MAN: THERE IS A SENSE OF FREEDOM IN CALIFORNIA
TO JUST BE INSPIRED AND DO WHAT YOU THINK IS BEAUTIFUL.
SECOND MAN: CALIFORNIA, ESPECIALLY THE CREATIVE INDUSTRIES--
FILM, TECH, THE ARTS--
PRIDES ITSELF ON FORWARD-THINKING
BECAUSE CALIFORNIA ATTRACTS ARTISTS THAT THINK DIFFERENTLY.
WOMAN: THE GREENES WERE INFLUENCED BY THE ENVIRONMENT,
BY THE LIFESTYLE, THE CLIMATE.
THEY WERE SEARCHING FOR THEIR OWN ARCHITECTURE
THAT THEY CONSIDERED TO BE A CALIFORNIA ARCHITECTURE.
THIRD MAN: IT'S REALLY NICE IF YOU CAN COME HOME
FROM A GOOD MORNING OF SURFING,
COME AND JUMP IN HERE,
AND THEN JUST CREATE PIECES.
SECOND WOMAN: POMO BASKETRY, IT'S A SKILL
THAT'S REALLY BEING LOST.
I WANT OUR CULTURE TO BE A LIVING CULTURE.
THIRD WOMAN: WEARABLE ART IN CALIFORNIA
GREW OUT OF THE HIPPIE MOVEMENT.
FOURTH MAN: I WOULD LIKE TO SAY IT'S ALL A HAZE.
IF YOU REMEMBER IT, YOU WEREN'T THERE.
FIFTH MAN: THE MOUNTAINS TO THE NORTH
AND THE OCEAN TO THE WEST AND THE DESERT OUT TO THE EAST.
I KNOW THAT I WOULDN'T BE WHO I AM
AND I WOULDN'T BE DOING WHAT I DO ANYWHERE ELSE.
IT MUST BE BECAUSE OF CALIFORNIA.
I DON'T KNOW WHAT ELSE TO ATTRIBUTE IT TO.
WOMAN: ♪ I LOVE YOU, CALIFORNIA ♪
♪ OOH ♪
CAPTIONING MADE POSSIBLE BY CRAFT IN AMERICA, INC.
ANNOUNCER: MAJOR FUNDING FOR "CRAFT IN AMERICA"
WAS PROVIDED BY CYNTHIA LOVELACE SEARS AND FRANK BUXTON,
LILLIAN PIERSON LOVELACE,
L.L. BROWNRIGG,
NATIONAL ENDOWMENT FOR THE ARTS,
CALIFORNIA ARTS COUNCIL,
STOLAROFF FOUNDATION.
ADDITIONAL SUPPORT WAS PROVIDED BY THE FOLLOWING...
WOMAN: I'M THE GREAT-GREAT-GRANDDAUGHTER
OF MARY FRANCISCO,
ONE OF THE BEST POMO BASKET WEAVERS THAT EVER LIVED.
I NEVER MET MY GREAT-GRANDMA,
AND I DIDN'T HAVE ANY LIVING WEAVING TEACHERS.
WHEN I WAS 9 YEARS OLD,
I WENT ON A SCHOOL CAMPING TRIP.
WE HAD A PRESENTER COME TALK ABOUT BASKETS,
AND THEY SHOWED SOME OF THEIRS
AND THEY TALKED ABOUT THEIR TYPE.
AND THAT NIGHT WE CAMPED UNDER A WILLOW TREE,
AND I HAD A DREAM.
I WAS WALKING TO A HOUSE THAT'S NOT THERE ANYMORE,
AND MY GREAT-GRANDMA WAS THERE.
[VOICE BREAKING] AND SHE TOLD ME TO SIT ON HER LAP.
AND SHE PUT HER HANDS LIKE THIS,
AND I PUT MY HANDS LIKE THAT.
AND SHE SAID, "YOU KNOW, YOU CAN WEAVE.
YOU HAVE MY HANDS. YOU CAN WEAVE."
I WOKE UP THE NEXT DAY, AND THAT WILLOW TREE
THAT WE WERE CAMPING UNDER LOOKED VERY DIFFERENT.
I WAS ABLE TO LOOK AT THIS WILLOW TREE
WITH BASKET MAKER'S EYES.
SO I HARVESTED, I WOVE A LITTLE BASKET THAT DAY,
AND I'VE BEEN HARVESTING AND WEAVING
EVER SINCE THEN.
WE ARE IN NORTHERN CALIFORNIA,
A COUPLE HOURS NORTH OF SAN FRANCISCO BAY AREA.
THIS IS MY HOME RESERVATION,
THIS IS MY HOME RANCHERIA,
AND THIS IS REALLY WHAT WE CONSIDER THE HEARTLAND
OF POMO COUNTRY.
WOMAN: POMO PEOPLES WERE NOT EVER ONE NATION, ONE TRIBE.
THAT IS A CONVENIENT TERM THAT ANTHROPOLOGISTS
GAVE TO WHAT WERE REALLY MANY INDEPENDENT PEOPLES.
WE ALL LIVE IN WHAT'S TODAY SONOMA COUNTY,
MENDOCINO COUNTY, LAKE COUNTY, CALIFORNIA.
POMO PEOPLE MADE BASKETS USING MORE TYPES
OF WEAVING TECHNIQUES THAN ANYBODY ELSE EVER HAS.
AND THAT WAS POSSIBLE IN PART
BECAUSE IT'S AN AREA THAT IS ONE OF THE MOST BOTANICALLY DIVERSE
IN THE WORLD.
BASKETS WERE THE ESSENTIAL TOOL OF LIFE.
FROM BIRTH TO DEATH, FROM HUNTING AND FISHING
TO GATHERING AND COOKING,
POMO BASKETS ARE THE BEST IN THE WORLD,
AND THAT'S THROUGHOUT TIME AND THROUGHOUT SPACE.
AND THE BASIS OF THAT JUDGMENT
IS REALLY THE SHEER TECHNICAL VIRTUOSITY.
PEARCE: I'M TAKING THIS REDBUD--
THIS IS ONE OF THE MAIN MATERIALS THAT WE USE
FOR WEAVING IN POMO BASKETS.
AND I HARVEST IT--
THIS IS FROM THIS YEAR, FROM OCTOBER.
YOU SPLIT THAT BIG BRANCH INTO HALF,
AND THEN YOU HAVE TO THIN IT EVEN FINER,
AND YOU HAVE TO GET RID OF ALL THESE LITTLE KNOTS.
I'M BASICALLY JUST SPLITTING IT OVER AND OVER AGAIN
UNTIL I GET IT THE THICKNESS THAT I WANT
AND THE WIDTH THAT I WANT.
WITH REDBUD, IT'S VERY IMPORTANT
TO HAVE THE BARK ON ONE SIDE
AND THE BEAUTIFUL WHITE CREAM COLOR ON THE INSIDE.
GET TO DO A WHOLE BUNCH OF THEM AND COIL THEM,
AND THEN I ACTUALLY HAVE TO DRY FOR 6 MONTHS TO A YEAR
BEFORE YOU CAN WEAVE WITH THEM.
SO WHAT I'M DOING THIS YEAR
I WILL WEAVE WITH NEXT YEAR.
SO YOU HAVE TO PLAN AHEAD.
SMITH-FERRI: BASKETS ARE THE PLANTS.
YOU HAVE TO HAVE GOOD MATERIALS
BEFORE YOU CAN MAKE REALLY FINE BASKETS.
THE THING ABOUT PLANTS IS THEY'RE NOT EXACT.
YOU KNOW, THEY'RE PRETTY SHAGGY.
AND TO DO REALLY FINE BASKETRY, IT HAS TO BE PRECISELY THE SAME,
SAME DIAMETER, SAME TAPER, SAME WIDTHS.
