>> PRODUCTION OF "BROAD & HIGH" IS FUNDED BY THE GREATER COLUMBUS ARTS FOUNDATION, CONNECTING TO ARTISTS, PERFORMANCES, EXHIBITIONS, PUBLIC ART, AND MORE AT COLUMBUSMAKES ART.

COM, FROM THIS CONTRIBUTING SPONSORS, AND FROM VIEWERS LIKE YOU.

THANK YOU.

> >> THIS TIME ON "BROAD & HIGH," AN ARTIST USES THE UNCONSCIOUS AS HER MUSE, THE 45th ANNIVERSARY OF A CLEVELAND DANCE COMPANY, AND A GALLERY SUPPORTS WOMEN ARTISTS IN THEIR JOURNEY.

THIS AND MORE RIGHT NOW ON BROAD & HIGH.

>> WELCOME TO "BROAD AND HIGH."

I'M YOUR HOST KATE QUICKEL.

HAVE YOU EVER HAD A REALLY VIVID DREAM THAT YOU WISH YOU COULD SOMEHOW CAPTURE?

ARTIST MADELINE BUANNO DOES JUST THAT.

HER PAINTINGS ARE AN EXPLORATION INTO THE MIND'S EYE THAT SHE WANTS THE AUDIENCE TO SEE AS A PUZZLE WORTH PONDERING.

>> MY JOURNEY INTO ART, I FEEL LIKE I'VE BEEN DRAWN TO IT FOR AS LONG AS I CAN REMEMBER.

MY PARENTS WERE ALWAYS SUPER SUPPORTIVE.

I THINK MY FIRST VENTURE INTO ART WAS SIX YEARS OLD, COPYING A SCOOBY-DOO COMIC.

I WOULD GO BACK AND FORTH FOR AWHILE, BUT I ALWAYS KNEW IT WAS THE MAIN THING I WANTED TO PURSUE.

I WOULD DESCRIBE MY WORK AS SURREAL FIGURATIVE ART.

I WORK BIG.

I WORK IN OILS.

I LIKE TO TAKE UP A LOT OF SPACE WITH THE WORK.

A LOT OF IT IS FOCUSED ON SCENES LIKE DREAMSCAPE AND THE UNCONSCIOUS.

I FELL I'M IN A BLUE PERIOD AT THE MOMENT.

I HAVE BEEN REALLY DRAWN TO A LOT OF SAILOR BLUES AND SOME PURPLES, AND I FEEL LIKE THOSE ARE SORT OF SYMBOLICALLY RICH BECAUSE THEY SORT OF REPRESENT THAT DEEP DIVE INTO A MORE LIKE SPIRITUAL UNCONSCIOUS SPACE, WHICH IS WHAT I FEEL LIKE I'M IN RIGHT NOW AND TRYING TO EXPLORE.

BUT I ALSO LOVE THE MORE NATURAL, MUTED COLOR PALETTES FOR WHEN I'M FEELING MORE CONNECTED TO THE SPACE AROUND ME.

IT SWINGS BACK AND FORTH.

WHEN PEOPLE LOOK AT MY PIECES, YOU KNOW, THEY ARE NOT GOING SEE A TYPICAL FEMININE BODY.

THEY ARE GOING TO BE A LITTLE AWKWARD, A LITTLE UGLY.

THEY ARE GOING TO BE A LITTLE WEIRD LOOKING, AND I THINK, FOR ME, THAT SPEAKS TO, YOU KNOW, THE FACT THAT US AS WOMEN, WE ARE TYPICALLY PORTRAYED AS OBJECTS OF DESIRE, BUT WE ARE MORE THAN THAT.

I THINK DEEP DOWN, IT CAN BE HARD FOR US TO SEE THAT REFLECTED IN OUR WORK, SO I KIND OF HOPE TO CAPTURE MOMENTS WHERE SOMEONE MIGHT NOT FEEL BEAUTIFUL.

THEY MIGHT FEEL A LITTLE BIT MORE REAL AND A LITTLE BIT MORE WILD.

I LIKE DEPICTING THE FEMININE BODY ALMOST AS A CREATURE, VERSES AN OBJECT TO BE REFLECTED.

