>>> PRODUCTION OF "BROAD & HIGH" IS FUNDED BY THE GREATER COLUMBUS ARTS COUNCIL.

SUPPORTING ARTS, ADVANCING CULTURE, AND CONNECTING THE COMMUNITY TO ARTISTS, EVENTS, AND CLASSES, AT COLUMBUSMAKESART.COM >>> THIS TIME, ON "BROAD &HIGH" -- WE HEAR FROM A COLLEGE MUSICIAN WHO'S TAKING IT TO THE NEXT LEVEL.

TAKE A LOOK BACK AT THE COLUMBUS MUSEUM OF ART'S CELEBRATION OF THE 100 YEAR ANNIVERSARY OF THE HARLEM RENAISSANCE.

DISCOVER AN ARTIST WHOSE WORK TELLS THE EXPERIENCE OF BEING A MOTHER.

AND WE HONOR AN ARTIST WHOSE WORK GIVES THE ILLUSION OF MOVEMENT.

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

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>>> WELCOME TO "BROAD & HIGH," I'M YOUR HOST, KATE QUICKEL.

ADAM PADDOCK IS AN OHIO STATE UNIVERSITY COMMUNICATIONS MAJOR WHO WAKES UP EVERYDAY DRIVEN TO MAKE MUSIC.

HE BEGAN HIS JOURNEY IN 5th GRADE, BUT NOT UNTIL RECENTLY DID HE DECIDE TO PURSUE IT PROFESSIONALLY.

WE MET UP WITH ADAM ON THE OSU CAMPUS, AND HE TOLD US ABOUT THE MULTIPLE FACETS OF HIS WORK.

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>> I STARTED IN MUSIC INITIALLY IN 5th GRADE I THINK, WHEN I STARTED PLAYING TRUMPET.

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I WAS JUST ONE OF THOSE BAND KIDS HERE AND THERE.

ESSENTIALLY, MY SENIOR YEAR OF HIGH SCHOOL, GOT SUCKERED INTO IT BECAUSE OF PEER PRESSURE, BECAUSE OF FRIENDS SAYING "YOU'VE GOTTA DO SHOW CHOIR.

YOU'VE GOTTA DO IT."

UM, I DIDN'T THINK THAT IT WAS GONNA BE MY THING, BUT IT ENDED UP REALLY ALTERING THE COURSE OF MY LIFE, AND SO I AUDITIONED FOR SHOW CHOIR AT MY HIGH SCHOOL, LOVELAND HIGH SCHOOL, AND I ESSENTIALLY STARTED MY SINGING JOURNEY THEN.

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BABY WHEN YOU SE !

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WHAT A LOT OF PEOPLE WOULD SAY IS I HAD A LOT OF RAW TALENT THAT WAS VERY NOT REFINED, AND SO I HAD A WHOLE LOT OF AMAZING PEOPLE AROUND ME, WHO TAUGHT ME HOW TO KIND OF HARNESS IT.

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I WOULD SAY, "SOFT POP," IS PROBABLY THE BEST WAY TO PUT IT.

IT'S POP MUSIC WITH A LOT OF SINGER-SONGWRITER INFLUENCE.

UM, I SING TO A LOT -- I SING A LOT ABOUT THINGS THAT ARE JUST REAL.

UM, I DON'T -- I DON'T WANT TO OVERCOMPLICATE THINGS, AND I WANT TO GENERALLY BE POSITIVE AND TAKE AN UPLIFTING OUTLOOK WITH MY MUSIC.

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I THINK WHAT SETS ME APART, TO A DEGREE, IS THE AMOUNT OF CONNECTION I HAVE WITH THE PEOPLE AROUND ME.

A LOT OF PEOPLE DO IT KIND OF AS A HOBBY, AND THEY TREAT IT LIKE -- LIKE, KIND OF SOMETHING MORE FOR FUN.

THIS IS WHAT I WANT TO DO FOR MY CAREER.

I THINK ABOUT IT MORNING TO NIGHT, AND I'M WRITING -- EITHER WRITING, OR PRODUCING, OR SENDING EMAILS TO GET CONNECTIONS TO DO INTERVIEWS, TO BE ON PLAYLIST, OR WHATEVER IT COULD BE.

