>> PRODUCTION OF "BROAD & HIGH" IS FUNDED IN PART 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” -- A LOCAL FIBER AND MIXED MEDIA ARTIST TEACHES US HOW BREAKING THE RULES CAN BE A GOOD THING.

A MICHIGAN ARTIST DESCRIBES HOW HE SETS THE STAGE FOR HIS AUDIENCE.

WE EXPLORE THE ANCIENT CRAFT OF WATER MARBLING WITH A DELAWARE/OHIO BASED ARTIST.

AND WE GROOVE TO SMOOTH AND SOULFUL COLUMBUS BASED BAND.

THIS AND MORE RIGHT NOW ON “BROAD & HIGH.” !

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>>> WELCOME TO “BROAD & HIGH.” I'M YOUR HOST KATE QUICKEL.

OUR FIRST STORY IS ABOUT FIBER AND MIXED MEDIA ARTIST, RENEE WORMACK KEELS.

RENEE WORKS WITH HER OWN HAND DYED FABRICS, ALONG WITH AFRICAN PRINTS, BATIKS AND COMMERCIAL FABRICS TO CREATE WALL HANGINGS THAT TELL A STORY.

OFTEN ABOUT AFRICAN AMERICAN WOMEN'S LIVES.

SHE CONSIDERS HERSELF A STUDENT OF HISTORY AND FEELS ITS IMPORTANT TO SHARE THE STORE OF THOSE WHO WERE LEFT OUT OF WRITTEN HISTORICAL RECORDS.

RENEE LOVES COMBING COLORS, TEXTURES AND REGULARLY BREAKS THE RULES TO CREATE UNUSUAL COMBINATIONS IN HER QUILTS.

LET'S TAKE A LOOK.

>> MY MOTTO IS THERE ARE NO MISTAKES IN QUILITING.

THERE ARE ONLY DESIGN OPPORTUNITIES.

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>> WHEN I WAS A CHILD I LEARNED TO SEW.

YOU KNOW THOSE WERE THE DAYS OF HOME ECONOMICS.

AND I MADE THE LITTLE APRON AND THE LITTLE BLOUSE THAT YOU MAKE, SO I FELL IN LOVE WITH SEWING.

AS TIME WENT ON I THINK WHEN I WAS IN HIGH SCHOOL - SENIOR HIGH SCHOOL I MADE A LOT OF MY CLOTHES.

AND THEN WHEN MY CHILDREN CAME ALONG I STARTED MAKING MY CHILDREN'S CLOTHES.

OVER THE YEARS I KIND OF GOT AWAY FROM IT.

THEN SOMEONE I WAS ON A PANEL WITH, WE WERE TALKING ABOUT THE THINGS THAT WE LIKE TO DO, AND THIS PERSON WAS TELLING ME SHE WAS A QUILTER.

AND I SAID WELL I'VE ALWAYS BEEN A SEWER AND WHEN I RETIRE IN 25 YEARS OR SO, I AM GOING TO LEARN TO QUILT.

AND SHE SAID, OH RENEE, DON'T WAIT UNTIL YOU RETIRE.

LET ME TEACH YOU NOW.

SO I SPENT ABOUT TWO WEEKS WITH HER, LEARNING TO MAKE WHAT IS CALLED A LOG CABIN QUILT.

I WANTED TO LEARN THE PROCESS.

I WANTED TO LEARN THE SKILLS, BECAUSE I WANTED TO LEARN HOW TO MAKE ART QUILTS.

THERE ARE TRADITIONAL QUILTS THAT YOU WOULD PUT ON THE BED, VERSUS THE KIND OF THING I MAKE NOW THAT GOES ON YOUR WALL.

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THERE'S SOMETHING DEEPLY SPIRITUAL ABOUT CREATING SOMETHING.

IT'S THE PLAYFULNESS.

IT'S LETTING YOUR IMAGINATION RUN WILD.

THERE ARE QUOTE UNQUOTE “RULES” IN QUILTING AND WHILE I DO TRY TO MAKE SURE MY SEAMS ARE STRAIGHT, MY SEWING STRAIGHT, MY POINTS DON'T ALWAYS MATCH UP.