THE ONE THING I REALLY WANT TO STRESS ABOUT MY ART IS I FIND THERE'S SORT OF AN INADEQUACY OF LANGUAGE AND SOME THINGS THAT CAN ONLY BE EXPRESSED SYMBOLICALLY.

THAT'S WHAT I HOPE TO TOUCH ON.

MY LEAST FAVORITE QUESTION I ALWAYS GET FROM FOLKS IS WHAT DOES THIS PAINTING MEAN?

I REALLY WANT THEM TO INTERPRET MY WORK ALMOST LIKE THEY ARE INTERPRETING A TAROT CARD READING.

A LOT OF THE IMAGERY THEY PAINT IS SOLELY UNCONSCIOUS IMAGERY, WHICH IS, OF COURSE, VERY SPECIFIC TO ME, BUT WHEN I'M BRINGING IT OUT INTO THE WORLD AND INTO A PAINTING AND INTO A GALLERY, I DON'T REALLY WANT IT TO SPEAK ABOUT ME IN PARTICULAR.

I WANT IT TO RESINATE WITH PEOPLE ON AN INDIVIDUAL LEVEL, AND ONE OF THE THINGS I SAY IS THAT I WANT MY WORK TO SORT OF BE A PUZZLE FOR THE VIEWER TO FIGURE OUT.

THERE'S A LOT OF DIFFERENT SYMBOLS, AND SOMETIMES A LOT OF CLASHING SYMBOLS, AND I THINK THOSE SPEAK TO PEOPLE IN WAYS THAT I NEVER WOULD HAVE EVEN GUESSED, BUT, YEAH, IT SORT OF BRINGS US TOGETHER INTO A SORT OF COLLECTIVE CONSCIOUSNESS IN SPACE.

>> TO SEE MORE OF HER WORK, CHECK OUT MADELINE BUANNO.

COM.

> >> NEXT, WE TRAVEL TO CLEVELAND FOR A STORY ABOUT AN ARTIST BORN WITH SERIOUS CONDITION.

BACK IN 1950s, WHEN DOCTORS TYPICALLY SUGGESTED INSTITUTIONALIZING CHILDREN LIKE MARY VERDI-FLETCHER, HER GRANDMOTHER HAD OTHER PLANS.

DECADES LATER, DESPITE HER DISABILITY, SHE HAS REVOLUTIONIZED WHAT IT MEANS TO BE A DANCER.

>> MY GRANDMOTHER HAD ALWAYS SAID I WAS BORN WITH A TEAR IN MY EYE AND A SMILE ON MY FACE.

SHE KNEW I WAS PUT ON THIS EARTH TO DO SOMETHING SPECIAL.

WELL, I CERTAINLY INHERITED HER TENACITY.

THE DANCING WHEELS COMPANY IS A PHYSICALLY INTEGRATED DANCE COMPANY.

IT'S COMPRISED OF DANCERS WITH AND WITHOUT DISABILITIES, USING THE PHILOSOPHY, IT'S FOR ALL PEOPLE OF ALL ABILITIES.

WE HAVE A BYLINE AS THE WORLD CENTER FOR ART ACCESS.

WE WANT TO MAKE THE ARTS ACCESSIBLE TO ALL PEOPLE.

THE COMPANY IS IN THEIR 44th SEASON, AND WE WILL BE MOVING INTO OUR 45th SEASON IN JULY.

THERE'S A SAYING THAT ACCESS TO THE ARTS IS A RIGHT, NOT A PRIVILEGE.

SO 40 PLUS YEARS, THINGS HAVE CHANGED CONSIDERABLY.

THE IDEA OF PHYSICALLY INTEGRATED DANCE IS MORE KNOWN.

ACCESSIBILITY IS STILL AN ISSUE.

NOT AS PREVALENT AS IT WAS YEARS AGO.

I WAS BORN IN 1955, AND I HAD SPINA BIFIDA, AND BABIES WHO WERE BORN BACK IN THAT TIME WITH SPINA BIFIDA WERE OFTEN TIMES LEFT TO I DO OR BE INSTITUTIONALIZED.

MY MOTHER WAS NOT SURE WHAT TO DO WHEN I WAS BORN, SO MY GRANDMOTHER SAID YOU TAKE HER HOME BECAUSE THE DOCTORS WANTED TO INSTITUTIONALIZE ME, AND SHE SAID YOU TAKE HER HOME, AND YOU DO THE BEST YOU CAN, AND IF SHE SURVIVES, YOU HAVE DONE THE BEST YOU CAN.