I THINK WHAT SETS ME APART IS MY PERSEVERANCE.

I WANT -- I THINK I WANT THIS MORE THAN ANYBODY.

YO, IT'S SO GOOD TONIGHT!

[ CHEERS AND APPLAUSE ] COME ON!

I HAD MY FIRST DEBUT, HEADLINING SHOW AT A&R MUSIC BAR.

SO, IT WAS -- IT WAS KIND OF A DREAM, BECAUSE, WE WERE INITIALLY GONNA BE AT THE BASEMENT, BUT WE GOT TO UPGRADE TO A&R MUSIC BAR BECAUSE TICKETS JUST FLEW, AND SO, WE GOT UPGRADE UP THERE ABOUT A MONTH OUT FROM THE SHOW.

AND EVERYBODY CAME OUT FOR THE SHOW, AND WE PLAYED A GOOD HOUR OF MUSIC.

IT WAS THE COOLEST -- COOLEST DAY OF MY LIFE.

UM, FROM LIKE MORNING TO NIGHT, I WAS INTERACTING WITH PEOPLE THAT I HADN'T SEEN IN MONTHS, OR EVEN YEARS, LIKE MY MOM'S COLLEGE ROOMMATE'S DAUGHTER CAME 'CAUSE SHE HEARD ABOUT IT.

LIKE -- LIKE, THE CONNECTIONS WENT THAT FAR.

WE HAD PEOPLE FLY IN FROM MISSOURI, FROM FLORIDA, FOR THE SHOW.

SO IT WAS REALLY ENCOURAGING, LIKE, FROM MORNING TO NIGHT, EVERYWHERE I WOULD TURN IT'D BE ANOTHER CIRCLE, ANOTHER, LIKE, CRAZY CONNECTION FROM CLASS, OR FROM, LIKE, ELEMENTARY SCHOOL.

IT WAS AWESOME.

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A LOT OF COLLEGE MUSICIANS AREN'T NECESSARILY DOING THAT FORMAL ASPECT THAT COMES WITH THE PRODUCTION AND THE MIXING AND THE MASTERING AND ALL OF THAT.

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I WANT YOU HERE RIGHT NEXT TO ME !

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AND SO THE PRODUCTION ASPECT IS SOMETHING THAT CAN BE SO OVERBEARING, SO FRUSTRATING, AND LIKE, YOU CAN JUST DIG -- DIG YOURSELF A HOLE FOR SURE.

BUT I THINK WHEN YOU FIND THAT RIGHT FEELING, WHEN THE SONG HAS THE COLORS THAT YOU HAVE IN YOUR HEAD, WHEN THEY'RE EXECUTED, I THINK THAT'S -- THAT'S LIKE, WHEN A PRODUCTION MANIFESTS TO, LIKE, WHAT IT'S SUPPOSED TO BE, YOU KNOW?

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STAY CLOSE TO ME !

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PRODUCTION IS DEFINITELY ONE OF MY FAVORITE PARTS OF MAKING MUSIC, BECAUSE IT GIVES YOU SO MUCH CREATIVE CONTROL OVER THE IDEA, AND MAKING IT INTO SOMETHING THAT'S MORE PALATABLE FOR EVERYONE ELSE.

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FOR ME RIGHT NOW !

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I WOULD SAY THE DIFFICULTIES THAT I RAN INTO WHILE STARTING UP THIS MUSIC JOURNEY WAS -- I MEAN, THE ENTIRE THING IS TRIAL AND ERROR.

LIKE, YOU DO SO MANY THINGS RIGHT, BUT THEN THERE -- YOU ALSO DO SO MANY THINGS WRONG, AND I THINK THAT I'M IN A GOOD PLACE IN MY LIFE, AND ESPECIALLY JUST WITH THE COMMUNITIES -- COMMUNITIES THAT I HAVE, THAT WHEN I MADE THOSE MISTAKES, I HAVE PEOPLE TO LIFT ME UP AND TO SAY, "HEY, THIS IS WHAT YOU CAN DO NEXT TIME TO MAKE IT BETTER."