MY COLORS MAY NOT NECESSARILY BE ANALOGOUS.

I HAVE PUT ORANGE AND PURPLE TOGETHER.

I JUST LOVE THE IDEA OF PUTTING DIFFERENT PIECES OF FABRIC AND WATCHING HOW THEY PLAY TOGETHER.

I CONSIDER MYSELF TO BE A NARRATIVE STORYTELLER, QUILTER.

THAT IS MY QUILTS TELL A STORY.

TYPICALLY THEY TELL STOREIS ABOUT WOMEN'S LIVES.

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WHAT I WANT PEOPLE TO COME AWAY FROM IS -- IS NOT ONLY TO BE INSPIRED, BUT TO LEARN ABOUT THE UNSUNG HEROES.

SHEREOS I GUESS I SHOULD SAY.

THE WOMEN WHO'S STORIES ARE NOT TOLD.

WILD WOMEN DON'T HAVE THE BLUES IS A THE FIRST OF A SERIES OF THREE QUILTS.

I AM GOT INTERESTED IN BLUES SINGERS OF ‘20S, 30S AND ‘40S.

ALBERT HUNTER, MA RAINY, BETSY SMITH AND I SAID I'D LIKE TO TELL THE STORIES OF THESE SINGERS IN A QUILT.

BECAUSE SOMETIMES PEOPLE WILL NEVER PICK UP A BOOK AND READ IT, BUT THEY MIGHT BE WILLING TO READ A QUILT THAT GOES ON YOUR WALL.

THE SECOND QUILT IS CALLED CAFÉ AU LAIT AND BROWN SUGAR DIVAS.

BECAUSE IN THE ENTERTAINMENT INDUSTRY, AFRICAN AMERICAN WOMEN WERE SOMETIEMS SEGREGATED ACCORDING TO SKIN COLOR.

IN THAT QUILT IS A LITTLE DIFFERENT FABRIC.

IT'S YELLOW TONES, LIGHT BROWN TONES -- BECAUSE I WANTED IT TO SORT OF MIRROR THE IMAGES OF THE WOMEN AND THEIR SKIN TONES.

COCOA AND HOT CHOCOLATE DIVAS IS THE QUILT THAT I CREATED FOR DARKER SKINNED WOMEN.

HADY McDANIEL, BEE RICHARDS ARE IN THERE.

SO THAT'S HOW THAT SERIES OF QUILTS CAME INTO BEING.

MAYBE ABOUT 10-12 YEARS AGO, GOING THROUGH SOME REALLY DEEP EMOTIONAL TURMOIL AND QUILTING BECAME VERY THERAPEUTIC FOR ME.

THERE'S A QUILT THAT I DO ONCE A YEAR, AND THAT QUILT IS FOR MY SON WHO IS INCARCERATED.

ONE OF THE THINGS I COULD NOT DO LAST YEAR WAS TO GO SEE HIM.

SO ONE OF MY PIECES IS CALLED “YOUR BLUES AIN'T LIKE MINE.” ITS BLUE FABRIC, BLUE HEARTS, BECAUSE I HAVEN'T BEEN ABLE TO VISIT HIM DURING THE PANDEMIC.

THAT MADE IT PRETTY DIFFICULT AND PAINFUL FOR ME.

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AND AS YOU CAN TELL THIS HEART IS NOT COMPLETELY RECONNECTED.

THAT'S ON PURPOSE.

THAT HEART IS RECONNECTED, BUT THIS HEART IS NOT.

IS THERE A POINT WHERE YOU THINK YOU WON'T NEED TO MAKE ONE.

I AM HOPING SO, YES.

AS A QUILT I AM THINKING, YOU'RE LEAVING YOUR OWN LEGACY.

OF YOUR OWN STORIES AND PEOPLE MAY NOT KNOW ALL OF MY STORY, BUT THEY WILL KNOW SOME OF MY STORY AND HOPEFULLY THAT WILL ENCOURAGE THEM TO THINK ABOUT THEIR OWN STORIES AS WELL.

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>> IN FEBRUARY 2020, RENEE WORMACK KEELS AND HER FRIEND MONICA SCOTT FOUNDED KUUMBA QUILTERS.