IF YOU DON'T HAVE IT, IT WILL NOT WORK.
YOU HAVE TO GET SOMETHING THAT'S IMPRECISE
AND MAKE IT PERFECT, AND THAT IS--
IT IS JUST SOMETHING THAT IS SO DIFFICULT TO DO.
REALLY BY THE TIME YOU SIT DOWN AND START WEAVING,
YOU ARE ALMOST FINISHED IN TERMS OF THE AMOUNT OF TIME
THAT YOU'RE GOING TO SPEND AND THE ACTIVITIES
THAT YOU NEED TO PRODUCE THAT PIECE.
PEARCE: I ALWAYS WATCH THE DAFFODILS.
ONCE THE DAFFODILS COME ALL THE WAY UP
AND START TO DIE BACK, THEN THE SEDGE ROOT IS READY.
ALMOST ALL OF THE TAN COLOR
THAT YOU SEE IN POMO BASKETS IS MADE WITH THE SEDGE ROOT.
ALL RIGHT. OK.
PEARCE, VOICE-OVER: TO PROCESS SEDGE, YOU HAVE TO HAVE A PATCH.
WE ACTUALLY TRANSPLANTED THIS PATCH.
ITS NORMAL LOCATION IS ALONG RIVERBEDS
OR IN LOAMY SOIL ALONG THE REDWOODS.
IT JUST LOOKED LIKE TUFTS OF GRASS.
AND I'M GONNA USE A DIGGING STICK
AND I'M GONNA DIG DOWN INTO THE SOIL
TO FIND THE ROOT.
OK, STICK YOUR HAND RIGHT HERE.
- YOU FEEL THAT? - YEAH.
PEARCE: THAT'S A ROOT.
PEARCE, VOICE-OVER: AND THEN I'M GONNA FOLLOW THE ROOT
UNTIL IT COMES TO THE END.
IF YOU GET THERE TOO SOON, IT'S TOO WET AND MUDDY
AND YOUR ROOTS ARE TOO SHORT.
IF YOU WAIT TOO LONG,
YOU'RE FIGHTING SNAKES AND SPIDERS,
AND THAT'S NOT FUN.
A PRETTY UNIVERSAL POMO LEGEND
IS THAT SPIDER WOMAN, WHO LIVES IN THE SEDGE ROOT,
HELPED US LEARN HOW TO WEAVE.
AND SO OUT OF RESPECT FOR HER,
ONCE SHE'S IN THE SEDGE ROOT,
WE DON'T GO AND BOTHER HER.
GOOD JOB.
SMITH-FERRI: IT'S FAIRLY SOPHISTICATED ENVIRONMENTAL KNOWLEDGE,
BECAUSE YOU CAN ONLY PROCESS MATERIAL
AT A PARTICULAR POINT OF THE YEAR.
YOU HAVE TO UNDERSTAND WHAT ARE THE SIGNS YOU'RE LOOKING FOR,
WHAT IS THAT PLANT REALLY DOING?
PEARCE: YOU KNOW HOW TO SPLIT IT?
MAN: I DON'T.
PEARCE: I WILL SHOW YOU.
SMITH-FERRI: MY GRANDMA USED TO SAY,
YOU KNOW, YOU CAN'T GO TO A STORE AND FIND IT,
BUT YOU ALSO CAN'T GO OUTSIDE AND JUST FIND IT.
IT'S THIS COLLABORATION OF YOU AND THE PLANTS
WORKING TOGETHER TO PROVIDE YOU AS A BASKET MAKER
THE KIND OF MATERIAL THAT YOU NEED.
AND THIS IS WHY WE DEVELOPED THE GARDENS
HERE AT THE GRACE HUDSON MUSEUM.
PEARCE: WE TRANSPLANTED THE BASKETRY MATERIALS LAST YEAR,
SO THIS IS REALLY THE FIRST YEAR OF FOCUSED TRAINING.
- NO FLOWERS CAME OUT. - NOPE. NOPE.
PEARCE: IT'S GOING STRAIGHT FOR LEAVES.
SMITH-FERRI: YEP.
PEARCE, VOICE-OVER: THE GRACE HUDSON IS A REALLY GOOD RESOURCE
FOR THE WHOLE COMMUNITY IN NORTHERN CALIFORNIA.
SMITH-FERRI: THE ARTIST GRACE HUDSON
WAS BORN IN 1865 NEARBY TO UKIAH,
OUT IN THE COUNTRY AS WE SAY HERE.
HER CAREER WAS A SERIES OF OIL PORTRAITS
OF POMO INDIAN PEOPLE.
AND SHE LIVED DURING A VERY DIFFICULT TIME
FOR NATIVE PEOPLE IN THIS AREA,
NATIVE PEOPLE THROUGHOUT CALIFORNIA.
AND REALLY, SHE SINCERELY THOUGHT THAT POMO PEOPLE
WERE NOT GONNA SURVIVE.
SHE HAD SEEN SO MANY PEOPLE DIE FROM DISEASE,
FROM STARVATION, FROM VIOLENCE,
PEOPLE ARE DISPLACED.
SO SHE WAS REALLY TRYING TO PRESERVE SOMETHING
THAT SHE THOUGHT WAS GOING TO DISAPPEAR.
GRACE HUDSON, THANKFULLY, WAS WRONG.
POMO PEOPLE ARE STILL AROUND TODAY.
PEARCE: THE GRACE HUDSON IS A GREAT RESOURCE.
YOU CAN GO THERE AND ASK TO TOUCH AND HOLD THE BASKETS.
THE OILS FROM YOUR HANDS AND FROM YOUR FACE
ARE GOOD FOR YOUR BASKETS.
WHEN I GET TO HOLD OLD BASKETS,
I SNUGGLE THEM BECAUSE IT'S SO GOOD FOR THEM.
THEY'RE LIVING THINGS.
SMITH-FERRI: THIS IS THE OLDEST BASKET IN OUR COLLECTION.
WE KNOW IT'S AT LEAST 150 YEARS OLD
BECAUSE WE KNOW THAT IT WAS GIVEN AS A GIFT
TO GRACE HUDSON'S FAMILY IN 1860
WHEN THEY MOVED TO POTTER VALLEY.
POMO BASKETS, BESIDES BEING THE STUFF OF EVERYDAY LIFE,
HAD A LOT OF SOCIAL CURRENCY.
THEY WERE GIVEN AS GIFTS AT SIGNIFICANT LIFE EVENTS
AND TO CEMENT TIES AND FRIENDSHIPS.
PEARCE: IN NORTHERN CALIFORNIA,
WE LIKE TO DO SITTING CRADLES,
WHICH IS A U-SHAPE,
AND THE BABY'S BUTT GOES HERE.
OK, SO THEY SIT LIKE IT'S A-- LIKE IT'S A SWING.
THIS IS MADE OUT OF WILLOW.
THIS IS PEELED AND UNPEELED WILLOW,
AND THIS SUPPORT ROD IS IN EACH ONE OF THESE.
IT'S MADE OUT OF SPLIT BLACK OAK,
WHICH IS EXTREMELY STRONG.
THE RIM, AND IT'S NOT A HANDLE,
IT'S MADE OUT OF OAK.
IT'S VERY IMPORTANT SPIRITUALLY.
OUR STAPLE FOOD SUPPLY IS ACORNS,
SO IT'S A WAY OF TYING OUR PLANT FAMILY TO THE BASKET.
YOU DON'T MAKE CRADLES UNTIL THE BABY'S ACTUALLY BORN,
SO THAT BABY HAS A TON OF INFLUENCE
ON WHERE YOU HARVEST, WHAT THE SEASON IS,
HOW YOU PUT IT TOGETHER, IF THAT BABY'S--
LIKE, IF YOU'RE ALREADY FEELING SOMETHING SPECIAL
FOR THAT BABY, YOU PUT IT IN THE BASKET.
