MY OWN

354
00:13:11,230 --> 00:13:12,930
BUSINESS.

355
00:13:12,930 --> 00:13:14,170
IT HAS BEEN ROUGH.

356
00:13:14,170 --> 00:13:16,930
I HAVE FOUR SONS.

357
00:13:16,930 --> 00:13:18,900
I HAVE A DAUGHTER, YOU KNOW.

358
00:13:18,900 --> 00:13:20,070
LIKE STARTING A RELATIONSHIP

359
00:13:20,070 --> 00:13:23,100
WITH PEOPLE IS HARD FOR ME

360
00:13:23,100 --> 00:13:25,930
BECAUSE I AM SO DETACHED FROM

361
00:13:25,930 --> 00:13:26,900
EVERYBODY RIGHT NOW.

362
00:13:26,900 --> 00:13:27,930
THEY ARE LIKE MEN, ARE YOU

363
00:13:27,930 --> 00:13:28,930
COMING TO THE PARTY?

364
00:13:28,930 --> 00:13:29,970
I PROBABLY WON'T COME.

365
00:13:29,970 --> 00:13:31,900
>> FOR ME, THE HARDEST PART FOR

366
00:13:31,900 --> 00:13:32,900
ME IS TO CALL HOME AND TELL MY

367
00:13:32,900 --> 00:13:34,130
FAMILY WHEN I GOT TIME AT THE

368
00:13:34,130 --> 00:13:35,900
PAROLE BOARD.

369
00:13:35,900 --> 00:13:37,030
THE REACTION I WAS GETTING,

370
00:13:37,030 --> 00:13:40,000
THAT HURT ME MORE THAN ANYTHING

371
00:13:40,000 --> 00:13:43,170
THEN I AM THE ONE GETTING THE

372
00:13:43,170 --> 00:13:43,900
TIME.

373
00:13:43,900 --> 00:13:45,100
THAT WAS A HARD PILL TO SWALLOW

374
00:13:45,100 --> 00:13:45,900
FOR ME.

375
00:13:45,900 --> 00:13:46,970
I THINK WE HAVE TO BRING

376
00:13:46,970 --> 00:13:48,970
AWARENESS TO THE SITUATION,

377
00:13:48,970 --> 00:13:50,900
TURNING THAT NEGATIVE THING

378
00:13:50,900 --> 00:13:52,030
THAT HAPPENED TO ME INTO A

379
00:13:52,030 --> 00:13:52,900
POSITIVE.

380
00:13:52,900 --> 00:13:54,230
THAT IS WHY I TRY TO DO IT AS

381
00:13:54,230 --> 00:13:56,900
MUCH AS I CAN.

382
00:13:56,900 --> 00:13:58,970
>> EVERYONE IS EXCEEDING MY

383
00:13:58,970 --> 00:13:59,970
EXPECTATIONS.

384
00:13:59,970 --> 00:14:01,930
I PLAN TO KEEP GOING WITH THIS.

385
00:14:01,930 --> 00:14:03,000
I AM GETTING A GREAT

386
00:14:03,000 --> 00:14:05,130
DIRECTORIAL EXPERIENCE.

387
00:14:05,130 --> 00:14:10,030
I AM THINKING THIS COULD GO ON

388
00:14:10,030 --> 00:14:10,900
BROADWAY.

389
00:14:10,900 --> 00:14:11,900
IF SOMEBODY WOULD JUST SAY,

390
00:14:11,900 --> 00:14:13,030
OKAY, THIS IS GOOD ENOUGH, WE

391
00:14:13,030 --> 00:14:16,230
WILL BACK YOU AND I CAN DO IT

392
00:14:16,230 --> 00:14:22,300
IN ITS FULLNESS, THIS COULD BE

393
00:14:22,300 --> 00:14:25,000
ON BROADWAY.

394
00:14:25,000 --> 00:14:25,070
>

395
00:14:25,070 --> 00:14:28,030
>> TO LEARN MORE ABOUT THE

396
00:14:28,030 --> 00:14:31,170
TRAVELING PRODUCTION, CHECK OUT

397
00:14:31,170 --> 00:14:34,170
VOICESOFINJUSTICE.