SO THERE'S LIKE THE BUSINESS ASPECT OF MUSIC, AND HOW THAT WORKS, AND I -- I'VE REALLY TAKEN A LOT OF INFLUENCE FROM SOME OF MY OLDER FRIENDS WHO HAVE BEEN DOING THIS LONGER.

IT'S THEIR CAREER, IT'S WHAT THEY DO, AND SO THEY -- THEY PAY IT FORWARD, BECAUSE PEOPLE HELPED THEM INITIALLY, AND NOW THEY'RE HELPING ME OUT.

WHEN I WAKE UP, I HAVE TO DO IT.

IT'S NOT -- LIKE, TO DO LIST, IT'S KIND OF WHAT DRIVES ME, SO, I MEAN, MY BIGGEST INSPIRATIONS FOR SURE ARE GETTING TO PLAY AT -- PLAY THE MUSIC THAT I MAKE, WITH THE PEOPLE THAT I MAKE IT WITH.

SO, LIKE, SOME PEOPLE LIVE TO PLAY FOR THOUSANDS AND THOUSANDS OF PEOPLE.

UM, I FEEL LIKE I'M LUCKY THAT I'M GETTING TO THAT, BUT SOME OF THE MOST FUN I'VE EVER HAD IN MUSIC, IS JUST BEING IN THE STUDIO WITH FRIENDS, MAKING THE SONGS.

I THINK THAT ANYBODY WHO LISTENS TO MY MUSIC, I REALLY HOPE THAT THEY BELIEVE -- JUST KIND OF FEELING GOOD.

IT'S FEEL-GOOD MUSIC, IT'S NOT SUPPOSED TO WEIGH YOU DOWN.

IT'S SUPPOSED TO, IF ANYTHING, LIGHTEN YOUR BURDEN, YOU KNOW?

SO, IT -- MY GOAL IS FOR IT TO BE SO UPLIFTING AND POSITIVE THAT WHEN YOU GO THROUGH A PLAYLIST OF JUST ADAM PADDOCK'S MUSIC, YOU'RE GONNA LEAVE FEELING BETTER THAN WHEN YOU STARTED LISTENING.

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START FROM THE MILKY WAY !

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>> TO HEAR THE LATEST RELEASES OF ADAM'S MUSIC, FOLLOW HIM ON INSTGRAM, OR CHECK OUT HIS WEBSITE AT ADAMPADDOCK.COM.

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>>> THE HARLEM RENAISSANCE WAS A CULTURAL MOVEMENT THAT EXTENDED FAR BEYOND THE NEW YORK NEIGHBORHOOD IN WHICH IT WAS BORN.

AWARD-WINNING AUTHOR AND COLUMBUS NATIVE WIL HAYGOOD TELLS US HOW IMPORTANT AND EXCITING THIS MOVEMENT IN TIME REALLY WAS.

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>> THIS WAS A VERY, VERY, VERY UNFAIR, UNJUST, WRETCHED COUNTRY FOR BLACKS WHO WANTED TO EXPRESS, UH, THEIR ART.

THE REAL MEAT OF THE HARLEM RENAISSANCE WENT FROM ABOUT 1920 TO 1930.

IT WAS JUST THIS GREAT ARTISTIC REACTION TO ALL OF THE RACISM AND HARDSHIPS THAT AMERICAN SOLDIERS SAW DURING WORLD WAR I WHEN THEY WERE OVERSEES.

SO THEIR MINDSET WAS, "HOW COME THE FRENCH AND THE ITALIANS TREAT US MUCH BETTER THAN WE ARE TREATED BACK IN THE UNITED STATES OF AMERICA, AND HERE WE ARE FIGHTING FOR THE FREEDOM OF OUR HOME COUNTRY?"

AND SO WHEN ALL OF THESE SOLDIERS CAME BACK INTO THEIR COMMUNITIES, THERE HAD BEEN A LOT OF ESSAYS AND ARTICLES WRITTEN ABOUT THE DESIRE FOR BLACK PATRIOTS TO SUPPORT THE ARTS AND TO EXPRESS, UH, THIS GENIUS THAT HAD BEEN IGNORED FOR SO LONG.