I PUT LOVE IN EVERY STITCH,
AND EVERY SINGLE STICK IS A CONSCIOUS CHOICE FOR A CRADLE.
EVERY SINGLE BASKET ON THE TABLE TODAY
YOU GUYS COULD MAKE.
THIS IS ALL THE TECHNIQUE THAT YOU KNOW.
YOU'RE MASTERS OF THIS WEAVE.
PEARCE, VOICE-OVER: THIS IS AN EDUCATION PROGRAM
FOCUSED AT CHILDREN.
LITTLE KIDS CAN'T WEAVE ON THEIR OWN,
SO THEY HAVE TO BRING A GROWNUP.
SO AT THIS POINT, I'M HAVING MORE GROWNUPS
AND ELDERS WEAVING,
BUT THEY STILL BRING THE KIDS.
WHEN YOU'RE STARTING TO SEPARATE THEM INTO INDIVIDUALS,
THEN YOU ADD ANOTHER SPOKE.
PEARCE, VOICE-OVER: I LIKE TO TEACH BASKETRY
BECAUSE IT CONNECTS US ALL AS HUMANS.
- ARE YOU MISSING A BLACK ONE? - I'M NOT.
PEARCE, VOICE-OVER: FIRST I TAUGHT NATIVES
FROM ALL OVER THE COUNTRY AND CANADA.
- 3 MORE RED ONES. - OK.
PEARCE, VOICE-OVER: AND THEN I WENT TO LEBANON
AND TAUGHT BASKETRY.
AND I'VE BEEN TO EUROPE AND TAUGHT BASKETRY.
AND WHAT I REALIZED IS THAT IT DOESN'T MATTER
WHAT TRIBE ON THE PLANET YOU'RE FROM,
YOU ALL STILL MADE BASKETS.
[INDISTINCT CHATTER]
EVERYONE ALREADY HAS A BASKET IN THEM,
AND I'M JUST HELPING THEM TO BRING IT OUT.
WE'D HAD A FIRE LAST YEAR.
IT RIPPED THROUGH OUR VALLEY.
WE HAD WINDS OF UPWARDS OF 75 MILES AN HOUR,
AND THE HUMIDITY WAS NOTHING.
IT WAS A FIRESTORM.
[VOICE BREAKING] WE LOST KIDS AND ELDERS AND...
IT WAS VERY IMPACTFUL.
WE LOST SOMETHING LIKE 15% OF THE HOMES
THAT WE HAVE IN OUR VALLEY.
WHEN I SEE A FRIEND WHO LOST THEIR ENTIRE HOUSE,
THEY ALSO LOST ALL THE OAK TREES
THAT I HARVEST CRADLE BASKET RIMS FROM.
OR WHEN I DRIVE DOWN IN THE VINEYARD,
ALL THE REDBUD THAT I HARVESTED, THEY'RE ALL GONE.
MY BASKET GARDEN TOTALLY BURNT DOWN,
AND WE LOST A LOT,
BUT WE ACTUALLY PULLED OUR COMMUNITY TOGETHER.
WE HAVE THESE CLASSES SO THAT COMMUNITY MEMBERS
CAN COME AND LITERALLY WEAVE WHAT THEY LOST.
MY INTENTION IS TO HEAL THE LAND AND THE COMMUNITY,
AND THAT'S WHAT WE'RE DOING HERE.
THIS IS ART.
IT'S CULTURALLY RELEVANT.
IT'S HISTORICALLY SIGNIFICANT.
IT'S MORE THAN THAT.
THIS IS HOW WE CONNECT TO OUR LAND.
[GUITAR PLAYING SLOW TUNE]
WOMAN: ♪ COUNTERFEIT HEART, COUNTERFEIT PLEASURE ♪
MAN: WE'RE UP HERE, WE'RE LOOKING AROUND THINKING
WHAT A BEAUTIFUL AREA THIS IS,
AND, "GOD, I'D LOVE TO LIVE AROUND HERE."
AND, "BEING AN ARTIST, MAYBE I CAN LIVE ANYWHERE I WANT TO LIVE."
SO I PUT IN MY RESIGNATION.
YOU KNOW, LIKE, "WELL, I'M GONNA GO
"AND LIVE SOMEWHERE BEAUTIFUL
"AND I'M GONNA GET SOME GOOD EXERCISE AND GO SURFING
AND HAVE SOME FUN,"
AND SO THAT'S WHAT HAPPENED.
WOMAN: ♪ COUNTERFEIT PLEASURE ♪
SECOND WOMAN: SOME PEOPLE CALL IT THE MIDDLE KINGDOM.
IT'S THE CENTRAL COAST OF CALIFORNIA,
AND IT'S PARADISE.
WE MOVED IN 1979.
I GOT A JOB AT HEARST CASTLE,
AND RANDY HAD TO FIND A PLACE TO DO HIS SILVERSMITHING.
IT TOOK AN ACT OF BRAVERY, BUT IT WAS THE BEST DECISION
WE EVER MADE.
RANDY: THIS GUY.
RANDY, VOICE-OVER: SO MUCH OF SILVERSMITHING
IS THE CONCEPTUALIZING AND THE PLANNING OF THE PIECE.
YOU SPEND SO MUCH TIME THINKING ABOUT
HOW TO PUT EVERYTHING TOGETHER,
HOW TO GET FROM "A" TO "Z,"
AND THEN WHEN YOU START DOING IT,
YOU KIND OF RELY ON THE CRAFT.
YOU JUST KIND OF GET INTO BEING A CRAFTSMEN
AND A SILVERSMITH, AND YOU DO THE RIGHT SILVERSMITHING THING.
WE'RE MAKING A BOWL.
AND THE PROCESS IS METAL SPINNING.
AND I COAX THE METAL UP OVER THE WOOD FORMS
THAT I'VE TURNED.
THIS LATHE WAS MADE IN 1900,
AND IT OPENS UP TO SPIN SOMETHING 44 INCHES IN DIAMETER.
SO I CAN SPIN A BOWL THIS BIG IF I WANTED TO,
IF I COULD.
[CHUCKLES]
BUT IT'S A GREAT WORKHORSE,
AND IT'LL PROBABLY BE AROUND ANOTHER HUNDRED YEARS
'CAUSE I CAN'T SEE HOW YOU COULD HURT THIS THING.
MY FIRST JOB WAS PAINTING MURALS AT SURF SHOPS,
AND THEN I TRADED FOR SURFBOARDS.
FRIDAY EVENING, OUR PARENTS WOULD DROP US OFF IN MALIBU
AND THEN PICK US UP, YOU KNOW, SUNDAY AFTERNOON.
WE'D SURF ALL DAY
AND GO AND SLEEP ON THE BEACH
AND HAVE A LITTLE BONFIRE.
THE WAVES WERE PERFECT.
THE WEATHER WAS PERFECT.
WE WERE JUST KIDS. WE WERE JUST SOAKING IT ALL IN.
I LOVED SHAPE AND I LOVED SCULPTURE. I LOVED FORMS.
AND I WANTED TO CREATE MOVEMENT.
I WANTED TO GIVE THE ILLUSION
OF LIKE A WAVE BREAKING AND LIKE RIPPLES IN THE OCEAN.
BUT I ALSO WANTED TO MAKE IT LOOK LIKE IT WAS SPINNING ROUND,
AND I ALSO WANTED TO MAKE A PETAL, A BLOOM,
LOOK LIKE IT'S OPENING UP.
SO I WANTED TO CREATE ALL THIS MOVEMENT
OUT OF SOMETHING THAT WAS JUST A SHAPE.
I CREATE ILLUSIONS,
AND YOU SEE THE REFLECTIONS COMING BACK
AND YOU AREN'T QUITE SURE WHAT YOU'RE LOOKING AT,
AND I THINK THAT'S FASCINATING.