398
00:14:34,170 --> 00:14:37,830
COM/.

399
00:14:37,830 --> 00:14:39,330
>

400
00:14:39,330 --> 00:14:41,900
>> MULTIDISCIPLINARY ARTIST

401
00:14:41,900 --> 00:14:43,070
JUANA VALDEZ CREATED A LARGE-

402
00:14:43,070 --> 00:14:46,300
SCALE MULTICHANNEL VIDEO

403
00:14:46,300 --> 00:14:50,900
INSTALLATION THAT EXPLAINS THE

404
00:14:50,900 --> 00:14:51,970
MIGRATION EXPERIENCE AND

405
00:14:51,970 --> 00:14:52,900
REFUGEE CRISIS.

406
00:14:52,900 --> 00:14:53,970
WE VISITED THE LONGEST RUNNING

407
00:14:53,970 --> 00:14:56,030
ALTERNATIVE ART IS BASED IN

408
00:14:56,030 --> 00:15:01,330
MIAMI, FLORIDA FOR THE STORY.

409
00:15:01,330 --> 00:15:05,970
>> WHEN ARTIST SPEAK THEY ARE

410
00:15:05,970 --> 00:15:07,030
USING IMAGERY.

411
00:15:07,030 --> 00:15:10,300
WE ARE TRANSLATING EVERYTHING

412
00:15:10,300 --> 00:15:13,970
WE DO IN OUR MINDS VISUALLY.

413
00:15:13,970 --> 00:15:14,900
IT IS AUTOMATIC.

414
00:15:14,900 --> 00:15:15,900
WE DON'T EVEN THINK ABOUT IT.

415
00:15:15,900 --> 00:15:16,900
IT BECAME REALLY CLEAR TO ME

416
00:15:16,900 --> 00:15:17,970
THAT I NEEDED TO WORK WITH A

417
00:15:17,970 --> 00:15:18,970
MOVING IMAGE.

418
00:15:18,970 --> 00:15:21,230
THERE ARE SEVERAL SEQUENCES

419
00:15:21,230 --> 00:15:26,200
THAT TAKE PLACE UNDERWATER.

420
00:15:26,200 --> 00:15:30,930
THERE WAS NO OTHER WAY OF

421
00:15:30,930 --> 00:15:31,930
REPRESENTING THAT.

422
00:15:31,930 --> 00:15:33,030
I AM JUANA VALDES.

423
00:15:33,030 --> 00:15:34,900
I WAS BORN IN CUBA.

424
00:15:34,900 --> 00:15:36,900
I CAME WITH MY FAMILY TO THE

425
00:15:36,900 --> 00:15:38,130
UNITED STATES IN 1971 THROUGH

426
00:15:38,130 --> 00:15:42,330
THE FREEDOM FLIGHTS.

427
00:15:42,330 --> 00:15:46,900
THE EXHIBITION IS REST ASHORE.

428
00:15:46,900 --> 00:15:47,970
THE IDEA WAS ALWAYS TO DO A

429
00:15:47,970 --> 00:15:49,900
VIDEO IN WHICH THERE WOULD BE

430
00:15:49,900 --> 00:15:51,130
NO PHYSICAL BODIES IN THE VIDEO

431
00:15:51,130 --> 00:15:53,130
I WANTED THE VIEWER WHO WALKED

432
00:15:53,130 --> 00:15:54,070
INTO THE SPACE TO FEEL LIKE

433
00:15:54,070 --> 00:15:55,730
THEY WERE OCCUPYING THAT SPACE,

434
00:15:55,730 --> 00:15:58,730
THAT SORT OF SENSATION THAT

435
00:15:58,730 --> 00:16:02,000
THEY WERE PART OF THIS

436
00:16:02,000 --> 00:16:03,070
EXPERIENCE.

437
00:16:03,070 --> 00:16:06,830
AS A CUBAN, I KNOW WHAT IT

438
00:16:06,830 --> 00:16:14,900
MEANS TO MIGRATE BY SEA BECAUSE

439
00:16:14,900 --> 00:16:16,000
WE HAVE BEEN EXPERIENCING THIS

440
00:16:16,000 --> 00:16:17,900
FOR THE LAST 50 YEARS.