SO YOU HAD THIS MOVEMENT THAT GREW OUT OF BLOODSHED IN A WAR, THAT ALL OF SUDDEN NOW COULD BE SYMBOLIZED WITH MUSIC, DANCE, THEATRE, LITERATURE, BOOK-WRITING, AND -- AND THAT'S HOW IT SORT OF STARTED TO FLOURISH IN THE EARLY 1920s.

IT IS THE ONE ARTISTIC MOVEMENT THAT IS UNDENIABLE IN THE MATURATION, POLITICAL, ECONOMICALLY, SOCIALLY, AND DEFINITELY ARTISTICALLY, OF THIS COUNTRY.

THAT'S WHY HARLEM RENAISSANCE ART HANGS IN THE WHITE HOUSE.

THAT'S WHY HARLEM RENAISSANCE ART IS CELEBRATED IN CANADA, AND FRANCE, AND GERMANY.

IT'S JUST AN UNDENIABLE RECOGNITION OF A GREAT MOMENT IN THIS COUNTRY.

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JAMES VAN DER ZEE STARTED OUT, SORT OF TAKING ORDINARY PHOTOGRAPHS OF BLACK FOLK IN HARLEM -- WEDDING PICTURES, SOCIAL TEAS, THINGS OF THAT NATURE.

AND SO, HE STARTS REALLY, REALLY FALLING IN LOVE, AS WELL, WITH THE HARLEM RENAISSANCE THAT'S ALL CIRCULATING AROUND HIM.

POETS ARE OVER THERE, AND MUSICIANS ARE OVER THERE, AND NOVELISTS ARE OVER THERE, AND DANCERS ARE OVER THERE, AND POLITICIANS ARE OVER THERE.

AND HE SAYS, "WHOA, THIS REALLY IS AMAZING.

I HAVE TO GET MY CAMERA GOING."

AND SO HE WAS THE FIRST PHOTOGRAPHER WHO REALLY RECOGNIZED THAT THIS MOVEMENT NEEDED TO BE CAPTURED.

JUST KNOWING THAT HE HAD THE SENSIBILITY TO CAPTURE THIS MOMENT IS JUST ASTONISHING.

THE BEST "TIME", AND "LIFE," AND "LOOK" PHOTOGRAPHERS HAD NOTHING ON JAMES VAN DER ZEE.

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AND THERE WERE MAGAZINE EDITORS WHO WERE PROGRESSIVE, AND WHO WANTED THIS NEAT, EXPLOSIVE, BLACK ARTISTIC VOICE TO BE HEARD.

ONE OF THE WRITER, ARNA BONTEMPS, WROTE A LETTER TO LANGSTON HUGHES, AND HE SAID, "HARLEM THESE DAYS, SEEMS LIKE, QUOTE, 'A FORE-TASTE OF PARADISE."

THAT'S HOW AMAZING IT ALL WAS.

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I KNEW I WANTED THIS EXHIBIT TO BE HEAVY ON WRITERS, BECAUSE I'M A WRITER.

ONE OF THE GREAT THINGS ABOUT THE HARLEM RENAISSANCE IS THAT THESE WRITERS, AND THESE ARTISTS HAD A REAL SENSE THAT THEY WERE DOING SOMETHING UNIQUE.

AND, THANK GOD THEY SAVED THEIR FIRST DRAFTS, OR SECOND DRAFTS, THIRD DRAFTS, THEY SAVED THEIR LETTERS.

ALL OF THOSE LITTLE MAPS TO ARTISTIC CREATIVITY WERE FASCINATING TO ME.

ART HELPS, I THINK, SOFTEN THE HUMANITY IN US ALL, AND SO WERE IT NOT FOR THIS MOVEMENT, OTHER ART MOVEMENTS MIGHT NOT EVEN HAVE SPRANG UP.

I MEAN, THE HARLEM RENAISSANCE GAVE WOMEN, GAVE IMPOVERISHED PEOPLE ALL OVER THIS COUNTRY, UH, A HINT OF JUST WHAT YOU CAN DO IF YOU WANT TO PUT YOUR ART ON THE LINE.