IF SHE DOESN'T, YOU HAVE DONE THE BEST YOU CAN, SO SHE TOOK ME HOME.

I WAS THIS LITTLE PERSON, BUT I WAS PRETTY ACTIVE, I GUESS, BECAUSE I WOULD BREAK MY BRACES ALL THE TIME.

AND THEN THE DOCTORS GAVE ME REALLY STRONG BRACES, AND I BROKE MY LEG INSTEAD OF THE BRACE, THREE TIMES.

SO THEY PUT ME IN A WHEELCHAIR.

MY MOM WAS A DANCER IN THE BROADVILLE DAYS WITH HER SISTER.

SHE WOULD MAKE UP LITTLE DANCES FOR MY BROTHER AND I IN OUR LIVING ROOM, AND SHE HAD MY BROTHER LIFT ME IN THE AIR, AND SHE JUST CREATED LITTLE OPPORTUNITIES, I THINK, FOR ME TO ENJOY MUSIC AND DANCE.

I ALWAYS LOVED MUSIC AND WATCHING DANCE, AND I WOULD MOVE IN MY CHAIR, AND I WOULD MOVE TO THE POINT WHERE I BROKE THE AXLE OFF THE WHEEL.

BUT IT WASN'T UNTIL THE MID- '70s THAT THE DISCO ERA CAME ABOUT, SO THERE WAS A LOT OF SOCIAL DANCING THAT WENT ON, AND I WOULD WATCH IT, WATCH IT ON TV, SOME OF MY FRIENDS WERE JUST DOING, YOU KNOW, THE HUSTLE, YOU KNOW?

AND I WOULD SIT BACK AND WATCH IT, AND THEN FINALLY ONE OF THEM SAID, WELL, LET'S JUST TRY, AND WE DID SOME DANCING AND TWIRLED AROUND THE WHEELCHAIR, AND I SAW THAT IT COULD MOVE IN A LOT OF DIFFERENT WAYS AND THAT ACTUALLY IT HAD THIS SORT OF LIKE BETWEEN SKATING AND DANCE.

TO DANCE BACK THEN WAS THE GREATEST ACCELERATION IN MY BODY.

I ALWAYS EQUATE IT TO LIKE FLYING BECAUSE TO DANCE ON A STAGE WHERE THERE'S NO BARRIERS AND YOU CAN TAKE ON A DIFFERENT PERSONA, IT REALLY IS A WAY OF FREEDOM THAT IS INDESCRIBABLE.

PARTICULARLY FOR OUR YOUNG PEOPLE GROWING UP, IF I CAN DO IT, THEY CAN DO IT, TOO.

THEY SEE ABILITY ON STAGE OR IN THE CLASS THAT WE TEACH.

IT'S LIKE AN UNSPOKEN KNOWLEDGE THAT THEY GAIN BY JUST SEEING.

SO SEEING IS BELIEVING.

YOU DON'T HAVE TO SAY A WORD BECAUSE WHEN WE SET FOOT OR WHEEL ON STAGE, AND WE WORK TOGETHER, PEOPLE ARE SEEING ABILITY EVERYWHERE, FROM THE DISABLED AND NONDISABLED DANCERS.

>> I WAS INJURED IN A CAR ACCIDENT.

THROUGH PHYSICAL THERAPY, I FOUND OUT ABOUT DANCING WHEELS, AND IT WAS POSSIBLE TO STILL MOVE AND STILL DANCE.

I CAME TO AUDITION, AND THAT'S WHERE I MET MARY.

I WASN'T BORN WITH MY DISABILITY, BUT MARY WAS, AND MARY INSPIRED ME BECAUSE TO SEE SOMEONE SPEND SO MUCH TIME WITH A DISABILITY THEY WERE BORN WITH AND SHOWCASING AND SHOWING THE WORLD YOU CAN STILL CREATE AND STILL BE SEEN, IT'S AMAZING TO HAVE A PLACE WHERE YOU FEEL LIKE YOU BELONG AND A PLACE WHERE YOU CAN SHOW YOU WHO TRULY ARE EVEN THROUGH ADVERSITY OR HAVING A DISABILITY OR JUST BEING DIFFERENT.

