NYC-ARTS visits Shahpour Pouyan, Jeffrey Gibson and Dorothea Rockburne in their studios. Pouyan’s works range from drawing and painting to sculpture and performance art. Gibson’s beadwork, ceramics, sculptures, and paintings are influenced by Cherokee and Choctaw tradition. Rockburne is an abstract painter who draws inspiration from her interest in mathematics and astronomy.

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> NEXT ON 'NYC ARTS,' A LOOK BACK AT SOME OF OUR FAVORITE SEGMENTS FEATURING THE BEST IN ARTS AND CULTURAL EVENTS IN OUR AREA.

I MAKE CERAMIC, AND AT THE SAME TIME I DO PAINTING, DRAWING, PHOTOGRAPHY, EVERYTHING.

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I'M INTERESTED IN EXPLORING THE TRANSFORMATIVE NATURE OF MATERIALS AND HOW THE LANGUAGE CAN SHIFT FROM A BEADED TRIANGLE TO A PAINTED TRIANGLE TO AOVEN TRIANGLE AND WHAT THOSE THREE DIFFERENT VERSIONS OF A TRIANGLE MEAN.

I DON'T MAKE ART THAT IS -- THAT MEN WOULD MAKE.

I MAKE STRONG WOMAN ART.

FUNDING FOR NYC ARTS IS MADE POSSIBLE BY ROSALIND P. WALTER, TEA PATCHIC YORBA LINDA FOUNDATION, THE LOUIS SONNY TURNER FUND FOR DANCE, JODY AND JOHN ARNEHOLD, KATE W. CASSIDY FOUNDATION, ELISE JAFFE AND JEFFREY BROWN, CHARLES AND VALERIE DIKER, GENE DUBIN SKI APPLETON ESTATE, EL ROY AND TERRY CRUMB HOLT FOUNDATION AND ELLEN AND JAMES S. MARCUS.

ADDITIONAL FUNDING PROVIDED BY MEMBERS OF 13.

NYC ARTS IS MADE POSSIBLE IN PART BY FIRST REPUBLIC BANK.

FIRST REPUBLIC BANK PRESENTS FIRST THING'S FIRST.

AT FIRST REPUBLIC BANK FIRST REFERS TO OUR FIRST PRIORITY, THE CLIENT WHO WALKS THROUGH OUR DOORS AND THE FIRST STEP, RECOGNIZE THAT EVERY CLIENT IS AN INDIVIDUAL WITH UNIQUE NEEDS.

FIRST DECREE, THE BANK WHOSE CURRENCY IS SERVICE, AND THIS IS FIRST REPUBLIC'S MISSION AND IT IS STILL THE FIRST THING ON OUR MINDS.

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> GOOD EVENING AND WELCOME TO NYC ARTS, I'M PETE DE MONTEBELLO AT THE TISH AT LINCOLN CENTER.

IT'S BEEN MY PLEASURE ALONG WITH PAULA ZAHN TO BRING YOU THE VERY BEST OF ARTS AND CULTURE IN THE TRI-STATE AREA, WHETHER IT IS MUSIC, DANCE, FILM, THE VISUAL ARTS AND CONTEMPORARY OR NEWLY DISCOVERED AND NYC ARTS HAS PROVIDED THE RICHNESS OF OUR ARTS COMMUNITY.

IN THIS PROGRAM WE'D LIKE TO SHARE WITH YOU SOME OF OUR FAVORITE SEGMENTS.

WE HOPE THEY ARE SOME OF YOUR FAVORITES, AS WELL.

ON TONIGHT'S PROGRAM, WE'LL VISIT WITH SHAPUR PUYAN AN IRANIAN ARTIST WHO SPLITS HIS TIME BETWEEN NEW YORK AND TEHRAN.

BORN IN 1979, THE YEAR OF IRAN'S ISLAMIC REVOLUTION, PUYAN'S CHILDHOOD WAS PROFOUNDLY IMPACTED BY THE EIGHT-YEAR WORK WITH IRAQ.