IT'S ALL THEY REALLY WANTED, IS TO SHOW AMERICA THAT, IF YOU GIVE US A FAIR CHANCE, WE WILL PRODUCE GREATNESS.

FROM THAT MOVEMENT THEY HAVE STITCHED THE BLACK AMERICAN FOREVERMORE INTO THE ARTISTIC FABRIC OF THIS COUNTRY.

AND THAT'S A TALL ORDER -- TO IMAGINE IT, AND THEN TO EXECUTE IT.

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>> VISIT COLUMBUSMUSEUM.ORG TO CHECK OUT THEIR CURRENT EXHIBITIONS.

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>>> FROM THE TIME SHE WAS IN GRADUATE SCHOOL, MEGAN WYNNE'S WORK HAS EXPLORED VULNERABILITY AND RELATIONSHIPS.

WHEN SHE BECAME A MOTHER, THIS DIDN'T CHANGE MUCH, BUT HER PROCESS CERTAINLY DID.

LET'S TAKE A LOOK BEHIND THE SCENES AT HOW GIVING UP CONTROL HAS BEEN A METAPHOR FOR BEING A PERSON TO THIS CHESAPEAKE, VIRGINIA ARTIST.

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>> I ALWAYS MADE ART ABOUT RELATIONSHIPS.

WHEN I BECAME A MOTHER, I WAS REALLY AFFECTED BY THE INTIMACY AND THE VULNERABILITY, UNLIKE ANY OTHER RELATIONSHIP I'D EVER HAD.

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MY WORK IS ABOUT TELLING THE STORY OF THE EXPERIENCE OF BEING A MOTHER.

I WAS ADOPTED AT BIRTH, SO IT WAS ALSO VERY STRANGE TO PHYSICALLY HAVE MY OWN CHILD.

HOW DEPENDENT THEY WERE ON ME.

I NEVER GREW UP SEEING ANYONE BREASTFEED, AND I DID IT -- JUST SO INTENSE.

I STARTED TO DOCUMENT IT.

THAT WAS MY VERY FIRST EXPERIENCE OF MAKING WORK ON MOTHERHOOD.

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I'M INSPIRED BY VISUAL IDEAS, AND WAYS IN WISH I CAN IMAGINE, LIKE, KIDS CAN ENGAGE.

AND THAT REQUIRES A LOT OF THINKING AND PLANNING BECAUSE I OFTEN HAVE ONE SHOT THAT I CAN DO IT.

I DON'T WANT TO DO SOMETHING THAT'S NOT FUN FOR MY KIDS, 'CAUSE THEN THEY WON'T WANNA MAKE ART WITH ME.

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MY PLAN WAS TO BECOME A PROFESSIONAL TAP DANCER.

BUT, YOU CAN'T MAJOR IN TAP DANCING IN COLLEGE, SO I WENT INTO FINE ARTS SCHOOL.

I STARTED OUT IN PAINTING, BUT I DID PHOTOGRAPHY WHEN I WAS A SCULPTURE MAJOR, AND THEN I GOT AN MFA IN NEW GENRES.

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THIS PIECE IS FROM MY MFA THESIS EXHIBITION.

I WAS INTERESTED IN 16th AND 17th CENTURY ANATOMICAL ENGRAVINGS.

I THOUGHT OF THEM AND HOW THEY WERE DONE AS, KIND OF, METAPHORS FOR HUMAN FRAILTY.

AND HERE'S AN EXAMPLE OF SOMETHING I WAS INSPIRED BY.

IT'S ESSENTIALLY A CADAVER HOLDING OPEN THEIR SKIN, SO THAT YOU CAN SEE THEIR INSIDES.

SO, IT JUST SEEMED LIKE A METAPHOR FOR FRAILTY AND EXPOSING ONESELF.

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THIS IS ANOTHER PIECE THAT I HAVE UP IN MY STUDIO.

IT'S FROM A SERIES CALLED "FOUNDATION."

WITH THIS SERIES, I THOUGHT ABOUT THE IDEA OF A MOTHER BEING PRESENT, OR HAVING A TRACE OF HERSELF THERE -- KIND OF A HAUNTING FEELING.