>> SO I AM GOING TO BE 70 THIS YEAR.

I LOOK TO BE ABLE TO CONTINUE TO DANCE, AT LEAST UNTIL THE 50th ANNIVERSARY OF DANCING WHEELS.

WITH ANY LUCK, I WILL CONTINUE TO DO THAT.

I PRIDE MYSELF IN BEING ABLE TO DANCE STILL, AND I THINK PART OF THAT IS WHEN YOU CONTINUE TO DO SOMETHING LONG-TERM, IT STAYS WITH YOU AND YOUR BODY.

I AM DANCING WITH 24-YEAR-OLDS, YOU KNOW, AND JUST THE STAMINA TO KEEP UP WITH THAT IS SOMEWHAT OF A CHALLENGE, BUT I OFTEN TIMES FORGET MY AGE.

I THINK IF YOU THINK YOUNG, YOU WILL BE YOUNG, YOU KNOW.

THAT'S A FACT.

> >> TO LEARN MORE, FIND THEM ONLINE AT DANCINGWHEELS.

COM.

> >> NOW, WE HEAD INTO THE KITCHEN TO LEARN ABOUT A SPACE THAT IS FOSTERING CONNECTIONS, INSPIRING CHANGE AND SUPPORTING WOMEN ARTISTS IN THEIR CREATIVE JOURNEYS.

WITH ME TODAY IS DINA SUMON OF GALLERY LUMINA.

>> THANK YOU FOR HAVING ME.

>> TELL ME ABOUT THE NAME OF YOUR GALLERY, WHAT IT MEANS, AND HOW IT ALL GOT STARTED.

>> WHEN I CAME HERE FIRST, YOU KNOW, I HAD DIFFICULTIES, COMMUNICATION AND DRIVING AND DIFFERENT THINGS, AND SO I SAW MANY DIFFICULTIES, AND A FEW THINGS I SAW, WOMEN HAVE MORE PROBLEMS, GOING IN THE FRONT LINE, SO WHEN I MADE MY MARK, I THOUGHT, OKAY, I DID SOMETHING FOR MYSELF, AND NOW IT'S TIME TO PULL UP SISTERHOOD.

>> UH-UH.

>> AND I STILL BELIEVE THAT WOMEN NEED TO PULL FOR EACH OTHER, EVEN IN 2026, SO THAT'S HOW WE OPENED THE GALLERY.

IT'S SPECIFICALLY FOCUSED ON WOMEN IN ARTS.

>> WONDERFUL.

>> AND THE NAME LUMINA, WHERE DID THAT COME FROM?

>> LUMINA CAME FROM, IT SPECIFICALLY --WE ARE A FOCUSED ART GALLERY, AND WE WANTED TO SHOW SOMETHING THROUGH OUR GALLERY NAME THAT IS A BEAUTIFUL LINE, AND LUMINUS IS A BEAUTIFUL WORD FOR BEAUTIFUL LIGHT.

IT'S A GREEK WORD, AND WE WANTED TO KEEP THIS NAME.

>> THAT'S BEAUTIFUL.

I LOVE THAT CONNECTION.

WONDERFUL.

I'M SO EXCITED TO HEAR MORE ABOUT THE GALLERY.

I ALSO SEE THESE BEAUTIFUL SPICES.

TELL ME ABOUT THE DISH WE ARE MAKING TODAY.

>> WE ARE MAKING SHRIMP CURRY.

>> DELICIOUS.

>> IT'S QUICK, EASY, AND I LOVE IT BECAUSE BOTH OF MY KIDS LOVE IT.

I MAKE IT ALL THE TIME FOR MY KIDS.

>> ANYTHING YOUR KIDS EAT WE KNOW WILL BE GOOD.

TELL US THE INGREDIENTS WE NEED.

>> ONE SMALL ONION.

SALT FOR SEASONING.

ABOUT ONE POUND SHRIMP.

ONE TABLESPOON OIL, ONE TEASPOON TURMERIC POWDER, CHILI POWDER, GINGER POWDER, GARLIC POWDER, AND SOME WARM WATER.

>> LET'S GET STARTED.