HIS WORKS RANGE FROM DRAWING AND PAINTING TO SCULPTURE AND PERFORMANCE ART FOCUSING ON POWER, MILITARY AGGRESSION AND RELIGION, ALTHOUGH NOT ALSO IN AN OBVIOUS WAY.

LAST YEAR, PUYAN WAS ONE OF THREE YOUNGER ARTISTS INCLUDED IN AN EXHIBITION IN NYU'S GREAT ART GALLERY.

GREATER LOCAL 1960 TO 2015.

SIX ARTISTS FROM IRAN.

ON DISPLAY WERE HIS DIGITAL COPIES OF PERSIAN MINIATURES WITH HISTORICAL FIGURES ERASED AND THE LANDSCAPE FILLED IN.

ALSO INCLUDED WERE HIS PROJECTILES, A SERIES OF IMPOSING SCULPTURES MADE OUT OF CHAIN MAIL.

A CRAFTY ARTIST LEARNED FROM A MASTER PERSIAN ARMOR BUILDER AND ETCHED WITH CALLIGRAPHY.

HIS LATEST WORK IS IN CERAMICS CREATED AT BROOKHOUSE CERAMIC ARTS CENTER IN LONG ISLAND CITY AND ARE PART OF HIS FIRST SOLO EXHIBITION IN FRANCE.

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I MAKE CERAMICS, AND AT THE SAME TIME I DO PAINTING, DRAWING, PHOTOGRAPHY, EVERYTHING.

THE FUN PART IS DOING EVERYTHING WITH MY OWN HANDS.

I WAS BORN IN TEHRAN AND LIVE IN BROOKLYN NOW.

IRAN IS THE MODERN NAME MEANING IN POLITICAL TERMS AND PERSIA WITH A THOUSAND YEARS OF HISTORY.

I DON'T THINK IT'S ABOUT IRAN.

IT'S NOT ABOUT THE SPECIFIC GEOGRAPHY.

IT'S MORE ABOUT THE CULTURE AND INTERACTIONS THAT HAPPEN.

. PROJECTILES ARE BASED ON PRODUCING ARMOR IN IRAN AND TO BE IN IRAN FOR 2,000 WROERS AND 3,000 YEARS AND THE PHYSICAL PROCESS IS ABOUT BRINGING IT BACK TO LIFE AND IT'S A VERY CONTEMPORARY FORM OF PRACTICING ART.

. ARMORED LAYERS OF HISTORY AND LAYERS OF AGGRESSION, AND AT SOME POINT IT TURNED TO BE A VERY POETIC PRODUCT WHICH IS COVERED BY DECORATION, POETRY AND LAYERS AND LAYERS OF RICH CULTURE.

PEOPLE ALWAYS ASK ME WHAT HE'S TRYING TO SAY, BUT TELLING ANYTHING ABOUT THIS MAKES IT MORE COMPLICATED BECAUSE THESE WO WORDS HAVE VERY STRONG MISUNDERSTANDING BETWEEN CULTURES AND I WOULD SAY IT'S LAYERS AND LAYERS OF MISUNDERSTANDING WHICH IS THE TRUTH.

I COLLECTED A VERY SPECIFIC MINIATURE OF MEDIEVAL AND 15th AND 16th CENTURIES AND WE'RE TALKING ABOUT A VERY LAST GEOGRAPHY OF TODAY AS MANY COUNTRIES.

WITH VERY IMPORTANT HISTORICAL MOMENTS AND REMOVED ALL THE FIGURES, HEROS AND ANTI-HEROES AND I FREED THE MINIATURE FROM THAT WEIGHT OF FIGURES.

SO WHAT YOU SEE IS THIS EMPTY LANDSCAPE AND ARCHITECTURAL THING.

THERE IS A STORY THERE.

HOWEVER, YOU CAN READ IT OR NOT, SO IT'S JUST, I WOULD SAY UPDATED.

I DO MANY SKETCHES, AND I KEEP DOING SKETCHES AND CHANGING AND CHANGING AND CHANGING, BUT THEY'RE ALL COMING FROM AN IDEA.