THEY SPEAK TO THE INVISIBILITY OF CAREGIVING.

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ALL KIDS ARE GOOD ARTISTS.

THAT'S WHY MY HUSBAND'S AN ELEMENTARY ART TEACHER.

HE JUST LOVES THE WORK HE SEES EVERY DAY, IT'S SO INSPIRING AND FEEDS HIS PRACTICE.

AND HE USED TO TEACH COLLEGE, HE USED TO TEACH AT BCU, AND IT'S LIKE, HE CAN'T COMPARE IT TO THE JOY HE GETS FROM SEEING THE WORK OF 1st GRADERS.

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I WILL DRIVE PAST YOUR HOUSE !

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>> WE TAKE OUR KIDS REALLY SERIOUSLY.

WE DON'T TAKE OURSELVES TOO SERIOUSLY.

IT'S KIND OF ASSERTING THE VALIDITY OF THE CREATIVE IMPULSE IN THE CHILDREN.

WE ENCOURAGE THEM, WE TRY TO CREATE AN ENVIRONMENT WHERE THEY FEEL FREE TO EXPRESS THEMSELVES, AND SOMETIMES I'M SHOCKED WITH HOW COMFORTABLE THEY ARE.

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HEY HO LET'S GO !

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>> THIS PROJECT I WORKED ON WITH MY KIDS, I REVISITED A CONCEPT I'VE ALREADY WORKED WITH IN THE PAST, AND THAT PIECE WAS CALLED "MASK OF MOTHERHOOD."

>> I'M PAINTING YOUR MASK.

>> I ACTIVELY CHOOSE TO GIVE UP CONTROL, AND SEE WHAT WILL HAPPEN, AND HOW FAR THEY WOULD TAKE IT.

'CAUSE YOU DON'T REALLY KNOW.

>> THIS DOESN'T LOOK LIKE YOU'RE SICK AT ALL.

>> NO, IT LOOKS LIKE YOU'RE HAPPY!

HAPPY, HAPPY.

>> I WANTED TO EXPERIMENT IN GIVING UP CONTROL -- A METAPHOR FOR BEING A PARENT, BEING A MOTHER.

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I WANTED TO REVISIT THE IDEA WITH THREE CHILDREN.

AND THEY'RE DIFFERENT AGES NOW.

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FEEL NO MORE FEEL NO MORE FEEL NO MORE !

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MY SON WAS DELIGHTED, BUT YOU CAN SEE HIM CLIMBING ON MY HEAD.

IT WAS MORE VIOLENT THAN THE LAST TIME.

[ LAUGHTER ] SOME REASON THAT DANCE, IT'S LIKE A CIRCUS.

THAT DANCE IS THRILLING TO ME, IT'S EXCITING.

JUST FREE EXPERIMENTATION, WHICH I THINK IS BEAUTIFUL.

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THE MORE I THINK ABOUT MY WORK, AND IT'S EVOLVED, I THINK ABOUT THE FEAR OF FAILURE.

I'VE STARTED REALIZING MORE THE KIND OF EVERYDAY STRUGGLE OF MOTHERHOOD, COMBINED WITH THE JOY AND HUMOR OF IT.

LIKE WITH A LOT OF MY WORK, IT'S AN EXERCISE OF LETTING GO, ALLOWING MYSELF TO FEEL THE ANXIETY, AND DOING IT ANYWAY.

I FEEL LIKE WHEN MY PIECES ARE SUCCESSFUL, THEY HAVE THAT ELEMENT TO THEM OF ME REALLY ALLOWING MYSELF NOT TO KNOW WHAT'S GONNA HAPPEN, AND NOT BEING AFRAID.

THE EXPERIENCE OF ANY RELATIONSHIP IS NOT ALL PERFECTLY SERENE, NOR SHOULD IT BE.

AND THAT'S KIND OF HOW MOTHERHOOD IS IN GENERAL -- IT'S AN EXERCISE IN BEING IN CONTROL, AND THEN SELECTIVELY LETTING GO OF CONTROL.

YOU CAN'T COMPLETELY BE IN CONTROL ALL THE TIME.