>> FIRST WE HAVE TO MAKE SURE IT'S WARM ENOUGH, THE PAN IS WARM ENOUGH, AND THEN WE ADD THE OIL.

>> ALWAYS A GOOD START.

>> A GOOD START, YEAH.

THEN WE WILL ADD THE SHRIMP BECAUSE WE WANT THEM A LITTLE BIT FRIED BEFORE WE ARE STARTED.

>> THAT MAKES SENSE.

THAT'S A GOOD SOUND.

>> THAT MEANS IT'S WARM ENOUGH.

>> YEAH.

>> AND NOW -- >> KIND OF LET THOSE GO?

>> YEAH, LET THOSE GO.

>> NOW WE ARE COOKING.

>> YES.

>> NOW WE LET IT WAIT?

>> WE PUT THE SHRIMP IN, AND THEN WE WILL PUT A LITTLE BIT OF TURMERIC IN, NOT THE WHOLE THING.

>> OKAY.

WHY IS THAT?

>> SHRIMP HAS A SHRIMPY SMELL, SO WE WANT TO GET RID OF THE SHRIMPY SMELL.

>> FOR SURE.

>> LITTLE BIT OF TURMERIC GETS RID OF THE SMELL, AND THEN FRY THEM WITH THAT.

>> SMART.

IS THIS THE KIND OF THING YOU WOULD MAKE ON A WEEKNIGHT FOR YOUR FAMILY?

OR IS THIS --IS IT EASY ENOUGH TO THROW TOGETHER?

>> YES, SO EASY, I MAKE IT REALLY FREQUENT.

>> YEAH.

>> SAY MOM, THERE'S NOTHING, AND EVEN THOUGH THERE'S TEN THINGS IN THE FRIDGE, THERE'S NOTHING TO EAT.

I MAKE THIS AND THEY LOVE IT.

>> THAT'S GREAT.

WE CAN LET THOSE COOK IF WE NEED TO, OR DO WE ADD THE ONION?

>> WE CAN ADD THE ONION, YES.

IN THE BEGINNING, WE PUT THE HEAT A LITTLE BIT UP.

>> OKAY.

>> AND THEN WE WILL ADD THE ONION.

IT'S KIND OF GETTING REDDISH.

>> YEAH.

>> SO NOW WE CAN ADD ONION.

WE DON'T NEED THE WHOLE ONION.

WE NEED HALF OF THESE.

MORE ONION, MORE TASTE.

>> PERFECT, YEAH.

>> NOW WE WILL TAKE SOME SALT.

>> A LITTLE BIT?

>> NO, AS MUCH AS THE SHRIMP NEEDS, SO -- >> YOU TELL ME WHEN TO STOP, OR SHOULD I PUT IT ALL IN?

>> I THINK THAT'S GOOD.

>> GOOD TO START.

WE CAN ALWAYS ADD MORE?

>> WE CAN ALWAYS ADD MORE.

>> I LOVE THE COLOR THE TURMERIC ADDS.

>> NOW YOU DON'T GET THAT SHRIMP SMELL.

>> YOU GET THE AROMA OF THE SPICES.

>> MORE AROMA AND CURRY KIND OF FLAVOR.

>> THE WARM SMELL.

>> YES.

NOW WE LET IT FRY.

>> OKAY, LET THEM GO.

>> WE WILL ADD ALL OF THE SPICE WHEN YOU SEE THE WATER HERE -- >> YEAH.

>> WE WANT THIS WATER TO GET -- >> KIND OF DRY UP?

>> AND THEN WE WILL ADD THE SPICES.

WE DON'T WANT TO COOK TOO MUCH.

>> SURE.

>> BECAUSE OTHERWISE, THE SHRIMP WILL BE HARD.

>> RUBBERY?

>> RUBBERY, YEAH.

MOST OF THE WATER IS GONE.

>> OKAY, WE CAN ADD ALL OF THE SEASONINGS?

>> YEAH.

>> YOU CAN DO SOME, TOO.

>> I WOULD SAY LET'S SLOWLY DROP AND SEE HOW MUCH.

IT MAY BE TOO SPICY.

>> ABOUT HALF OF THAT?

>> YEAH.

GOOD.

OTHERWISE, TOO SPICY.

YES, WE CAN ADD THOSE.

>> ALL OF IT?