IF I CAN GET PEOPLE TO LOOK AT SOMETHING FOR 5 MINUTES
AS OPPOSED TO 5 SECONDS, I'VE DONE MY JOB.
WHEN I WAS 18, I ENROLLED IN L.A. VALLEY COLLEGE.
ONE OF THE CLASSES WAS CALLED CRAFTS WORKSHOP.
THE FIRST PROJECT WE MADE IN THE CLASS
WAS A BAND RING.
AND I CARVED IT AND DID ALL THIS WORK TO IT,
AND I WAS THINKING, "I LIKE THIS FEEL.
"I LIKE THE WAY THIS FEELS TO DO THIS PROCESS.
THIS IS A NICE PROCESS."
AND THE TEACHER GRABBED THAT PIECE FROM ME,
SHE HELD IT UP TO THE CLASS AND SHE GOES,
"EVERYBODY, WE HAVE A CRAFTSMAN IN THE CLASS."
THROUGH THE CLASS, WE WENT ON A TOUR OF A SILVERSMITH'S STUDIO,
THE SILVERSMITH TO THE STARS IN HOLLYWOOD,
PORTER BLANCHARD.
I WALKED IN THERE, I WAS JUST BLOWN AWAY.
I LOOKED AT ALL THE WOOD AND LEATHER
AND STEEL TOOLS, THINGS THAT WERE A HUNDRED YEARS OLD,
THINKING, "BY GOD, LOOK AT THIS PLACE.
THIS IS FASCINATING."
THEN I SAW THESE SILVER COFFEE SETS HE WAS MAKING,
THESE SILVER CANDLESTICKS 24 INCHES TALL
WITH S-CURVES ON THEIR BASE
AND JUST, OH, THE CRAFTSMANSHIP
AND THE EXECUTION AND THE DESIGN.
I WAS JUST--I WAS FLOORED.
I COULD NOT BELIEVE IT.
PORTER WAS DEMONSTRATING SOME RAISING ON AN OVAL DISH.
HE SEES ME WALK BY AND HE GOES,
"HEY, HOW ABOUT YOU?
YOU COME OVER HERE AND TRY THIS OUT."
I LOOKED AT WHAT HE WAS DOING
AND I KNEW WHAT TOOLS TO USE.
AND SO I GRABBED THE RIGHT RAISING HAMMERS
AND I GRABBED THE RIGHT STAKES AND I START DOING IT,
AND HE GOES, "WELL, JUST HAMMER A HALF-INCH HIGHER
"THAN WHAT YOU'RE HAMMERING.
"YOU HAVE TO GET THE LEVERAGE.
YOU HAVE TO HIT A LITTLE BIT ABOVE."
ALL OF A SUDDEN, THE THING STARTS GOING AROUND,
I START RAISING AND IT STARTS MOVING AND EVERYTHING'S GOING.
AND HE'S GOING, "WOW, YOU WANT TO COME BACK AND WORK?"
AND I'M THINKING, "THIS GUY'S 84 YEARS OLD.
"HE'S WORLD RENOWNED. LOOK AT THIS WORK HE'S DOING.
"THIS IS, LIKE, UNBELIEVABLE.
AND WHAT AN OPPORTUNITY THIS WOULD BE."
I DECIDED, "YES, I'M GONNA COME BACK."
THIS IS A PIECE THAT PORTER BLANCHARD USED TO MAKE
FOR HIS TEA SET.
THIS IS NOT SOMETHING I REALLY WANT TO MAKE A TEAPOT OUT OF,
BUT IT'S SOMETHING I LOVE FOR THE BOWL SHAPE.
PORTER WAS DESIGNING PEWTER AND SILVER
WITH A MODERNIST FEEL TO IT,
BUT HE WASN'T ONLY JUST A MODERNIST,
HE HAD HIS OWN SET OF IDEAS,
AND HE DIDN'T FOLLOW ANYBODY ELSE'S PROTOCOL
OR THOUGHT PROCESS.
HE JUST DID WHAT HE WANTED TO DO.
THIS IS PORTER BLANCHARD'S ACTUAL HANDWORK ON THIS.
HE HAD A SET OF DRAWERS LIKE THIS
JUST FULL OF DRAWINGS.
THESE ARE MADE BY HAND.
ALL THIS SORT OF WIRE WORK HERE WAS ALL FILED IN.
THIS IS ALL HAND-FILED AND THIS IS ALL HAND-CHASED.
THIS IS THE OVAL GEORGIAN SCROLL.
PORTER ORIGINALLY DID IT FOR JOAN CRAWFORD AND CARY GRANT,
BACK IN THAT ERA.
JOAN CRAWFORD WAS HIS BEST CUSTOMER.
SHE HAD THOUSANDS OF HIS PIECES.
THEY NEVER SAW EACH OTHER IN PERSON,
BUT THEY SPOKE ON THE PHONE ALMOST DAILY,
AND THEY'D SPEAK FOR AN HOUR OR TWO A DAY.
SO THEY'RE LIKE BEST FRIENDS, BESTIES,
WITHOUT EVER SEEING EACH OTHER.
PORTER WAS A MAN BEFORE HIS TIME.
HE WAS INTO HEALTH FOOD. HE WAS INTO EXERCISE.
HE HAD IT ALL GOING ON.
WE WERE MAKING BIG SILVER PLATTERS,
AND I WAS HOLDING THEM FOR HIM AND TWISTING THEM
AND MOVING WITH HIM.
AND IT WAS TWO OF US WORKING AS ONE.
IT WAS A GREAT EXPERIENCE.
I REALIZED I WASN'T GOING TO HAVE TOO MANY YEARS WITH HIM
AND I WANTED TO GAIN AS MUCH KNOWLEDGE AS I COULD.
WE WORKED WEEKENDS. WE WORKED OVERTIME.
WE WORKED NONSTOP.
WE HAD A VAULT FULL OF SILVER,
WE HAD A SHOP FULL OF TOOLS,
AND IF I MESSED ANYTHING UP,
ALL I HAD TO DO WAS MELT IT DOWN AND GO RIGHT BACK
AND DO IT AGAIN.
IT WAS A TIME THAT YOU NEVER CAN DUPLICATE.
SO I JUST FILLED IT UP WITH SUBSTANCE,
AND IT'S GONNA SUPPORT IT WHILE I DO MY CHASING.
AND I'M GOING TO THROW THIS INTO THE FREEZER.
I'M GONNA FREEZE IT,
AND WE'RE GONNA COME BACK AND CHASE IT
WHEN IT'S FROZEN.
[INDISTINCT CHATTER]
[RANDY CHUCKLES]
LISA: WE FOUND THIS PIECE OF LAND BY ACCIDENT.
WE HAVE 28 ACRES.
WE GROW WALNUTS AND ASIAN PEARS,
PLUMS, APPLES, GRAPES.
WE HAVE A 5-ACRE VINEYARD.
OUR KIDS BASICALLY GREW UP GOING DOWN TO THE CREEK,
PICKING FLOWERS, CATCHING CRAWDADS,
DOING ALL KINDS OF THINGS THAT ARE KIND OF MORE COUNTRY LIVING
SORT OF THINGS.
WOMAN: I GREW UP TRAVELING TO DIFFERENT ARTS FESTIVALS.
IT WAS SUPER FUN.
THERE WAS USUALLY A MUSICAL GROUP.
AND MY DAD, HE'D TAKE A BREAK FROM THE FESTIVALS,
WE'D GO EXPLORE THE DIFFERENT MUSICAL ACTS.
AND GROWING UP IN HIS WORKSHOP,
HE ALWAYS HAD MUSIC PLAYING AS WELL.
AND A LOT OF MY MEMORIES I HAVE OF MUSIC,
I HAVE HIS HAMMERS ALSO GOING AT THE SAME TIME, SO...