HOW DO I LET THEM BE THEMSELVES AND GROW AS A PERSON, AND YET ALSO PROTECT THEM AND KEEP THEM SAFE?

THAT'S A STRUGGLE I HAVE EVERYDAY AS A MOTHER.

SO I INVESTIGATE IT IN MY WORK.

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>> TO CHECK OUT MORE OF MEGAN'S WORK, VISIT MEGANWYNNE.NET.

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>>> BELOVED COLUMBUS-BASED ARTIST SUE CAVANAUGH PASSED AWAY EARLIER THIS YEAR.

TO HONOR HER, WE DUG INTO THE "BROAD & HIGH" ARCHIVES TO SHARE HER STORY FROM 2014.

AT THAT TIME, SUE HAD JUST STARTED TO WORK IN A DIMENSION SHE HAD NEVER TRIED.

LET'S SEE HOW A RAILROAD CAR REPAIR FACTORY INSPIRED HER LARGE-SCALE SCULPTED TEXTILES.

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>> I LEARNED TO SEW WHEN I WAS PROBABLY 5, 6-YEARS-OLD.

AND SO CLOTH HAS ALWAYS BEEN REALLY IMPORTANT TO ME.

I MADE MY OWN CLOTHES WHEN I WAS A TEENAGER, AND MORE RECENTLY, I'M TRYING TO USE MORE REPURPOSED CLOTH, AND I REALLY LOVE THE NOTION OF BUYING MEN'S SHIRTS AND KNOWING THAT THEY'VE HAD THIS HISTORY, AND NOW I'M GIVING THEM A NEW HISTORY.

THEY'VE BEEN TO WEDDINGS, AND FUNERALS, AND BUSINESS MEETINGS, AND NOW THEY HAVE THIS NEW -- NEW LIFE.

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I FIRST STARTED WORKING WITH WIRE WHEN I WAS IN A RESIDENCY IN DRESDEN, GERMANY, AND IT REALLY WAS THE SPACE -- THERE WAS A GALLERY SPACE THERE THAT WAS HUGE, IN AN OLD FACTORY, AND THEN IN WORKING LARGER FOR THAT, AND IN WANTING TO PUT THINGS UP MORE SCULPTURALLY, THEN IT WAS LIKE, "OKAY, BUT WHAT IF I WANTED THE CLOTH TO DEFY GRAVITY AND NOT HANG LIKE CLOTHES -- CLOTHES ON A CLOTHESLINE?"

AND THAT DREW ME TO GETTING WIRE AND FENCING.

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I -- I REALLY WANT THEM, YES, TO WALK AROUND, AND I WANT THEM TO, UM, TO SEE IT PERHAPS, FROM A DISTANCE AS ONE THING, AND THEN UP CLOSE AS SOMETHING ELSE.

I LIKE THAT, THAT -- YOU KNOW, WE'RE KIND OF REWARDED IF WE TAKE THE TIME TO LOOK MORE CLOSELY AT ANYTHING, DIG IN A BIT, AND I LIKE THAT ABOUT PLANNING THE PIECES.

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AT URBAN ARTS SPACE LAST YEAR, I DID A PIECE WHERE I HAD SAWHORSE -- SHORT SAWHORSES, REALLY SHORT SAWHORSES -- AND ONE SIDE WAS ON -- UP, AND ONE SIDE DOWN.

AND I WAS SUGGESTING THE TAKING DOWN OF THESE, OF THE LOWHEAD DAMS.

AND -- AND I LIKE EXPLORING THAT LOCAL NATURE, THAT THE RIVER IS -- WAS CLOSE TO THAT EXHIBIT SPACE, AND THE LOWHEAD DAMS ARE COMING DOWN, AND I THINK THAT THAT'S GONNA BE HEALTHY FOR THE RIVERS.

I DON'T LIKE TO SHOUT AT PEOPLE WITH MY ART.

I, YOU KNOW, I WANT -- BUT IF THEY TAKE THE TIME, I'D LIKE FOR THERE TO BE MORE FOR THEM TO SEE AND THINK ABOUT.