>> YEAH.

>> OKAY.

SO COLORFUL.

SMELLING AMAZING.

RELEASING THOSE AROMAS.

OKAY.

THIS ONE?

DO WE PUT ANY MORE TURMERIC IN?

>> YES, WE WILL PUT A LITTLE BIT OF TURMERIC NOW.

>> OKAY?

>> AND THEN THIS.

>> YEAH.

>> BUT NOW, WHAT WE WILL DO, BEFORE WE ADD WATER, WE WANT TO MAKE SURE THAT EVEN THE SPICES -- >> UH-UH.

>> THEY HAVE ALSO THE --THEIR RAW SMELL.

>> YOU WANT TO COOK IT OFF.

YEAH, YEAH, YEAH.

>> BEFORE WE ADD SOME WATER.

>> MAKE SURE IT'S ALL COOKED AND COATED.

>> YEAH, WHAT WE WILL DO, AFTER IT COOKS A LITTLE BIT, WE WILL ADD A LITTLE BIT WATER WATER, NOT THE WHOLE THING.

>> OKAY.

>> JUST A LITTLE BIT.

FOR NOW, YES, IT'S READY.

>> READY, A LITTLE BIT OF WARM WATER.

>> JUST A LITTLE BIT OF WARM WATER.

>> GOOD?

>> A LITTLE MORE.

>> I DIDN'T WANT TO OVERDO IT.

>> GOOD.

>> THERE WE GO.

>> SO NOW, WHAT IS HAPPENING, WE ARE COOKING THE SPICES IN THIS LITTLE WATER, -- >> IT'S MAKING A SAUCE.

>> IT IS MAKING A SAUCE, AND WE --I DON'T KNOW HOW TO SAY THIS, WE LIKE CALL IT KOSHANO.

IT MEANS WE ARE PREPARING ALL OF THE FLAVORS.

>> OH, I LOVE THAT.

SMELLS INCREDIBLE.

>> WE DIDN'T PUT SALT?

>> WE DID PUT A LITTLE BIT OF SALT.

I RECALL THAT.

>> IT'S KIND OF READY NOW.

A LITTLE BIT.

>> NEED TO ADD A LITTLE BIT MORE?

>> NO, JUST WAIT A MINUTE.

>> SMELLS AMAZING.

LOOKS BEAUTIFUL.

IT DOES COME TOGETHER QUICKLY.

>> YEAH, THAT'S WHY I THOUGHT, OKAY, LET'S DO SHRIMP.

IF THEY'RE HAPPY, I'M HAPPY.

I CAN GO BACK TO MY PAINTING.

>> PERFECT.

HOW DO YOU KNOW WHEN IT'S DONE?

CAN YOU TELL?

>> YOU CAN TELL, YEAH, AND THE REASON I'M STIRRING, IN THE MIDDLE, PAN IS MORE HOT, AND MOVE IT AROUND.

IT'S READY NOW.

YOU CAN TELL IT'S READY.

SPICES ARE --AND NOW WE CAN ADD MORE HOT WATER, AND THEN, YEAH -- >> OKAY, SHOULD I ADD A LITTLE BIT?

>> YEAH, ALL OVER A LITTLE BIT OF HOT WATER, AND THIS WILL BE READY.

WE WILL LET IT SIT FOR A LITTLE BIT.

>> THAT'S GOOD?

>> LITTLE MORE.

WE ARE MAKING THE GRAVY NOW.

OKAY, IT'S GOOD NOW.

NOW IT WILL SIT.

>> YEAH.

>> SIMMER?

>> YEAH.

>> BEAUTIFUL.

>> THANK YOU.

>> OH, SO EASY, BUT SO DELICIOUS.

>> OKAY, WHILE THIS INCREDIBLE SHRIMP FINISHES COOKING, TELL US ABOUT SOME OF THE EXHIBITS PEOPLE MAY SEE AT GALLERY LUMINA.

>> WE HAVE ART SPACE ON LUMINAARTSPACE.

COM.

WE HAVE OPEN CALL, AND WE HIGHLY FOCUS ON LOCAL WOMEN ARTISTS, BUT IT'S OPEN CALL FOR NATIONAL AND INTERNATIONAL.