THEIR ORGANIZATION IS DEDICATED TO PRESERVING AND PROMOTING THE ART OF QUILTING AND CULTURE IN THE AFRICAN AMERICAN COMMUNITY.

YOU CAN SEE THEIR WORK ON DISPLAY IN THEIR LATEST EXHIBITION, KUMMBA CONNECTIONS, FROM FEBRUARY 6th TO APRIL 3rd AT THE OHIO CRAFT MUSEUM.

AND TO LEARN MORE ABOUT RENEE'S WORK, VISIT HER WEBSITE AT METAMOFOSI.ORG NEXT WE HEAD TO MICHIGAN TO LEARN ABOUT ARTIST MARIO MOORE'S EXHIBIT “RECOVERY.” IN HIS PAINTINGS AND SILVER POINT DRAWINGS HE'S REFLECTS ON HOW AFRICAN AMERICAN REST IN OUR SOCIETY.

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>> I AM INTERESTED IN LIKE CREATING THE STAGE THAT THE AUDIENCE CAN KIND OF COME INTO.

ART TO ME HAS ALWAYS BEEN INVOLVED IN MY LIFE.

I GREW UP AROUND THE DIA, I USE TO GO VISIT THE MUSEUM WHEN I WAS A KID.

I WOULD WALK THROUGH THE GALLERIES.

BUT AS FAR AS INSPIRATION, THAT CAME FROM MY MOM, SABRINA NELSON, BECAUSE YOU KNOW I WOULD SEE HER DO THESE LARGE PAINTINGS.

JUST THE IDEA TO LOOK AT A CANVAS THAT BLANK OR A PIECE OF PAPER AND HER JUST MAKE SOMETHING WAS ALWAYS INTERESTING TO ME.

THE WAY THAT I BEGIN MY WORK IS USUALLY THROUGH SKETCHES AND IDEAS.

IT'S USUALLY THAT I HAVE THOUGHT AND A PROCESS.

THEN I THINK ABOUT THAT THOUGHT AND SAY WHAT IS THE BEST WAY TO PORTRAY THIS THOUGHT, OR TO TALK ABOUT THIS IDEA?

SO THAT CAN GO TO SCULPTURE, THAT CAN GO TO DRAWING, THAT CAN GO TO VIDEO, THAT CAN GO TO PAINTING.

BUT THE MAJORITY OF THE TIME I AM INTERESTED IN A LIKE A MASSIVE NARRATIVE.

WE'RE IN THE DAVID KLEIN GALLERY AND THE SHOW IS CALLED “RECOVERY” AND THE SHOW IS ABOUT CONSIDERING HOW BLACK MEN REST AND RELAX AND TAKE TIME FOR THEMSELVES.

WHAT HAPPEN WAS I WAS WORKING ON A BODY OF WORK AND I WAS THINKING ABOUT MYSELF PERSONALLY AND HOW I MOVE MY BODY THROUGH THE WORLD AND HOW THE WORLD CONSIDERS ME AS A BLACK MAN, AND THEN I HAD BRAIN SURGERY.

I HAD BRAIN SURGERY AND LITERALLY I WAS FORCED TO REST.

SO THAT MADE ME THINK ABOUT THINGS HISTORICALLY.

LIKE HOW DID HISTORIC BLACK MEN THAT WE KNOW AND THE WORLD KNOWS LIKE MARTIN LUTHER KING OR MALCOLM X OR W.E.B.

DuBOIS AND WE LOOK UP THEIR NAMES THEY'RE ALWAYS SPEAKING REALLY LOUD.

THEY'RE ON A PODIUM.

THEY'RE ALWAYS ACTIVE.

IN TIMES OF TURMOIL, LIKE WHAT WE'RE DEALING WITH TODAY AS FAR AS EVERYTHING POLITICALLY AND SOCIALLY ECONOMICALLY, HOW DO I REST?

‘CAUSE WE'RE IN A SIMILAR STATE.

AND IN SOME WAYS AND SOME SENSES AS FAR AS EDUCATION AND OTHER THINGS LIKE THAT IT'S WORSE.