441
00:16:17,900 --> 00:16:18,900
I WANTED TO USE A PERSONAL

442
00:16:18,900 --> 00:16:19,900
EXPERIENCE IN THAT KNOWLEDGE

443
00:16:19,900 --> 00:16:20,900
AND UNDERSTANDING AND I WANTED

444
00:16:20,900 --> 00:16:21,900
TO TAKE THAT AND OPEN IT UP TO

445
00:16:21,900 --> 00:16:23,030
THE GREATER GLOBAL CRISIS THAT

446
00:16:23,030 --> 00:16:26,030
IS HAPPENING, ESPECIALLY THAT

447
00:16:26,030 --> 00:16:28,970
STARTED TO HAPPEN IN 2015 IN

448
00:16:28,970 --> 00:16:31,030
EUROPE AS OF THE SYRIAN

449
00:16:31,030 --> 00:16:31,970
REFUGEES.

450
00:16:31,970 --> 00:16:34,170
WHEN WE THINK ABOUT MIGRATION

451
00:16:34,170 --> 00:16:37,030
RIGHT NOW, WE IMAGINE PEOPLE IN

452
00:16:37,030 --> 00:16:40,000
THIRD WORLD COUNTRIES COMING TO

453
00:16:40,000 --> 00:16:41,900
AMERICA, EVEN TO EUROPE

454
00:16:41,900 --> 00:16:43,330
ESCAPING POVERTY SOMETIMES WAR,

455
00:16:43,330 --> 00:16:44,900
FAMINE.

456
00:16:44,900 --> 00:16:46,900
BUT, WE ARE EXPERIENCING THE

457
00:16:46,900 --> 00:16:47,970
PANDEMIC RIGHT NOW THAT HAS

458
00:16:47,970 --> 00:16:49,900
MADE LIKE IF YOU ARE IN SOME

459
00:16:49,900 --> 00:16:50,900
CITIES, PEOPLE HAVE CHOSEN TO

460
00:16:50,900 --> 00:16:52,070
LEAVE THE CITY AND GO TO THE

461
00:16:52,070 --> 00:16:52,970
COUNTRY.

462
00:16:52,970 --> 00:16:54,900
SO, THE WHOLE IDEA WAS PARTLY

463
00:16:54,900 --> 00:16:56,030
WITH THE VIDEO NOT HAVING AN

464
00:16:56,030 --> 00:16:58,930
INDIVIDUAL BE REPRESENTED IN

465
00:16:58,930 --> 00:17:01,970
THE VIDEO, WHAT TO DO WITH THAT.

466
00:17:01,970 --> 00:17:04,030
DUE TO CLIMATE CHANGE, DUE TO

467
00:17:04,030 --> 00:17:06,900
SOME OTHER SITUATIONS, ANYONE

468
00:17:06,900 --> 00:17:08,030
OF US AT ANY PARTICULAR TIME

469
00:17:08,030 --> 00:17:11,130
RIGHT NOW COULD OR WOULD BE

470
00:17:11,130 --> 00:17:15,130
FORCED TO MIGRATE.

471
00:17:15,130 --> 00:17:18,900
WHEN YOU FIRST ENTER THE SPACE,

472
00:17:18,900 --> 00:17:19,900
IT IS DEALING WITH THE HISTORY

473
00:17:19,900 --> 00:17:21,030
OF WHAT YOU ARE ABOUT TO

474
00:17:21,030 --> 00:17:22,000
ENCOUNTER.

475
00:17:22,000 --> 00:17:24,000
THE VERY FIRST THING TO

476
00:17:24,000 --> 00:17:25,900
ENCOUNTER IS A WALL OF PALLETS,

477
00:17:25,900 --> 00:17:27,030
YOU DON'T KNOW WHAT YOU ARE

478
00:17:27,030 --> 00:17:27,970
ENTERING.