SO I HAVE SOMETHING IN MY MIND AND I HAVE, LIKE, A CONCEPT AND SOMETHING THAT HAS TO GET A THREE-DIMENSIONAL FORM AND WE START BUILDING ON THE CERAMIC PIECE, AND IT KEEPS CHANGING AND CHANGING AND THE FINAL RESULT IS SOMETHING ELSE.

WORKING WITH CLAY IS AMAZING BECAUSE IT SOOTHES ME.

EVERY DAY YOU'RE WAITING THAT SOMEHOW IT WILL SURPRISE YOU WITH SOMETHING WITH A NEW CRACK, WITH A CHANGE, AND WITH THE FORMATION AND WITH MANY OTHER THINGS, BUT IT'S A FIGHT THAT'S THE MEDIUM AND DISCUSSIONS LIKE I WANT TO TAKE YOU TO THE PERFECT STEP AND HE'S JUST RESISTING AND GETTING THE SHAPE AND GETTING THE FORM AND THEN YOU FIRE IT TWO TIMES AND THEN WHEN IT'S COMING OUT IS THE MONSTER IS TOO DIFFERENT, AND SO THE NEGOTIATION WORKED.

MY IDEAS AND THE SKETCHES ARE NOT FROM SPECIFIC PLACES AND NOT REALLY, SO WHAT I DO IS GET THAT SENSE OF ALPHABET IN FORM OF ARCHITECTURE AND BRING IT TO MY SCULPTURES.

WHEN I WAS WORKING ON THIS CITY SCAPE I WAS THINKING THE BEST WAY TO CELEBRATE A NATION OF ARCHITECTURE.

♪ I DIDN'T GLAZE THESE NEW WORKS BECAUSE IT'S LIKE AN UNFINISHED PROJECT.

THE SKETCH OF THE FUTURE IS LIKE A DREAM OR NIGHTMARE.

CERAMIC IS VERY FRAGILE AND IT'S A FRAGILE CONDITION OF ALL OF US AS PEOPLE, AS A NATION, AS A CITY, AS A STATE.

SO EVERYTHING HAPPENED IS THE TRUTH THAT YOU TRY TO FIND, BUT HOW MUCH IS CORRECT YOU NEVER KNOW.

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TONIGHT ON OUR PROGRAM WE'LL MEET ARTIST JEFFREY GIBSON.

BORN IN COLORADO SPRINGS, GIBSON GREW UP AROUND THE WORLD THANKS TO HIS FATHER'S CAREER WITH THE DEPARTMENT OF DEFENSE.

HE SPENT HIS CHILDHOOD IN KOREA AND GERMANY BEFORE EVENTUALLY MOVING BACK TO THE STATES.

AFTER GRADUATING FROM THE ART INSTITUTE OF CHICAGO, HE WENT TO LONDON TO STUDY AT THE ROYAL COLLEGE OF ARTS.

HIS BEAD WORK, CERAMICS, SCULPTURES AND PAINTINGS ARE CHERISHED BY CHEROKEE AND CHOCTAW TRADITION AND INSPIRED, HE HAS MINIMALISM AND ABSTRACTION.

HIS STUDIO IS CURRENT LOCATED IN NEW YORK AT AN AELEMENTARY SCHOL WHICH THEY BOUGHT LAST YEAR AND CONVERTED TO STUDIO SPACE NOW HOME TO A GROWING ARTISTIC COMMUNITY.

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GROWING UP AS A FOREIGNER IS SOMETHING THAT I THINK ABOUT A LOT NOW.

EVEN WHEN YOU'RE A FOREIGNER YOU DON'T ENTIRELY UNDERSTAND WHAT YOU'RE LOOKING AT ORE WHAT YOU'RE HEARING ALL OF THE TIME.

SO YOU HAVE THIS SUBJECTIVE COMPREHENSION OF THE WORLD AROUND YOU THAT IS AN ESTIMATED GUESS.

I THINK ABOUT THAT A LOT IN TERMS OF HOW I USE MATERIALS BECAUSE I USE A LOT OF MATERIALS THAT I THINK MANY PEOPLE MAY NOT KNOW THE CONTEXT THAT I'M DRAWING THEM FROM OR WHAT THE CULTURE IS OR WHAT THE HISTORY IS.