YEAH, IT'S PRETTY SPECIAL.
[TAPPING]
RANDY: I'VE TAKEN THIS BOWL AND I'VE FROZEN IT.
I WANTED THE SUBSTANCE TO SOLIDIFY AND BECOME FIRM
SO MY CHASING WENT INTO A HARD SURFACE.
TO ESTABLISH THE LINES, I HAVE TO HAVE A FIRM SUBSTANCE.
AND AS IT THAWS AND BECOMES SOFTER,
MY CHASING WILL BECOME MORE PRONOUNCED,
I'LL GET MORE CURVES AND MORE SHAPE TO MY PIECES.
CHASING ENCOMPASSES MANY DIFFERENT THINGS--
SURFACE ORNAMENTATION.
AND THIS IS FLUTING.
I'M USING THE LIGHT TOOL TO ESTABLISH THE LINE,
TO GET THE LINE STARTED,
THEN I USE HEAVIER TOOLS TO MAKE IT A DEEPER LINE,
AND THEN I'LL TAKE OTHER TOOLS AND ACTUALLY START SHAPING IT
AND CREATING THE ROUNDNESS OF THE FORMS.
[TAPPING]
IN 1993, I RECEIVED A LETTER, AND IT SAID,
"WE HAVE CHOSEN 35 AMERICAN CRAFTSMEN TO BE PART
"OF THE FIRST COLLECTION OF AMERICAN CRAFTS
"IN THE WHITE HOUSE,
AND YOU'RE INVITED TO BE IN IT."
I HAD BEEN PLAYING AROUND WITH THIS IDEA,
JUST THE LOOK OF A DOME, MORE OF A DOME LOOK,
AND WITH THE 3-TIERED EFFECT PLAYING ON 3s
WITH COLUMNS ON IT WITH GOLD AND SILVER.
IT KIND OF SEEMED LIKE A WHITE HOUSE BOWL TO ME.
SO I SAID, "HOW ABOUT THIS PIECE?"
AND IT WORKED OUT PERFECT.
IT LOOKED VERY FITTING IN THE WHITE HOUSE.
WE WERE INVITED BACK TO THE WHITE HOUSE
FOR THE OPENING OF THE WHITE HOUSE CRAFT COLLECTION.
I FELT SO FORTUNATE TO BE INCLUDED INTO THIS GROUP,
AND IT WAS A GREAT NIGHT.
LISA: HANDMADE OBJECTS ARE BECOMING SO RARE,
ESPECIALLY IN THE METALSMITH WORLD
WITH 3-D IMAGING AND DIFFERENT AVENUES
PEOPLE ARE TAKING NOW TO MAKE METALWORK AND JEWELRY.
WHEN SOMETHING IS HANDMADE FROM BEGINNING TO END
BY ONE PERSON,
I CAN'T NOT BELIEVE THAT PART OF THEIR SOUL
IS IN THAT PIECE.
IT WILL LAST FOREVER AND EVER AND EVER.
RANDY: I LOVE BEING WHERE WE ARE
AND I LOVE HAVING A SHOP LIKE THIS.
IT IS REALLY NICE IF YOU CAN COME HOME
FROM A GOOD MORNING OF SURFING,
COME AND JUMP IN HERE,
AND THEN JUST CREATE PIECES.
IT'S NOT MUCH OF A BETTER LIFESTYLE.
WOMAN: ♪ HOME IN PASADENA ♪
♪ HOME WHERE GRASS IS GREENER ♪
MAN: THE ARTS AND CRAFTS MOVEMENT WAS A REACTION
TO THE OVERINDUSTRIALIZATION OF SOCIETY.
THE ARTS AND CRAFTS MOVEMENT IN CALIFORNIA
RECOGNIZED A CLOSER CONNECTION WITH NATURE.
PASADENA WAS A LOCUS FOR ITS OWN PARTICULAR EXPRESSION
OF THE ARTS AND CRAFTS MOVEMENT,
AND THAT'S LARGELY THANKS TO THE PRESENCE
OF TWO BRILLIANT ARCHITECTS, CHARLES AND HENRY GREENE
FROM ABOUT 1893 ON.
THE MOVEMENT WAS AN APPROACH TO DESIGN AND CRAFT
THAT INCORPORATED A HIGH LEVEL OF HANDWORK.
AND I CAN'T THINK OF A PLACE WHERE IT'S BETTER EXPRESSED
THAN HERE AT THE GAMBLE HOUSE.
WOMAN: THE GAMBLE HOUSE IS ONE OF THE MOST IMPORTANT
PIECES OF RESIDENTIAL ARCHITECTURE
IN OUR COUNTRY AND PROBABLY INTERNATIONALLY.
IT'S A CELEBRATION OF AMERICAN CRAFT
AND DECORATIVE ARTS.
IT'S A TIMELESS PIECE OF ARTS AND CRAFTS ARCHITECTURE.
CALIFORNIA, THE SETTING, HAD A BIG INFLUENCE
ON CHARLES AND HENRY GREENE.
THEY WERE INFLUENCED BY THE ENVIRONMENT,
BY THE LIFESTYLE, THE CLIMATE,
AND THEY WERE SEARCHING FOR THEIR OWN ARCHITECTURE
THAT THEY CONSIDERED TO BE A CALIFORNIA ARCHITECTURE.
BOSLEY: THE GAMBLE HOUSE WAS SEEN AS A RADICAL STATEMENT
ON THE LAND WHEN IT WAS BUILT IN 1908.
AND WHEN THE GAMBLES OCCUPIED IT,
THEY KNEW THEY WERE MOVING INTO A WORK OF ART.
WOMAN: I CAME HERE AS A CHILD FOR SUNDAY LUNCH.
IT WAS SORT OF A COMMAND PERFORMANCE THAT WE BE HERE.
WE WERE ALLOWED AFTER OUR LUNCH
TO PUT OUR PLAY CLOTHES ON
AND ROAM AROUND WHEREVER WE WANTED TO GO IN THE HOUSE.
I THINK THE DINING ROOM WAS MY FAVORITE
BECAUSE OF THE FAMILY TOGETHER.
THIS WAS A HOME,
AND WE LIKE TO THINK OF IT STILL AS A HOME.
SUTHERLIN McLEOD: I LIVED HERE IN THE HOUSE
WHILE I WAS STUDYING ARCHITECTURE AT USC.
I WAS SO FORTUNATE TO BE ABLE TO EXPERIENCE IT AS A HOME
AS THE GAMBLES DID.
I WAS ABLE TO EXPERIENCE THIS BUILDING
AS THE GREENES DESIGNED IT TO BE EXPERIENCED.
THE GREENES WERE EXPLORING HOW TO BRING GOOD DESIGN
TO THE DAILY LIVES OF THE PEOPLE WHO INTERACT WITH IT,
WHETHER IT BE ARCHITECTURE, DECORATIVE ARTS,
TEXTILES, FURNISHINGS.
FOR THE GREENES, NO DETAIL WAS TOO SMALL
TO BE CONSIDERED AND DONE WELL.
BOSLEY: ONE OF THE REASONS THE GREENES HAVE THE REPUTATION
FOR HIGH-ART ARCHITECTURE AND BEAUTIFUL CRAFTSMANSHIP
THAT THEY HAVE IS BECAUSE OF THE MAKERS.
THEY HAD PUT TOGETHER A GROUP OF PEOPLE
WHO WERE ABLE TO EXECUTE AT THE LEVEL THAT THEY WERE DESIGNING AT.
MAN: THE HALLS WERE A PAIR OF BROTHERS,
JOHN AND PETER HALL.
THEY WERE ESSENTIALLY THE ONLY CONTRACTORS
WHO WERE BUILDING THE FURNITURE AND LIGHTING
FOR THE GREENE & GREENE FIRM.