479
00:17:27,970 --> 00:17:29,900
IN THAT WAY, IT KIND OF GETS A

480
00:17:29,900 --> 00:17:30,970
LITTLE BIT MENACING AND IT WAS

481
00:17:30,970 --> 00:17:33,000
DONE INTENTIONALLY BECAUSE IT

482
00:17:33,000 --> 00:17:34,970
WAS MEANT TO GIVE YOU THE

483
00:17:34,970 --> 00:17:36,900
SENSATION THAT MAYBE YOU WERE

484
00:17:36,900 --> 00:17:37,900
ENTERING THE BACK OF A SHIPYARD

485
00:17:37,900 --> 00:17:38,900
AND WHAT IT WOULD BE LIKE IF

486
00:17:38,900 --> 00:17:40,030
YOU WERE GOING TO BE TAKING

487
00:17:40,030 --> 00:17:43,000
THIS KIND OF RISKY JOURNEY.

488
00:17:43,000 --> 00:17:45,030
YOU GO FROM BEING A PERSON TO

489
00:17:45,030 --> 00:17:48,500
BEING THOUGHT OF AS CARGO AND

490
00:17:48,500 --> 00:17:49,900
AS A PACKAGE.

491
00:17:49,900 --> 00:17:50,930
HERE YOU ARE SEEING THE

492
00:17:50,930 --> 00:17:51,970
CONTEMPORARY ART FORM.

493
00:17:51,970 --> 00:17:54,030
THE VIDEO TAKES YOU FROM ONE

494
00:17:54,030 --> 00:17:56,970
DAY IN THE LIFE ALMOST BUT THE

495
00:17:56,970 --> 00:17:58,900
JOURNEY BEGINS AND IT TAKES YOU

496
00:17:58,900 --> 00:18:00,070
THROUGH THE WHOLE PROCESS OF

497
00:18:00,070 --> 00:18:03,030
WHAT WOULD HAPPEN IF MAYBE

498
00:18:03,030 --> 00:18:05,930
THERE WAS A CAPSIZE.

499
00:18:05,930 --> 00:18:09,900
THE VIDEO ENDS VERY SLOWLY WITH

500
00:18:09,900 --> 00:18:11,900
THE SORT OF SMALL VIEW THAN IN

501
00:18:11,900 --> 00:18:13,030
LARGE AND WHAT SEEMS LIKE

502
00:18:13,030 --> 00:18:16,070
COUNTLESS NUMBERS OF CLOTHING

503
00:18:16,070 --> 00:18:18,970
THAT HAS WASHED UP ON THE

504
00:18:18,970 --> 00:18:20,900
SHORE, THEN SLOWLY BUT SURELY,

505
00:18:20,900 --> 00:18:22,030
THE VIDEO CAN STILL EXPAND AND

506
00:18:22,030 --> 00:18:24,970
MOVE UP AND YOU SEE THE OCEAN

507
00:18:24,970 --> 00:18:27,070
AGAIN AND THEN THE SUNSET AND

508
00:18:27,070 --> 00:18:30,070
YOU HEAR THE MOTOR IN THE

509
00:18:30,070 --> 00:18:37,530
DISTANCE AND THE JOURNEY BEGINS

510
00:18:37,530 --> 00:18:42,000
AGAIN.

511
00:18:42,000 --> 00:18:45,130
>> AT LUCAS PROJECTS, WE ARE IN

512
00:18:45,130 --> 00:18:46,900
PLACE OF YES.

513
00:18:46,900 --> 00:18:48,200
WE LET ARTISTS REALIZE THERE

514
00:18:48,200 --> 00:18:51,130
WILDEST DREAMS.

515
00:18:51,130 --> 00:18:58,900
WE ARE REALLY UNIQUE IN THE

516
00:18:58,900 --> 00:19:00,030
MIAMI ART SPEAKER SYSTEM IN

517
00:19:00,030 --> 00:19:00,900
THAT WAY.

518
00:19:00,900 --> 00:19:01,900
WE COMMISSION ARTISTS TO CREATE

519
00:19:01,900 --> 00:19:02,970
THESE LARGE-SCALE SITE-SPECIFIC

520
00:19:02,970 --> 00:19:03,900
INSTALLATIONS.