SO MY MOTHER'S FAMILY LIVES IN OKLAHOMA AND MY FATHER'S FAMILY LIVES IN MISSISSIPPI AND THOSE CULTURES ARE EXTREMELY DIFFERENT.

SO WHEN I WOULD GO THERE IT WOULD BE TO VISIT MY FAMILY.

I NEVER WANTED TO OBSERVE MY FAMILY.

YOU WANT TO BE A PARTICIPANT IN MY FAMILY.

YOU DON'T WANT TO LOOK AT EACH OTHER AND SAY THAT'S NATIVE AMERICAN.

I BEGAN THINKING WHAT WAS IT ABOUT THE QUILTS THAT GRANDMA MADE OR WHAT WAS IT ABOUT THE JEWELRY THAT SHE WORE OR THE DRESSES THAT SHE MADE?

WHAT DID THE SONG MEAN THAT SHE WOULD SING?

AND THEN IT BECOMES SOMETHING CULTURALLY SPECIFIC, I SUPPOSE, BUT OTHERWISE IT'S JUST INHERENTLY FAMILIAL.

IT STARTED FROM A PLACE OF I WANT TO TAKE PART IN ALL OF THESE THINGS AND I WANT TO KNOW HOW TO BE IN A STARTS OFF PATTERN AND IT STARTS OFF DESIGN AND COLOR CHOICES AND IT STARTS OFF THE CHALLENGE OF WHAT YOU CAN ACTUALLY DO WITH BEADS.

I WANTED TO MAKE FOUND OBJECT WORK AND OVER THE COURSE OF TIME, SOMETIMES THEY ARE MASHED TOGETHER.

I'M INTERESTED IN EXPLORING THE TRANSFORMATIVE NATURE OF MATERIALS, AND HOW THE LANGUAGE CAN SHIFT FROM A BEADED TRIANGLE TO A PAINTED TRIANGLE TO A WOVEN TRIANGLE AND WHAT THOSE THREE DIFFERENT VERSIONS OF A TRIANGLE MEAN.

THERE'S THIS PERIOD OF CLUB MUSIC THAT -- WITH THE TRANSITION OF ANALOG MUSIC INTO DIGITAL AND IT WAS THE SAMPLING AND THE TURN TABLES WHERE PEOPLE COULD SAMPLE MUSIC AND THAT WAS -- THAT HAD AN IMPRESSION ON ME SO THIS REPETITIVE NATURE OF REPEATING AND PICKING SOMETHING OF ONE CONTEXT AND STICKING IT INTO ANOTHER ONE AND I CAN SPEND TIME IN MY STUDIO, MASHING UP REMIXING AND REMAKING AND TAKING ARC PART AND RECONSTRUCTING AND I CAN INVITE OTHER PEOPLE TO TAKE PART WITH ME.

I THINK IT'S IMPORTANT TO BE TRANSPARENT ABOUT THE PROCESS.

WE ACKNOWLEDGE THE ASSISTANCE ALL OF THE TIME AS MUCH AS WE CAN.

IF IT WAS JUST ME MAKING, FOR INSTANCE, A PUNCHING BAG, WE WOULD BE SEEING ONE A YEAR.

THE LINES BETWEEN CRAFT AND WHAT'S, YOU KNOW, HISTORICALLY BEEN THOUGHT OF AS FINE ART, THE DECORATIVE EMBELLISHMENT, ALL OF THOSE THINGS, IN THIS ENVIRONMENT ARE EQUALIZED.

IF YOU LOOK AT POWWOW GARMENTS THEY'RE SO LOUD AND COLORFUL.

WITH THAT AS MY INSPIRATION IN MANY WAYS, WAS THERE NO LIMIT TO THE COMBINATIONS OF COLORS AND IT'S MORE THINKING OF WHAT THE COLOR DOES IN COMBINATION TO EACH OTHER SO IT'S REALLY KIND OF POP OR ELECTRIC OR REFLECTIVE OR OPTIC.

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I DO HAVE AN ATTRACTION BETWEEN THE IDEA OF MINIMALISM AND HOW MINIMALISM LEADS TOWARDS MAX MALDENSITY.