PETER WAS A GENERAL CONTRACTOR,
AND JOHN WAS HIS SHOP FOREMAN.
AND THEY HAD THEIR OWN SHOP HERE IN PASADENA.
IN ALMOST ALL GREENE & GREENE-DESIGNED CHAIRS,
THE WIDTH AT THE BACK IS NARROWER
AND IT'S WIDER AT THE FRONT.
AND THE LEGS ARE NOT SQUARE,
THEY'RE PARALLELOGRAMS.
AND THAT SHAPE IS TO MEET THE ANGLE
CREATED BY THAT TAPERING IN THE BACK.
THE HALLS CAME UP WITH A TECHNIQUE
FOR HOW TO DO THE JOINERY ON THESE PARALLELOGRAM LEGS.
IN ADDITION TO CUTTING THE MORTISE FOR THE TENON,
YOU HAVE TO CUT A SECONDARY MORTISE
TO HOUSE THE ENTIRE RAIL.
MAN: THERE IS A SIMPLICITY THAT HIDES
THE COMPLEXITY IN THE HALL-BUILT
GREENE & GREENE-DESIGNED PIECE.
IT WAS THE HALLS' UNDERSTANDING OF WOOD
AND SEASONAL WOOD MOVEMENT
THAT ACTUALLY CONTRIBUTED TO SOME OF THE DESIGN ELEMENTS
THAT WE SEE IN THE GREENES' WORK.
THERE'S JUST THIS INTERPLAY OF UNDERSTANDING
THAT HAD TO EXIST, AND IT AFFECTS THE FINAL OUTCOME.
BOSLEY: THE GREENES DESIGNED A SMALL HANDFUL OF HOUSES
ON THE SCALE OF THE GAMBLE HOUSE
AND AT THIS LEVEL OF DESIGN AND QUALITY,
AND ONE OF THEM WAS THE BLACKER HOUSE
ON THE OTHER SIDE OF TOWN HERE IN PASADENA.
IT'S A 12,000-SQUARE-FOOT HOUSE,
COMPARED TO THE APPROXIMATELY 8,000-SQUARE-FOOT HOUSE
THAT THE GAMBLES HAD.
JAMES: THE BLACKER HOUSE NEEDED A COMPLETE RESTORATION,
WHICH BEGAN IN 1994 AND HAS CONTINUED TO THIS DAY.
THE REPRODUCTIONS THAT I'VE DONE ARE BUILT
TO EXACTLY MATCH WHAT WAS ORIGINALLY CREATED.
IN ORDER TO RECREATE THE DESIGNS OF GREENE & GREENE,
IT WAS NECESSARY TO UNDERSTAND THE METHODOLOGY
THAT THE HALLS USED IN JOINING THE VARIOUS PIECES
OF WOOD TOGETHER,
TO UNDERSTAND WHAT THE DIFFERENT MATERIALS WERE,
TO UNDERSTAND WHAT THAT INLAYED SURFACE REALLY WAS.
JACK: WE'RE DOING A GREENE & GREENE-DESIGNED CHAIR
FROM THE THORSEN HOUSE IN BERKELEY.
AND THIS CHAIR HAS INLAY IN THE CREST RAIL.
THE CHAIR IS MADE OF MAHOGANY.
MOST OF THE VINE AND BRANCH AND LEAVES
ARE MADE OF WHITE OAK.
THE ROOT, WHICH IS DARKER IN COLOR,
IS MADE OF ROSEWOOD.
WHEN YOU WANT TO ACHIEVE THE LOOK,
WHEN YOU WANT IT TO LOOK AUTHENTIC TO THE WAY IT WAS DONE,
YOU REALLY HAVE TO MAKE IT THE WAY IT WAS MADE.
WE'RE NOT USING A MODERN TOOL LIKE A RANDOM ORBIT SANDER.
WE ARE USING THE TOOLS THE HALLS WERE USING--
HAND PLANES AND SCRAPERS AND SANDPAPER
THE WAY THAT THEY WERE USING IT.
WE STARTED BY TAKING A TRACING
OF THE ORIGINAL CREST RAIL.
FROM THERE, WE MAKE OUR OWN DRAWING,
AND WE CUT OUT EACH PAPER PATTERN.
THOSE PAPER PATTERNS THEN GET GLUED
TO THE INLAY MATERIAL WE'RE USING.
IT CAN BE WOOD, IT CAN BE PRECIOUS METALS,
IT CAN BE STONE.
WE TAKE A JEWELER'S SAW
AND WE CUT OUT ALL OF THOSE PUZZLE PIECES.
WE ARRANGE THEM ON THE BACKGROUND
AND WE INSCRIBE AROUND IT WITH A KNIFE.
THESE MATERIALS ARE INLAYED INTO THE SURFACE.
SO YOU NEED TO EXCAVATE A POCKET
APPROXIMATELY 1/16 TO AN 1/8 OF AN INCH,
DEPENDING ON THE SIZE,
SO YOU HAVE TO GET IT VERY, VERY PRECISE.
WE GLUE THE PUZZLE PIECES IN.
AFTER THE GLUE IS DRY, WE CARVE THOSE PIECES
TO GIVE IT A 3-D SCULPTURAL EFFECT.
THERE'S A TACTILE TEXTURE TO THE WORK.
JAMES: ESSENTIALLY, THERE HAVE ONLY REALLY EVER BEEN TWO COMPANIES
THAT HAVE EVER BUILT GREENE & GREENE-DESIGNED FURNITURE
FOR A GREENE & GREENE-DESIGNED HOUSE.
THAT WAS THE HALLS AND THAT WAS ME.
I GOT TO DO THAT.
IT WAS--IT WAS, AND CONTINUES TO BE,
THIS ABSOLUTELY INCREDIBLE EXPERIENCE.
BOSLEY: THE GAMBLE HOUSE WAS BUILT AS A WINTER HOME.
AND THERE ARE THINGS ABOUT THIS HOUSE
THAT MAKE A TREMENDOUS AMOUNT OF SENSE
IN THE CLIMATE AND TOPOGRAPHY OF PASADENA
AND THE LIFESTYLE OF CALIFORNIA.
THE ENTRY HALL OF THE GAMBLE HOUSE IS ONE OF THE GREAT SPACES
IN AMERICAN DOMESTIC ARCHITECTURE.
THE TREMENDOUS LEADED ART GLASS TRIPTYCH,
THIS GREAT TREE WITH SPREADING BRANCHES.
THE IDEA OF NATURE IS A DOMINANT FEATURE
AND TRANSFORMS THE EMOTIONS OF PEOPLE
WHO WALK IN THE DOOR.
WE FEEL VERY PROFOUNDLY A SENSE OF CALM AND BEAUTY
WHEN WE'RE SUDDENLY IN THIS COMPLETELY DIFFERENT ENVIRONMENT.
MAN: GLASS IS THE PERFECT MEDIUM TO SEE
THIS MARRIAGE OF ART AND ARCHITECTURE
WHICH HAS BEEN DONE FOR NEARLY A THOUSAND YEARS NOW.
AND GLASS IS JUST THIS AMAZING MATERIAL.
THE COLOR IS WORKING WITH TRANSMITTED LIGHT
AS OPPOSED TO REFLECTED LIGHT,
AND SO IT ADDS A WHOLE 'NOTHER DIMENSION
TO HOW AN ARTIST CAN WORK.
THE JUDSON STUDIOS WAS FOUNDED IN LOS ANGELES IN 1897
BY MY GREAT-GREAT-GRANDFATHER AND HIS 3 SONS.
AND WE'VE BEEN MAKING STAINED GLASS
IN LOS ANGELES FOR OVER A HUNDRED YEARS.
JUDSON MANUFACTURED THE WINDOWS FOR FRANK LLOYD WRIGHT
AT THE HOLLYHOCK HOUSE,
AS WELL AS THE ENNIS HOUSE A LITTLE BIT LATER.