521
00:19:03,900 --> 00:19:04,900
IT WILL NEVER SEE THESE

522
00:19:04,900 --> 00:19:05,900
EXHIBITIONS IN ANOTHER PLACE,

523
00:19:05,900 --> 00:19:06,900
ONLY HERE AT LOCUST PROJECTS.

524
00:19:06,900 --> 00:19:07,970
THEY ARE TYPICALLY IMMERSIVE

525
00:19:07,970 --> 00:19:09,900
AND WE REALLY GIVE ARTISTS THE

526
00:19:09,900 --> 00:19:13,230
OPPORTUNITY TO EXPERIMENT IN

527
00:19:13,230 --> 00:19:18,970
NEW MEDIA WITH NEW IDEAS.

528
00:19:18,970 --> 00:19:21,030
IN OUR 2020-2021 SEASON, WE ARE

529
00:19:21,030 --> 00:19:24,070
FOCUSING ON MIAMI WOMEN ARTISTS

530
00:19:24,070 --> 00:19:30,170
AND TURNING THE SPACE OVER TO

531
00:19:30,170 --> 00:19:30,930
THEM.

532
00:19:30,930 --> 00:19:31,900
WE HAVE SEEN CHRISTINA

533
00:19:31,900 --> 00:19:32,900
PETERSON, WHO WAS ABLE TO

534
00:19:32,900 --> 00:19:33,900
REALIZE A PROJECT SHE HAD BEEN

535
00:19:33,900 --> 00:19:34,970
WANTING TO DO FOR MORE THAN 10

536
00:19:34,970 --> 00:19:36,900
YEARS, WHICH WAS TO CREATE A

537
00:19:36,900 --> 00:19:38,030
CEMETERY IN TO COVER THE FLOORS

538
00:19:38,030 --> 00:19:41,270
WITH PINE NEEDLES AND TO FILL

539
00:19:41,270 --> 00:19:47,900
THE ROOM WITH THE SOUND OF A

540
00:19:47,900 --> 00:19:48,930
SONG CALLED "IN THE PINES," AND

541
00:19:48,930 --> 00:19:49,900
ACTUAL TOMBSTONES THAT

542
00:19:49,900 --> 00:19:50,970
MEMORIALIZE REALLY IMPORTANT

543
00:19:50,970 --> 00:19:53,070
FIGURES FROM SOUTH FLORIDA

544
00:19:53,070 --> 00:19:55,900
HISTORY BUT ALSO MEMORIALIZE

545
00:19:55,900 --> 00:19:56,900
THE CREATURES THAT HAVE BEEN

546
00:19:56,900 --> 00:19:57,930
LOST DUE TO DEVELOPMENT IN THE

547
00:19:57,930 --> 00:19:59,170
PINE BACKBENDS OF THE

548
00:19:59,170 --> 00:20:01,400
EVERGLADES.

549
00:20:01,400 --> 00:20:03,900
IN THE CASE OF JUANA VALDES,

550
00:20:03,900 --> 00:20:04,900
YOU ARE SEEING THE MISSION OF

551
00:20:04,900 --> 00:20:05,970
LOCUST PROJECTS IN MOTION.

552
00:20:05,970 --> 00:20:07,900
THIS IS THE FIRST TIME JUANA

553
00:20:07,900 --> 00:20:09,030
VALDES HAS HAD THE OPPORTUNITY

554
00:20:09,030 --> 00:20:12,230
TO WORK IN VIDEO AND HERE SHE

555
00:20:12,230 --> 00:20:18,130
IS DOING IT IN MASSIVE LARGE-

556
00:20:18,130 --> 00:20:18,900
SCALE.

557
00:20:18,900 --> 00:20:19,930
ARTISTS, IN ORDER TO HAVE

558
00:20:19,930 --> 00:20:21,000
CAREERS, HAVE TO HAVE

559
00:20:21,000 --> 00:20:21,900
EXHIBITIONS.

560
00:20:21,900 --> 00:20:23,030
THAT IS WHERE LOCUST PROJECTS

561
00:20:23,030 --> 00:20:23,900
COMES IN.