WOMEN ARTISTS CAN APPLY FOR THIS, AND THEN FROM THAT, THERE'S A SELECTION, AND EVERY MONTH WE HAVE NEW GROUP OF WOMEN ARTISTS EXHIBITED IN THE GALLERY.

>> WOW.

SO IT KIND OF ROTATES AND PEOPLE CAN SEE SOMETHING NEW?

>> YES, YES.

>> WONDERFUL AND GREAT EXPOSURE FOR WOMEN ARTISTS.

>> YES, ABSOLUTELY, AND WE ALSO HAVE ARTIST OF THE MONTH AWARD TO ENCOURAGE WOMEN ARTISTS, AND YOU KNOW, EVERY TIME WE WANT TO --WE WANT TO DO A PULLUP --A LOT OF WOMEN ARE DOING THIS TOGETHER, BUT IF WE CAN GIVE EXPOSURE TO ONE ARTIST, THAT'S GOOD FOR THEM.

>> ABSOLUTELY.

THAT'S HUGE.

OH, WONDERFUL.

>> YEAH.

>> THANK YOU.

>> WHAT ELSE IS GOING ON AT THE GALLERY THAT PEOPLE CAN SEE?

>> WE HAVE A FEW MORE THINGS EXCITING.

KIDS ARTISTS AND ADULT ART CLASSES, AND ADULT MASTER ART CLASSES WHERE WE TEACH REALLY DEEP DRAWING, OIL PAINTING, AND EVERYTHING.

WE HAVE A VERY SPECIAL FRIDAY NIGHT WORKSHOP, WHICH IS, YOU KNOW, SNACK AND TEA, AND PAINT.

IT'S TWO HOURS.

IT'S LIKE A FUN SIP AND PAINT KIND OF THING, MORE THERAPEUTIC, ART THERAPY, AND WE ALSO HAVE WORKSHOPS, INVITE LOCAL ARTISTS FROM DIFFERENT AREAS LIKE POTTERY, ECOPRINTING, AND ALL KINDS OF ARTWORK, AND THEY RUN THE WORKSHOP TO OUR GALLERIES.

>> THAT'S GREAT.

PEOPLE CAN TRY NEW ARTFORMS?

>> YES, YES.

>> AND IT SOUNDS LIKE SUCH A COMMUNITY, ESPECIALLY WITH THE FRIDAY NIGHT WORKSHOPS.

>> AND WE ARE --FROM THIS YEAR, WE ARE ALSO ADDING FOR REFUGE COMMUNITY, WHICH I SHOULD SAY THE NEW AMERICAN COMMUNITY, WE ARE OFFERING THEM TWO DAYS A MONTH AFTER SCHOOL PROGRAM, KIDS CAN COME, AND WE PROVIDE THEM --WE WILL PROVIDE THEM ART SUPPLIES, AND THEY CAN PAINT WITH US.

>> THAT'S INCREDIBLE, ACCESSIBLE FOR EVERYONE.

>> YES.

>> THANK YOU FOR BEING HERE AND TEACHING ME THIS INCREDIBLE DISH.

IT'S BEEN GREAT TO HEAR ABOUT THE GALLERY.

THANK YOU.

>> THANK YOU FOR HAVING ME.

>> OF COURSE.

I THINK WE SHOULD GIVE THIS A TASTE.

>> SURE.

LET'S DO IT.

>> LOOKS INCREDIBLE.

PERFECT.

TO LEARN MORE CHECK OUT LUMINAARTSPACE.

GALLERY.

> >> 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'M KATE QUICKEL, THANKS FOR WATCHING!

CHILDREN WOULD PLAY OUTSIDE, CHAT IN THE YARD HAD A CUP OF COFFEE SMOKE A CIGARETTE.

LOOK OUT MY LITTLE ROOM, IS THAT WHAT I GET FOR HAVING EMOTION I CAN'T STAND TO HEAR YOUR NAME I WENT DRIVING > >> PRODUCTION OF "BROAD & HIGH" IS FUNDED BY THE GREATER COLUMBUS ARTS COUNCIL, CELEBRATING EXPRESSION, FOSTERING TALENT, AND CONNECTING THE COMMUNITY TO ARTISTS, PERFORMANCES, EXHIBITIONS, PUBLIC ART, AND MORE AT COLUMBUSMAKESART.COM.