I USED TO THINK THAT MINIMALISM WAS ABOUT MAINTAINING THIS QUIET, SILENT PLACE LIKE THIS VOID UNFILLED WITH THINGS AND NOW THE REMOVAL OF INFORMATION IS TO SEE HOW MUCH IS PRESENT IN A VERY SMALL SPACE OR IN A VERY LIMITED PALETTE.

THE IDEA IS TO, LIKE I SAY, SLOW DOWN THE COLOR RED AND UNDERSTAND HOW MANY SHADES OF RED THERE ARE AND UNDERSTAND HOW MANY SHADES OF BLUE, TONES OF BLUE AND IT OPENS RIGHT BACK UP INTO INCLUDING EVERY SINGLE ♪ ♪

MY TRAINING IS AS AN ENTIRELY PROCESS-BASED ABSTRACT ARTIST, BUT THE TEXT WAS ALWAYS MEANT TO NAME THIS ENTIRELY SUBJECTIVE LANGUAGE OF OBSTRUCTION AND AT SOME POINT WHEN THE AUDIENCE WASN'T ABLE TO GET THE CONTENT THAT I FELT I WAS PUTTING INTO THE OBSTRUCTION I DECIDED TO JUST START PUTTING THE TEXT DIRECTLY ON IT.

MOST OF THE TITLES, FOR INSTANCE, COME FROM APPROPRIATED LYRICS.

AND THEN IT JUST KIND OF HIT.

THERE WAS SOMETHING ABOUT THE UNDERSTANDING THAT THESE WORDS DESCRIBE WHAT YOU'RE LOOKING AT.

THEY BECAME A REALLY BIG PART OF THE WORK FOR ME.

PEOPLE WHO WERE LOOKING AT MY WORK AT THE TIME WOULD ALWAYS QUESTION HOW DOES THIS RELATE TO WHO YOU ARE?

HOW DOES THIS RELATE TO YOU AS A NATIVE-AMERICAN PERSON AND AS A GAY PERSON AND THE SUBJECTIVITY SOMEHOW REPRESENTATIVE OF THAT EXPERIENCE.

AND IT SEEMED NO MATTER HOW HARD I WOULD SAY, NO, IT'S NOT, IT ALMOST COMPOUNDED MORE FOR PEOPLE TO LOOK FOR KECONNECTION IN THE WORK AND AT SOME POINT I DECIDED TO OWN THE WORDS NATIVE AMERICAN, TO OWN THE WORDS GAY AND NOT GIVE THEM ANY KIND OF POWER OVER DETERMINING WHO I AM, BUT I WAS FINE WITH THE WORK BEING DESCRIBED IN THAT WAY BECAUSE IT IS TRUE.

THIS IS MY EXPERIENCE AND IN THE 20th CENTURY AT THE TIME AND EACH TODAY, THAT'S VERY MUCH HOW WE DESCRIBE EACH OTHER.

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I ACKNOWLEDGE THAT WE ARE ALL VERY, VERY LAYERED, COMPLICATED PEOPLE AND IN OUR CONTEMPORARY WORLD WE DON'T ALWAYS HAVE THE OPPORTUNITY TO EXPLORE THAT OR TO SHARE THAT WITH EACH OTHER, BUT IT'S WHAT YOU CAN DO IN ART.

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DOROTHIA ROCKBURN DRAWS INSPIRATION FROM MATH AND ASTRONOMY.

IN 1950 SHE MOVED FROM THE UNITED STATES TO CANADA TO ATTEND BLACK MOUNTAIN COLLEGE, AN EXPERIMENTAL LIBERAL ARTS SCHOOL IN NORTH CAROLINA.

THERE SHE STUDIED WITH SUCH INNOVATIVE FIGURES AS FRANCE KLEIN, JOHN CAGE AND VERN CUNNINGHAM.

A FEW YEARS LATER SHE MOVED TO NEW YORK CITY WHERE SHE MET MANY OF THE LEADING ARTISTS AND POETS OF THE TIME.

NYC ARTS RECENTLY HAD A CHANCE TO VISIT WITH ROCKBURN IN HER SOHO STUDIO.