IT'S GONE BACKWARD INSTEAD OF FORWARDS.

BUT AT THE SAME TIME WE'RE HUMAN.

SO THESE TOOK VACATION.

THEY TOOK TIME WITH THEIR FAMILY.

THEY TOOK NAPS.

SO I STARTED TO THINK ABOUT THAT, AND THE WORK PRESSENTS A QUESTION, BECAUSE I DON'T HAVE THE ANSWER.

SO HOW DO BLACK MEN REST, HOW DO THEY RELAX AND WHAT DOES THAT LOOK LIKE?

IT HAS TO DO WITH JUST THE HISTORY OF AMERICA.

IN THAT BLACK MEN AND BLACK PEOPLE JUST IN GENERAL WERE IN THE PROCESS OF CONSTANTLY TO STAY AHEAD, RIGHT?

JUST TO CATCH UP ECONOMICALLY.

SINCE WE GOT TO THE COUNTRY OR THE AMERICAS, WE WERE SLAVES.

IT WERE THINGS THAT THE COUNTRY WERE BUILT ON THE LABOR THAT WE PUT IN.

SO THAT IS PASSED DOWN AS FAR AS TRYING TO CATCH UP YOU HAVE TO WORK EXTREMELY HARD.

SO THE IDEA OF RESTING AND RELAXING IS NOT A PART OF THE PROCESS WHEN YOU'RE ALWAYS THINKING ABOUT WHAT DO I NEED TO DO NEXT?

SILVERPOINT IS A TECHNIQUE THAT WAS USED IN THE 16th AND 15th CENTURY THAT IS LITERALLY A PIECE OF SILVER AND DRAWING WITH A PIECE OF SILVER.

MOST OF THE SILVER POINT DRAWINGS THAT HAVE THE HISTORICAL -- LIKE THE LARGER ONES THAT HAVE HISTORICAL FIGURES IN THE BACKGROUND, IT'S A CONCEPT AND IDEA THAT CAN A BLACK MAN LOOK RELAXED AND CALM AND PRESENT HIMSELF THAT WAY, BUT ALSO IN THE SAME TIME BE POWERFUL.

LIKE I AM LETTING THE BACKGROUND, YOU KNOW HISTORICAL FIGURES, DO ALL THE WORK FOR ME, WHILE I RELAX.

AND I THINK THAT'S PART OF THE IMPORTANCE AND PART OF THE PROCESS.

I LIKE THE AMOUNT OF TEXTURE AND DETAIL THAT WENT INTO THE SILVERPOINT.

BUT THERE IS A LIMITED NUMBER OF VALUES THAT YOU CAN REACH.

SO NO MATTER WHAT I DRAW, NO MATTER HOW HARD THE SUBJECT MATTER IS, THERE'S ALWAYS GOING TO BE THIS SOFTNESS TO IT AND I REALLY LIKE THAT.

THE OTHER THING I REALLY LIKE ABOUT SILVERPOINT IS THAT YOU CAN'T ERASE.

SO IT'S ALMOST LIKE DRAWING WITH A PEN.

WHATEVER YOU PUT DOWN IS PERMANENT.

ALL RIGHT SO EVERYTHING THAT GOES INTO THAT DRAWING, YOU HAVE TO DEAL WITH IT.

RIGHT?

IT'S THERE TO EXIST FOREVER.

ANOTHER THING I LIKE IS THAT IN DEALING WITH SILVERPOINT, YOU'RE LITERALLY LEAVING BEHIND SILVER ON PAPER.

SO YOU'RE CREATING SOMETHING THAT HAS INITIAL VALUE AND WITH THE WORK THAT I WAS WORKING ON, I AM DEALING WITH A SUBJECT THAT PEOPLE DON'T SEE AS VALUABLE.

AMERICA OFTEN SEES AS INVALUABLE, AS FAR AS BLACK MEN AND ALSO THIS IDEA OF REST.

THIS IDEA OF RELAXING.

SO I THINK THAT MATERIAL HAS WORKED REALLY WELL IN THINKING ABOUT THESE IDEAS AND CONCEPTS.