THE JUDSON STUDIOS ARE BASED RIGHT HERE IN THE ARROYO SECO,
WHICH WAS THE LOCATION WHERE A LOT OF THE ARTISTS
AND ARTISANS SETTLED
BECAUSE IT FIT RIGHT IN BETWEEN THE MILLIONAIRES OF PASADENA
AND THE BUSINESS DISTRICT OF DOWNTOWN LOS ANGELES.
CALIFORNIA AT THAT TIME WAS ALSO A PLACE OF RENEWAL.
WILLIAM LEES JUDSON CAME HERE FROM CHICAGO FOR HEALTH REASONS,
BUT FOUND RENEWED LIFE AND ENERGY.
THERE WAS A VERY OPTIMISTIC MENTALITY
A LOT OF PEOPLE HAD THAT PLAYED OUT IN THEIR WORK.
CALIFORNIA ATTRACTS ARTISTS WHO THINK DIFFERENTLY,
BUT ALSO THE CLIENTELE.
CALIFORNIA PROVIDED A MARKET FOR THESE ARTISTS,
AND WE'RE STILL IN A GROWTH AREA
WHERE THEY'RE STILL BUILDING CHURCHES
AND THEY'RE STILL BUILDING COMMERCIAL BUILDINGS
AND MUSEUMS.
THAT HAS A REALLY STRONG INFLUENCE
ON THE JUDSON STUDIOS.
WE'VE ALWAYS BEEN LOOKING FOR NEW WAYS
TO EXPRESS GLASS.
WE'VE BEEN ABLE TO DO SOMETHING A LITTLE BIT DIFFERENT
AND START FUSING GLASS.
FUSING GLASS IS A VERY CONTEMPORARY, MODERN APPROACH
TO THE USE OF GLASS.
MAN: IS EVERYONE ON A THUMB?
BLACKMAN: THE DIFFERENCE BETWEEN FUSED AND STAINED GLASS
IS THAT FUSED GLASS WAS DESIGNED
TO HAVE EVERY COLOR BE COMPATIBLE.
DIFFERENT COLORS OF GLASS HEAT AND CONTRACT AT DIFFERENT RATES.
AND IF YOU WANT TO MELT THEM TOGETHER,
ONE OF THEM IS GONNA COOL FASTER THAN THE OTHER ONE,
WHICH WILL CAUSE IT TO CRACK.
SO WE HAD A VERY LARGE PALLET OF GLASSES
THAT ALL HAVE THE SAME COEFFICIENT OF EXPANSION,
WHICH MAKES IT SO WE CAN ADD AS MANY COLORS AS WE WANT
INTO ONE SINGLE PIECE OF GLASS WITHOUT STRESS.
JUDSON: ALL OF THE PROJECTS THAT WE DO HERE
AT JUDSON STUDIOS ARE CUSTOM DESIGNED.
AND SO WE START BY GATHERING INFORMATION
FROM A CLIENT AND PUTTING THAT DOWN
IN A ROUGH SKETCH FORM IN THE COMPUTER.
WOMAN: BEING ABLE TO DESIGN THINGS ON THE COMPUTER
AND BEING ABLE TO CHANGE THEM JUST SAVES US A LOT OF TIME.
AND WHEN MOVING FROM DESIGN TO THE FULL SIZE,
IT ALSO SAVES US A LOT OF TIME
BECAUSE WE CAN JUST PRINT SOMETHING
THAT'S AT THE ACTUAL SIZE.
IT'S CALLED THE CARTOON.
JUDSON: THE FULL-SIZE CARTOON THEN IS USED
BY THE CUTTERS TO CUT UP SHEETS OF MANILA PAPER
THAT BECOME TEMPLATES TO CUT THE GLASS.
AND THE GLASS IS CUT BY HAND WITH A SIMPLE STEEL WHEEL
THAT RUNS ON THE SURFACE OF THE GLASS
AND IS BROKEN INTO PIECES.
[WOMAN SPEAKING SPANISH]
JUDSON: IT'S TAKEN TO THE PAINTERS
IF IT'S PAINTED ON,
AND THEN THE PAINTERS PAINT AND FIRE ON THE GLASS.
MAN: THE COLOR COMES FROM THE GLASS.
AND WHAT I DO IS MOSTLY CREATING LIGHT AND SHADOW
AND OUTLINES TO CREATE IMAGE.
WE'LL DO WATER-BASED PAINT FIRST,
AND THEN WE'LL DO OIL-BASED,
THEN WE'LL FIRE IT AFTER.
AND IF WE NEED TO DO MORE LAYER ON TOP,
WE CAN PAINT IT AND FIRE IT AGAIN.
JUDSON: ONCE IT'S FIRED, IT CAN COME BACK FOR GLAZING,
WHICH IS THE LEADING OF THE PIECES.
THE LEADING IS BASICALLY CHANNELS OF LEAD
THAT ARE WRAPPED AROUND THE PIECES OF GLASS AND SOLDERED
WHEREVER THOSE JOINTS MEET.
CORDOVA: IT'S EASY TO WORK WITH LEAD
BECAUSE WE CAN BEND IT, YOU KNOW.
I HAVE 35 YEARS IN THE STAINED GLASS.
I LOVE THIS JOB.
NO MATTER HOW DIFFICULT IT IS,
I ENJOY IT MORE WHEN IT'S MORE DIFFICULT.
JUDSON: BEING THE PRESIDENT OF AN OLD, TRADITIONAL LEGACY STUDIO,
IT'S A TRICKY THING BECAUSE YOU WANT TO KEEP
THE QUALITY AND REPUTATION OF THE COMPANY
WHILE AT THE SAME TIME REACHING OUT
AND LOOKING FOR NEW WAYS TO PUSH THE MEDIUM OF GLASS.
THE SENSE OF CRAFT IN THE HUMAN HAND
IN OUR ART AND DESIGN
IS MUCH MORE DESIRABLE NOW THAN IT HAS BEEN
IN THE RECENT PAST.
AND SO I THINK THERE'S A RENEWED INTEREST
IN ART FORMS THAT WORK IN DIFFERENT MATERIALS,
NOT ONLY IN STAINED GLASS BUT OTHER MEDIUMS AS WELL.
[CHOIR VOCALIZING]
GAMBLE HIRREL: I ALWAYS THOUGHT THE GAMBLE HOUSE
WAS WHAT EVERYBODY'S GRANDPARENTS' HOUSE WAS LIKE.
WHEN I WAS A SOPHOMORE IN HIGH SCHOOL,
THE HOUSE OPENED TO THE PUBLIC,
AND I REMEMBER STANDING IN LINE TO GET INSIDE MY GRANDPARENTS' HOUSE
AND REALIZING JUST EVERYTHING THAT THE GREENES PUT INTO IT,
FROM THE JOINERY TO THE CARPETS
TO THE PEGS IN THE FURNITURE.
THIS REALLY WAS SOMETHING EXTREMELY SPECIAL.
JACK IPEKJIAN: IT'S HARD TO DENY THE SENSE OF FREEDOM
THE GREENES MUST HAVE FELT BEING HERE IN CALIFORNIA.
IN HIS WRITINGS, CHARLES TALKS ABOUT
THE IMPORTANCE OF CLIMATE AND THE ENVIRONMENT
AND THE EFFECT THAT THAT HAS ON HIS DESIGNS.
JACK: THERE'S A FREEDOM IN CALIFORNIA.
THERE IS INSPIRATION FROM THE PAST
AND THERE'S A FEARLESSNESS TO GO BEYOND IT.
SUTHERLIN McLEOD: THE GREENES WERE ACTUALLY
QUITE FORWARD-THINKING AND QUITE MODERN
AND VERY INFLUENTIAL IN OUR MID-CENTURY MODERN MOVEMENT
THAT CAME OUT OF SOUTHERN CALIFORNIA.