I DON'T MAKE ART THAT IS ART THAT MEN WOULD MAKE.

I MAKE STRONG WOMAN ART.

WHEN I WAS IN THE FOURTH GRADE I DREW A NASTY PICTURE OF MY TEACHER, AND I PASSED THE PICTURE AROUND, YOU KNOW, AND SHE TOOK THE PICTURE AWAY AND SHE SAID WHO DID THIS PICTURE?

I WENT TO A STRICT SCHOOL, AND I SAID OH E WELL, YOU KNOW, HERE IT GOES.

AND SHE SAID I WANT YOU TO STAY AFTER SCHOOL AND I STAYED AFTER SCHOOL AND SHE SAID YOU CAN REALLY DRAW.

WOULD YOUR PARENTS LET ME TAKE YOU TO ART SCHOOL ON SATURDAY?

I ASKED MY PARENTS AND THEY SAID SURE AND SHE TOOK ME TO ECOBOAZ ART I HAD GREAT TEACHERS AND THEY TOLD ME TO GET OUT OF MONTREAL AS SOON AS I WAS OLD SNUFF TO LEAVE AND THAT'S HOW I LEFT CANADA TO COME TO AMERICA.

I APPLIED TO BLACK MOUNTAIN COLLEGE AND GOT INTO BLACK MOUNTAIN AND MY FELLOW STUDENTS WERE JOHN CHAMBERLAIN AND PEOPLE LIKE ♪ ♪

UNLIKE MOST SCHOOLS THAT I HAD EXPERIENCED, THEY WELCOMED USEFUL ENERGY AND CURIOSITY, AND THEY DID NOT SUPPRESS IT, AND THEY ENCOURAGE YOU YOU DO EVERYTHING AND I LOVED IT.

BY THE TIME I WENT TO BLACK MOUNTAIN, I HAD NO IDEA OF WHAT TO PAY.

I KNEW THAT I DID NOT WANT TO DO LANDSCAPES OR FIGURES BECAUSE I'VE HAD A LOT OF THAT.

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I WAS INTERESTED IN SCIENCE FROM A VERY EARLY AGE.

I THINK PART OF THAT COMES FROM THE WAY I GREW UP.

MY FATHER WAS PART ALGONQUIN INDIAN AND I REALIZED THERE WAS MORE TO NATURE THAN PAINTING A LANDSCAPE.

I WANTED TO KNOW WHAT MADE THINGS TICK.

I WAS ALWAYS STRADDLING ART AND PHILOSOPHY AND PLATO AND PYTHAGORIS, AND EGYPT.

I WAS ALWAYS STUDYING EGYPT AND I WAS STARTING TO FIND MY WAY THROUGH MATHEMATICS AND EVENTUALLY ART.

WHAT CAUGHT MY INTEREST IN MATH WAS THAT THERE WAS A SENSE OF ONGOING CREATIVITY AND CHANGE WHEREAS, WHEN I LOOKED AT PAINTING, EVEN GOOD PAINTING, MORE OR LESS PEOPLE POUND PAINTING TO DO AND WITH VARIATIONS THEY DID THAT.

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I KNEW THAT I DON'T HAVE THAT KIND OF MIND.

I KNOW THAT I HAVE TO -- THE METAPHOR I USE FOR MYSELF IS STEP ON A NEW CONTINENT EVERY DAY.

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ASTRONOMERS SEE A SPACE BETWEEN THE PLANETS AND THE STARS AS BEING A CONTINUOUS SURFACE.

AND THERE'S MATHEMATICS FOR THAT, AND THAT MATHEMATICS IS ABSOLUTELY INTRIGUING TO ME.

I'VE BEEN WORKING ON A GROUP OF WORK CALLED THE STARDUST THEORIES BASED ON THE WAY THE PARTICLES FROM STARS ARE EMITTED AND FORM STARDUSTS AND OTHER STARS AND ARE TOSSED AROUND BY ELECTROMAGNETIC CURRENTS.

I'VE ALWAYS LOVED WATER COLOR AND NEVER LIKED THE WAY IT WAS USED.