THERE'S ONE PIECE IN PARTICULAR IN THE SHOW, I READ THIS BOOK CALLED “MEDICAL APARTHEID.” HAS TO THE EXPERIMENTATION ON BLACK PEOPLE FROM SLAVERY TO CONTEMPORARY TIMES.

AND I ALSO GOT THIS HUGE PHOTOGRAPHY BOOK CALLED “STIFFS, SKULLS AND SKELETONS.” THROUGH THAT BOOK YOU CAN SEE HOW THEY EXPERIMENTED AND PRACTICED ON CADAVERS.

AND MOST OF THE CADAVERS THAT YOU WILL SEE ARE BLACK OR AFRICAN AMERICAN CADAVERS.

AND THE WAY THAT THAT HAPPENED IS -- THEY WERE LIKE WELL, WE DON'T REALLY CARE ABOUT THIS COMMUNITY SO WE CAN DIG UP THESE GRAVES AND USE THESE BODIES.

SO THOSE BODIES BECAME OBJECTS.

THEY WEREN'T EVEN PEOPLE ANY MORE.

IT WAS LIKE, WELL, THE THING THAT JUST HAPPEN TO ME WITH MY BRAIN SURGERY WHAT WOULD THAT LOOK LIKE, BACK IN THESE TIMES?

I WANTED TO SHOW OPPOSITION TO THAT SHINED A LIGHT ON ME AS A PERSON.

AS A HUMAN BEING INSTEAD OF AN OBJECT AND KIND OF MUTE THE LIGHT ON THE FIGURES ABOVE ME.

THE AMERICAN BULLDOG, FOR ME IT'S A LITERAL REPRESENTATION OF THE HISTORY OF AMERICA.

I USE IT AS A SYMBOL FOR AMERICA ITSELF.

AND OFTEN YOU'LL FIND THE DOG IS SLEEPING OR RELAXING AS IT'S IGNORING REALLY BIG ISSUES RIGHT ABOVE IT.

I INCLUDE HISTORY IN MY WORK BECAUSE AS FAR AS SOCIAL ISSUES, WE KIND OF ROLL AROUND ALL THE TIME BACK TO SIMILAR ISSUES OVER AND OVER AGAIN.

SO I LOOK AT THE PAST AND I CONSIDER IT.

AND I AM SAYING, WELL, WHAT WAS HAPPENING THEN KIND OF LOOKS LIKE NOW.

WHAT DID THEY DO THEY, WHAT COULD WE DO NOW.

WHAT CAN WE DO TO CHANGE IT.

AND WHAT DOES THAT LOOK LIKE?

THINK THERE'S A TON OF STUFF TO TAKE AWAY FROM THIS SHOW.

I THINK ABOUT A LOT OF DIFFERENT NARRATIVES THAT GO INTO ONE PIECE.

BUT THERE'S A LOT OF STUFF I DON'T THINK ABOUT AND THOSE ARE THE IMPORTANT THINGS.

THAT PEOPLE THAT COME AND SEE THE SHOW, THEY CAN PULL OUT FOR THEMSELVES.

I THINK IT'S IMPORTANT FOR THE PEOPLE TO ANSWER.

WELL, THESE ARE THINGS THAT I'VE NOTICED.

THESE ARE SOME IDEAS THAT I AM THINKING ABOUT, THIS IS A QUESTION THAT I HAVE.

AND I THINK IT BECOMES MORE PARTICIPATORY THAT THE PEOPLE THAT COME TO SEE THE SHOW, THEY PROVIDE THE ANSWERS.

I THINK HEARING THEIR PERSPECTIVE AND HEARING THEIR IDEAS ABOUT RESTING AND WHAT THAT LOOKS LIKE FOR THEM WAS EXTREMELY IMPORTANT.

I THINK HEARING MY DAD TALK ABOUT HOW HE'S WORKED SINCE HE WAS 16 YEARS OLD AND TALKING ABOUT HIS PERSPECTIVE WAS IMPORTANT.