562
00:20:23,900 --> 00:20:24,900
A LOT OF ARTISTS WILL HAVE

563
00:20:24,900 --> 00:20:25,900
THEIR VERY FIRST EXHIBITION AT

564
00:20:25,900 --> 00:20:26,900
LOCUST PROJECTS AND MORE

565
00:20:26,900 --> 00:20:28,000
ESTABLISHED ARTISTS WILL BE

566
00:20:28,000 --> 00:20:30,130
ABLE TO DO SOMETHING THEY

567
00:20:30,130 --> 00:20:42,070
WEREN'T ABLE TO DO BEFORE.

568
00:20:42,070 --> 00:20:42,200
>

569
00:20:42,200 --> 00:20:45,030
>> TO SEE MORE OF JUANA

570
00:20:45,030 --> 00:20:48,130
VALDES'S WORK, FIND HER ONLINE

571
00:20:48,130 --> 00:20:50,400
AT JUANAMVALDES.

572
00:20:50,400 --> 00:20:51,030
COM.

573
00:20:51,030 --> 00:20:51,130
>

574
00:20:51,130 --> 00:20:54,500
>> NOISE CONTROL IS KNOWN FOR

575
00:20:54,500 --> 00:20:58,900
ITS HARD WORK DISCO POP SOUND

576
00:20:58,900 --> 00:20:59,900
AND INCREDIBLE PERFORMANCES,

577
00:20:59,900 --> 00:21:00,900
COMPLETE WITH A LIGHT SHOW.

578
00:21:00,900 --> 00:21:01,900
KENNY, KAREN, BRAD, JEREMIAH

579
00:21:01,900 --> 00:21:02,970
AND MATTHEW DONNED THEIR

580
00:21:02,970 --> 00:21:05,030
SHERBET COLORED JUMPSUITS AND

581
00:21:05,030 --> 00:21:07,930
RECESS WITH HER PRESENTS FOR A

582
00:21:07,930 --> 00:21:13,630
BROAD & HIGH PRESENTS RECORDING.

583
00:21:13,630 --> 00:21:32,130
TAKE A LISTEN.

584
00:21:32,130 --> 00:21:36,470
IT GIVES ME FAVOR, I'LL TAKE

585
00:21:36,470 --> 00:21:37,900
YOU DEEPER.

586
00:21:37,900 --> 00:21:41,970
YOU HEARD IN MY VOICE, I DON'T

587
00:21:41,970 --> 00:21:48,700
HAVE A CHOICE.

588
00:21:48,700 --> 00:22:29,900
I AM A GIRLY BOY.

589
00:22:29,900 --> 00:22:30,900
JUST TAKE A LOOK (JUST TAKE A

590
00:22:30,900 --> 00:22:31,900
LOOK) INTO THE OCULUS (INTO THE

591
00:22:31,900 --> 00:22:32,970
OCULUS) DO YOU LIKE WHERE THIS

592
00:22:32,970 --> 00:22:36,030
IS GOING BECAUSE I'M TWO SAD

593
00:22:36,030 --> 00:22:51,500
EYES AWAY FROM GIVING UP

594
00:22:51,500 --> 00:22:52,800
G.I.R.L.

595
00:22:52,800 --> 00:22:55,370
YOU'RE CUTE, BUT NOT MY TYPE

596
00:22:55,370 --> 00:22:55,830
B.O.Y.

597
00:22:55,830 --> 00:22:59,170
OH MY GOD IS HE GONNA CRY I

598
00:22:59,170 --> 00:23:01,800
WANNA BE YOUR TOY CAUSE I'M

599
00:23:01,800 --> 00:23:11,370
JUST A GIRLY BOY THERE'S LOVE

600
00:23:11,370 --> 00:23:13,530
IN THESE LOOSE ENDS ONE TOUCH

601
00:23:13,530 --> 00:23:26,570
AND I CAN BE A FRIEND CUT

602
00:23:26,570 --> 00:23:43,470
THROAT AND INNOCENT I'M WASTED

603
00:23:43,470 --> 00:23:45,870
I'M FADED I'M LOSING LIFE ON

604
00:23:45,870 --> 00:23:48,900
THE THOUGHT OF YOU I'M VACANT

605
00:23:48,900 --> 00:23:51,370
I'M TAKING ALL THE THINGS I GOT

606
00:23:51,370 --> 00:23:57,430
FROM YOU I WANNA BE YOUR TOY

607
00:23:57,430 --> 00:24:15,070
CAUSE I'M JUST A GIRLY BOY

608
00:24:15,070 --> 00:24:21,370
CAUSE I'M JUST A GIRLY BOY G.