I PERSONALLY DO NOT LIKE WATER COLOR THINKING INTO THE SURFACE OF THE PAPER BECAUSE I THINK THEN THE WATER COLOR LOSES ITS OWN VOICE.

SO I WANTED TO WORK ON A MATERIAL WHERE IT WOULDN'T SINK IN, AND IT HAD TO SIT ON TOP, AND I ALSO WANTED BECAUSE THIS IS ASTRONOMY, I WANTED TO CREATE VIBRATIONS.

I WANTED A CERTAIN AMOUNT OF CRACKING TO OCCUR, I MEAN, BECAUSE AGAIN, THE ENERGIES AND THE UNIVERSE ARE ALWAYS IN A STATE OF VIBRATION AND NOTHING IS EXACT.

SEA POINT MANIFOLD, THAT IS A STORY OF WHAT HAPPENS IN THE UNIVERSE AS BEST AS I CAN UNDERSTAND IT, AND THEN THERE'S ANOTHER PAINTING THERE WHICH IS CALLED ANGULAR MOMENTUM.

THE EARTH TURNS AN ANGULAR MOMENTUM AND YOU KNOW, THAT'S VERY UNDERSTOOD CONCEPT AND I CAN ONLY UNDERSTAND IT FOR MYSELF IF I MADE A PAINTING.

WHEN I'M WORKING I'M ALSO LOOKING AT THE WORK, AND TRYING TO LISTEN TO THE WORK, TRYING TO MAKE SURE THAT IT IS A CRACKLING ENERGY, THAT THE COLORS ARE MOVING BACK AND FORTH MORE THAN THROUGH A TWO-DIMENSIONAL SPACE.

I'M PUTTING ALL OF THE KNOWLEDGE THAT I HAD INTO IT AND THEN THERE'S A CERTAIN POINT WHEN I'M NO LONGER LOOKING AT IT.

IT'S LOOKING AT ME, AND THAT'S WHEN IT'S COMPLETE.

WHY ARE THINGS GEOMETRIC?

WHY ARE THINGS MATHEMATICAL?

WHY IS THERE NO SUCH THING AS CHANCE?

I MEAN, THAT IS OUR, YOU KNOW, THAT'S WHAT I MEAN ABOUT WALKING ON A DIFFERENT CONTINENT EVERY DAY.

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WE HOPE YOU'VE ENJOYED OUR PROGRAM THIS EVENING FROM THE TISH WNET STUDIOS AT LINCOLN CENTER I'M PETER DI MONTEBELLO AND I'LL SEE YOU NEXT TIME.

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FUNDING FOR NYC ARTS IS MADE POSSIBLE BY ROSALIND P. WALTER, TEA PITCHIC YORBA LINDA FOUNDATION, THE LOUIS SONNY TURNER FUND FOR DANCE.

JODY AND JOHN ARNEHOLD.

KATE W. CASSIDY FOUNDATION.

ELISE, JAFFE AND JEFFREY BROWN.

CHARLES AND VALERIE DIKER, GENE DUBINSKY APPLETON ESTATE.

ABNER AND TERRY CRUMBHOLT FOUNDATION.

THE AVERY AND SALLY ARTS FOUNDATION AND ELLEN AND JAMES S. MARCUS.

ADDITIONAL FUNDING PROVIDED BY MEMBERS OF 13.

NYC ARTS IS MADE POSSIBLE IN PART BY FIRST REPUBLIC BANK.

FIRST REPUBLIC BANK PRESENTS FIRST THING'S FIRST.

AT FIRST REPUBLIC BANK FIRST REFERS TO OUR FIRST PRIORITY, THE CLIENTS WHO WALK THROUGH OUR DOORS, THE FIRST STEP, RECOGNIZE THAT EVERY CLIENT IS AN INDIVIDUAL WITH UNIQUE NEEDS.

THE BANK WHOSE CURRENCY IS SERVICE IN THE FORM OF PERSONAL BANKING.

THIS IS FIRST REPUBLIC'S MISSION FROM OUR VERY FIRST DAY.

IT'S STILL THE FIRST THING ON OUR MINDS.