BUT I THINK THE MOST IMPORTANT THING THAT HAPPENED -- AFTER THE SHOW I WENT INTO THE BARBER SHOP AND ONE OF THE BARBERS WAS IN THERE, HE TOLD ME AFTER SEEING MY SHOW, HE LITERALLY TOOK A WEEK OFF WORK.

AND SEVERAL MEN AFTER SEEING THE SHOW WERE GOING OUTSIDE AND CRYING.

YOU KNOW, WHICH IS LIKE, THEY HONESTLY NEVER THOUGHT IN THIS WAY.

SO I THINK THOSE WERE PROBABLY THE MOST IMPORTANT THINGS THAT HAPPENED.

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>> TO LEARN MORE ABOUT MARIO'S WORK, VISIT HIM AT MARIOMOORESTUDIO.COM !

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>> OUR NEXT STORY EXPLORES THE ART OF WATER MARBLING.

IT'S A CENTURIES OLD CRAFT THAT WAS COMMONLY USED TO MAKE THOSE COLORFUL END PAPERS WE WOULD FIND INSIDE THE COVERS OF OLD BOOKS.

WE TRAVELED UP TO DELAWARE TO MEET SUSAN LEICHT TO SEE HOW IT'S DONE 21st CENTURY STYLE.

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>> WE ARE WATER MARBLING.

IT'S AN ANCIENT ART THAT HAS BEEN AROUND SINCE THE NINTH AND TENTH CENTURY.

IT USE TO BE STRICTLY FOR BOOKS AND THE COVERS OF BOOKS AND THE INSIDE OF THE BOOK COVERS.

AND THEN IT SORT OF STARTED TO DISAPPEAR AFTER THE CREATION OF THE PRINTING PRESS AND MANUFACTURING OF THE BOOKS -- NO LONGER DONE BY HAND.

IT'S A FASCINATING ART FORM.

IT'S VERY EASY.

IT DOESN'T LOOK EASY, BUT ANYONE CAN DO IT.

WE START OUT WITH A WHITE SILK SCARF AND DROP THE COLORS ONTO THE WATER.

THE TRAY HOLDS A THICKENED WATER.

THE WATER IS THICKENED WITH IT'S CALLED CARRAGEENAN, WHICH IS SEAWEED AND IT'S MIXED WITH WATER AND IT BECOMES GELATINOUS.

SO IT HAS TO BE HEAVY THAN WHAT THE PAINT IS, SO THE PAINT WILL FLOAT.

AND I USE ACRYLIC PAINT, SO THE PAINT IS DROPPED INTO DROPLETS ON TOP OF THE WATER.

AND THEN WE HAVE PROBABLY HALF A DOZEN TOOLS AND ALL IT IS TAKING THOSE TOOLS AND DRAGGING THEM THROUGH THE WATER.

YOUR DESIGN CHANGES AFTER EACH PASS.

OR YOU CAN BE THAT PERSON WHO JUST TAKES A SKEWER AND GOES.

SO DEPENDING ON WHAT KIND OF DESIGN YOU WANT THE TOOL DOES ALL THE WORK.

YOU'RE NOT DOING THE WORK.

YOU'RE DRAGGING THE TOOL THROUGH THE WATER AND IT CREATES YOUR DESIGN FOR YOU.

NO TWO CAN BE ALIKE.

[ LAUGHTER ] THIS IS 100% SILK.

IT'S CALLED HABUTAI SILK, AFTER THEY'RE TREATED AND IRONED THEN THEY WILL GO INTO THE WATER TO REALLY ABSORB ALL THE PAINT.

SO WE GO THROUGH AND JUST FOLD DOWN THE EDGES.

BECAUSE THEY'RE ROLLED EDGES AND THE PAINT WON'T GET OVER THE TOP OF IT, UNLESS YOU PUSH IT DOWN A LITTLE BIT.

SO ARE YOU READY TO SEE IT?

MY HUSBAND JOEY GOT INVOLVED IN HELPING WITH THIS WATER MARBLING BUSINESS, BECAUSE HONESTLY IT CAN NOT BE DONE BY ONE PERSON.

IF YOU'RE DOING THE LARGER SCARVES, LIKE WHAT WE DO.

PAPER YOU CAN DO ON YOUR OWN.