WATER ALSO, IN THE RIVER, IF YOU LOOK AT IT, MOMENT TO MOMENT, IT LOOKS PRETTY MUCH THE SAME EXCEPT FOR THE RIPPLES, BUT IT'S WHOLE -- IT'S -- MINUTE TO MINUTE, IT'S DIFFERENT WATER THERE.

THE WATER YOU SAW A MINUTE AGO IS GONE, IT'S FURTHER DOWN.

AND I -- THAT'S -- I FIND THAT INTRIGUING.

YOU KNOW, SO WE STILL -- LIKE, HUMANS, WE STILL RESEMBLE OURSELVES, WE STILL ARE ALWAYS OURSELVES, AND YET WE'RE DIFFERENT OVER TIME.

NOT ONLY DIFFERENT IN OUR -- IN PERHAPS OUR THOUGHTS, OR OUR BELIEFS MIGHT CHANGE SOMEWHAT, BUT THE ACTUAL CELLS ARE CHANGING.

>> 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.

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>>> SO I WAS STANDING AROUND, JUST WITH A GROUP OF FRIENDS, AND I'VE ALWAYS LOVED COOL SOCKS, YOU KNOW, IT'S KIND OF BEEN MY THING.

UM, SO I WAS TRYING TO EXPLAIN TO THEM, "YOU KNOW, YOU JUST GOTTA KISS YOUR SOCKS.

LIKE, 'KEEP IT SIMPLE, STUPID.'"

UM, AND MY FRIEND ZACH JUST KIND OF YELLS OUT OF NOWHERE, "NO, YOU GOTTA 'KEEP IT SIMPLE SOCKS.'"

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>> MICHAEL CAME TO ME, UM, I REMEMBER A SPECIFIC NIGHT IN APRIL, WE WERE HANGING OUT, AND HE HAD TOLD ME THE IDEA FOR IT MONTHS AGO, WHEN IT WAS JUST KIND OF AN IDEA THAT WASN'T REAL.

BUT HE TOLD ME THAT HE WAS REALLY GONNA START IT.

>> SO, YEAH, WE DECIDED TO DO SOME RESEARCH, AND REALLY, YOU KNOW, KIND OF DIG IN TO WHAT, YOU KNOW, DESIGNING AND MANUFACTURING AND THAT TYPE OF THING WOULD LOOK LIKE, E-COMMERCE.

AND THEN WE LAUNCHED IN NOVEMBER OF THAT YEAR.

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SO ALL THE DESIGN WORK IS DONE HERE, LOCAL, OBVIOUSLY, BY US, IN-HOUSE.

AND THEN, WHAT IS NOT PRODUCED HERE IS THE ACTUAL SOCKS, SO WE HAVE A MANUFACTURER OVERSEAS.

WE DON'T DO ANY PACKAGING OVERSEAS, YOU KNOW, WE PACKAGE THEM ALL HERE.

UM, WE LIKE TO PUT INDIVIDUAL NOTES IN EVERY, YOU KNOW, IN YOUR FIRST SUBSCRIPTION.

SO IT JUST KIND OF GIVES IT MORE OF A PERSONAL TOUCH, I SUPPOSE.

>> WE REALLY DECIDED WE WANNA DO ONE THING, AND DO IT REALLY, REALLY WELL.

AND AS WE GROW AND GROW, IF WE GET TO A POINT OUR -- OUR -- WE WOULD LOVE TO BE ABLE TO START OUR OWN -- DO IT ALL IN-HOUSE, WHICH WOULD BE REALLY, REALLY COOL, SO THAT'S KIND OF WHAT OUR EYE IS ON IN THE NEAR FUTURE.

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>>> CATCH COLUMBUS AT IT'S CREATIVE BEST ON "BROAD & HIGH," THURSDAY NIGHTS AT 8:00 ON WOSUTV.

>>> PRODUCTION OF "BROAD & HIGH" IS FUNDED BY THE GREATER COLUMBUS ARTS COUNCIL.

SUPPORTING ARTS, ADVANCING CULTURE, AND CONNECTING THE COMMUNITY TO ARTISTS, EVENTS, AND CLASSES, AT COLUMBUSMAKESART.COM