609
00:24:21,370 --> 00:24:22,200
I.

610
00:24:22,200 --> 00:24:23,030
R.

611
00:24:23,030 --> 00:24:23,830
L.

612
00:24:23,830 --> 00:24:25,500
Y B.

613
00:24:25,500 --> 00:24:26,500
O.

614
00:24:26,500 --> 00:24:29,630
B.

615
00:24:29,630 --> 00:24:33,830
O.

616
00:24:33,830 --> 00:24:34,030
Y

617
00:24:34,030 --> 00:24:38,030
>> TO HEAR MORE, YOU CAN FIND

618
00:24:38,030 --> 00:24:42,970
THEM ON INSTAGRAM

619
00:24:42,970 --> 00:24:43,930
@NOISECTRLBAND.

620
00:24:43,930 --> 00:24:43,970
>

621
00:24:43,970 --> 00:24:44,970
>> THAT IS OUR SHOW.

622
00:24:44,970 --> 00:24:46,900
YOU CAN FIND ALL OF OUR STORIES

623
00:24:46,900 --> 00:24:47,400
ONLINE AT WOSU.

624
00:24:47,400 --> 00:24:49,970
ORG AS WELL AS ON OUR YOUTUBE

625
00:24:49,970 --> 00:24:50,900
CHANNEL.

626
00:24:50,900 --> 00:24:52,200
FOR ALL OF US HERE AT WOSU, I

627
00:24:52,200 --> 00:24:55,370
AM KATE QUICKEL.

628
00:24:55,370 --> 00:25:47,900
THANKS FOR WATCHING.

629
00:25:47,900 --> 00:25:49,030
GOD HAS LEFT YOU BEHIND I CAN

630
00:25:49,030 --> 00:25:53,030
FEEL YOUR GRACE SPITTING ON MY

631
00:25:53,030 --> 00:25:56,970
FACE GOD HAS LEFT YOU BEHIND I

632
00:25:56,970 --> 00:26:00,100
CAN FEEL YOUR GRACE SPITTING ON

633
00:26:00,100 --> 00:26:05,900
MY FACE TAKE A MOMENT TO

634
00:26:05,900 --> 00:26:06,900
BREATHE TAKE A MOMENT TO BE

635
00:26:06,900 --> 00:26:07,970
TAKE A MOMENT TO FEEL IT LEAVE

636
00:26:07,970 --> 00:26:11,330
YOUR BEING YOU'RE RUNNING OUT

637
00:26:11,330 --> 00:26:31,830
OF TIME BE AFRAID

638
00:26:31,830 --> 00:26:34,900
>> PRODUCTION OF BROAD & HIGH

639
00:26:34,900 --> 00:26:35,930
IS FUNDED IN PART BY GREATER

640
00:26:35,930 --> 00:26:36,900
COLUMBUS ARTS COUNCIL,

641
00:26:36,900 --> 00:26:37,930
CELEBRATING EXPRESSION,

642
00:26:37,930 --> 00:26:39,300
FOSTERING TALENT AND CONNECTING

643
00:26:39,300 --> 00:26:40,130
THE COMMUNITY TO CAMPUS

644
00:26:40,130 --> 00:26:40,970
ARTISTS, PERFORMANCES,

645
00:26:40,970 --> 00:26:43,300
EXHIBITIONS, CONCERTS, PUBLIC

646
00:26:43,300 --> 00:26:45,070
ART, AND MORE AT

647
00:26:45,070 --> 00:26:50,070
COLUMBUSMAKESART.COM.