THESE ARE A COUPLE DIFFERENT DESIGNS OF BOOKS THAT I DO.

THESE ARE THE HARDCOVER IN CANVAS.

AND THEN MY PAPER GOES ON THE INSIDE, AND THIS IS WHAT IS CALLED IN-PAPERS.

THE WHOLE IDEA OF IN PAPERS WAS TO HIDE ALL OF THE SPINE AND EVERYTHING INSIDE THE BOOK THAT WAS NOT ALWAYS ATTRACTIVE.

BUT IT TAKES TWO TO HOLD THE SCARF AND DROP IT IN THE WATER.

YEAH, YOU CAN'T DO THIS BY YOURSELF.

WE'VE TRIED DIFFERENT WAYS AND IT JUST DOESN'T WORK VERY WELL.

THIS ONE IS CALLED AN OCTOPUS DESIGN.

THIS IS A DESIGN CALLED FEATHERS.

THAT WAS DONE BY HAND, THIS WAS DONE WITH A SKEWER.

WE JUST DROP THE PAINT IN THE WATER AND WE TAKE A WOODEN SKEWER THROUGH THE DESIGNS.

THIS ONE IS CALLED A FOUNTAIN BECAUSE OBVIOUSLY IT'S GOT THAT DESIGN THAT FLOWS THAT WAY.

PROBABLY OUR FAVORITE PATTERN THAT WE DO THE MOST OF IS CALLED BOUQUET.

AND IT'S A VERY ELEGANT, OLD DESIGN FROM ABOUT THE 1700s.

YOU KNOW 500 YEARS AGO THEY DID THIS.

THIS WAS A HUGE BUSINESS IN ITALY, FRANCE AND ENGLAND.

IT'S UNIQUE.

NOBODY ELSE IS GOING TO HAVE ONE LIKE IT, WHEN I WALK DOWN THE STREET.

[ LAUGHTER ] ISN'T THAT INTERESTING WHEN IT'S OUT?

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>> LEARN MORE ABOUT THE ART OF WATER MARBLING BY VISITING SUSAN'S FACEBOOK PAGE.

YOU CAN ALSO FIND HER AT SUSILKCREATIONS.COM !

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>> SOMEONE ONCE DESCRIBED STEPHANIE AMBER'S SINGING VOICE AS HONEY ICE CREAM ON A HOT SUMMER DAY.

PAIRED WITH THE SOULFUL AND BLUESY GUITAR SOUNDS FROM ADAM DARLING AND THE COLUMBUS BAND'S NAME WAS BORN.

TOGETHER THEY ARE HONEY AND BLUE, AND THEY PERFORMED A TRACK OFF THEIR ALBUM, “ALL THE FEELS.” !

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HOW MANY TIMES CAN YOU WALK OUT A DOOR BEFORE I SAY I HAVE HAD ENOUGH !

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I'M BEAUTIFUL I'M STRONG I AM TOLD I CAN'T DO THIS ANYMORE SOME TIMES GO BY !

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IT'S EASIER THAN TRYING IT'S EASIER THAN FIGHTING AND CRYING AND FIGHTING THEY'RE ALL THE SAME !

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BUT NOW I KNOW THAT YOU DON'T LOVE ME YOU DON'T LOVE ME STARTING TO THINK YOU FEEL THE SAME !

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SO MANY LIES SO MANY NIGHTS HER BODY ALL MINE THEY SAY LOVIN IS BLIND !

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IT'S EASIER THAN TRYING IT'S EASIER THAN FIGHTING AND CRYING AND FIGHTING THEY'RE ALL THE SAME !

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YOU DON'T LOVE ME YOU DON'T LOVE ME YOU DON'T LOVE ME YOU DON'T LOVE ME !

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>> WELL THAT'S OUR SHOW, AND 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.

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YOU DON'T LOVE ME YOU DON'T LOVE ME YOU DON'T LOVE ME YOU DON'T LOVE ME !

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

SUPPORTING ARTS, ADVANCING CULTURE, AND CONNECTING THE COMMUNITY TO ARTISTS.

EVENTS AND CLASSES AT COLUMBUSMAKESART.COM.