THE GAMBLE HOUSE IS AS RELEVANT TODAY
AS WHEN IT WAS BUILT.
WOMAN: I THINK THERE'S 250 CRAFT STUDIOS IN SANTA CRUZ.
THERE'S CERAMIC STUDIOS, GLASS STUDIOS.
IT'S A GREAT ARTIST COMMUNITY.
I KNOW PEOPLE WOULD SAY, "OH, A CALIFORNIA ARTIST,"
BUT BEING CREATIVE IS, LIKE, WHO I AM.
MAKING CLOTHES IS WHO I AM.
IT'S MY WORLD, AND I LOVE IT.
MY MOM SEWED, AND SHE TAUGHT US TO SEW.
WHEN I WAS, I WOULD SAY JUNIOR HIGH,
MY MOM TAUGHT ME ON THIS MACHINE, THIS LITTLE SINGER,
AND IT'S JUST SIMPLE.
IT'S NOT INVOLVED TO THREAD OR--
IT JUST MAKES ME HAPPY WHEN I SIT AT THIS MACHINE.
I STARTED OUT--OF COURSE IT WAS THE SIXTIES,
AND, YOU KNOW, THE SIXTIES WERE ALL ABOUT
BACK TO THE LAND.
AND SO WE WANTED TO MAKE EVERYTHING.
I WOULD GET THE RAW WOOL AND CARD IT,
AND THEN I HAD TO SPIN IT,
AND THEN I WOULD WEAVE WITH THE YARN THAT I SPUN.
I HAD MET GORDON.
WE WERE LIVING TOGETHER, AND I TAUGHT HIM TO WEAVE.
AND HE WOULD DO THE SHOWS WITH ME.
I WAS DOING SCARVES AND PILLOWS. I WAS DOING CARPETS.
I KIND OF BUSINESS-WISE KNEW THAT WOMEN
WERE GONNA SPEND MORE ON CLOTHES THAN ON CARPETS,
SO I WOVE AND MADE CLOTHES.
WOMAN: THE MUSIC WAS OUTRAGEOUS.
PEOPLE WERE GROWING THEIR HAIR LONG
AND THEN ALL OF THE FLAMBOYANT CLOTHING.
THERE WAS ALSO ALL THE CROCHET AND THE BEADS.
IT WAS JUST PART OF THE LAIDBACK, REALLY RELAXED,
SOMETHING TO DO WITH YOUR HANDS.
MAN: I WOULD LIKE TO SAY IT'S ALL A HAZE.
YOU KNOW, IF YOU REMEMBER IT, YOU WEREN'T THERE.
BENNETT: IT WAS AN OVERALL REBELLION.
PEOPLE WANTED TO CHOOSE SIDES.
ONE WAY WAS TO DRESS APPROPRIATELY OR NOT.
I'D SEE WEARABLE ART AS SOMETHING
THAT REALLY RISES ABOVE THE AVERAGE,
WAY ABOVE THE AVERAGE,
AND BECOMES SOMETHING OTHER THAN JUST A COAT
OR YOUR GRANDMOTHER'S HAND-KNITTED SHAWL.
LEVENTON: WEARABLE ART IS CLOTHING MADE BY PEOPLE
WHO IDENTIFY AS ARTISTS,
USUALLY FROM THEIR OWN HANDMADE TEXTILES.
AND ORIGINALLY IT WAS PIECES THAT WERE ONE OF A KIND.
BENNETT: THIS COAT WAS COMMISSIONED AND CREATED FOR ME.
THE ELEMENTS ARE JUST SO DRAMATIC.
IT WAS A WONDERFUL PIECE.
I JUST--I LOVE IT. I STILL LOVE IT.
JANET LIPKIN INCORPORATED
INTERESTING MATERIALS IN HER WORK,
PREDOMINANTLY CROCHET, BUT A LOT OF THEM
ARE EMBELLISHED WITH BEADS.
I WISH I WERE A BETTER HAT PERSON.
I WOULD HAVE WORN THEM FAR MORE.
LEVENTON: WEARABLE ART IN CALIFORNIA
GREW OUT OF THE HANDMADE, DO-IT-YOURSELF IMPULSE...
AND THE IDEA THAT MASS-PRODUCED CLOTHING IS SOULLESS.
TIE-DYEING, THE QUINTESSENTIAL HIPPIE DECORATIVE TECHNIQUE
IS A VERY SIMPLE FORM OF SHIBORI DYEING.
IT IS ONE OF THE KEY TECHNIQUES FOR ARTWEAR.
A LOT OF ARTISTS WERE USING THE GARMENT AS METAPHOR.
YOU HAVE GARMENTS THAT ANTHROPOMORPHIZE PEOPLE.
YOU HAVE GARMENTS THAT ARE POLITICAL.
YOU HAVE GARMENTS THAT ARE LANDSCAPES.
AND MANY PEOPLE WERE THINKING OF THESE GARMENTS
NOT ONLY AS HANGING ON THE BODY,
THEY WERE ALSO THINKING ABOUT THEM AS HANGING ON THE WALL.
THERE WAS THIS DUAL WEARABLE, UNWEARABLE ASPECT TO THEM.
IT BEGAN WITH THE TEXTILE AND THIS LABORIOUS,
LOVING, OBSESSIVE HAND-MAKING PROCESS.
CROSS: I WANT TO SEE THE RED ONE, THIS ONE. YEAH.
- SHOULD I SET IT? - YEAH.
CROSS, VOICE-OVER: WHEN I SAW WHAT OTHER WEAVERS WERE DOING,
IT WAS LIKE THE COCOON.
IT WAS MUCH MORE FLOWY, UNCONSTRUCTED.
AND I KNEW I COULD DO BETTER.
I KNEW HOW TO SEW CLOTHES,
SO I COULD DO MY WOVEN,
BUT MAKE IT MORE FITTED.
IF YOU CUT HAND WOVEN, IT JUST FALLS APART.
AND PEOPLE ALWAYS THOUGHT, "OH, THAT MUST HAVE BEEN SCARY
TO CUT UP YOUR WOVEN," BUT YOU KNOW WHAT,
THE FABRIC MEANS NOTHING UNLESS YOU MAKE IT INTO SOMETHING
WHERE SOMEBODY LOVES TO PUT IT ON.
THAT'S A REALLY GOOD FEELING!
DOING THE CRAFT SHOWS, WHETHER THEY WERE RINKY-DINK
OUTDOOR SHOWS OR AT THE SMITHSONIAN,
PEOPLE WERE LIKE, "OH, MY GOD, YOU MADE THIS?"
AND THAT'S PART OF IT.
I COULDN'T WAIT TO GET BACK TO THE SHOP AND CREATE.
I LOVE THAT ASPECT OF IT.
MAN: WE TRAVEL TO ALL THE MAJOR CITIES,
PROBABLY ABOUT 10 SHOWS A YEAR.
I MEAN, THAT'S JUST-- THAT'S THE FUN OF IT.
YOU KNOW, THE BEST PART IS GOING AND SELLING,
TALKING TO THE PEOPLE.
COMING HOME AND MAKING IT IS A WHOLE OTHER THING.
CROSS: OH, THE COLOR'S COMING OUT REALLY NICE.
HEINEL: AND YOU KNOW HOW CALIFORNIA IS A GREAT PLACE
TO HAVE YOUR STUDIO AND WORK ON, YOU KNOW, AN ART AND CRAFT.
CROSS: I'VE BEEN WORKING WITH ROSA MARTINEZ
FOR ALMOST 30 YEARS,
AND SHE IS AMAZING.
WHEN WE WORK TOGETHER, WE LOOK AT THE PIECE,
I SAY, "ROSA, YOU KNOW WHAT, I'D LIKE THE COLLAR
TO BE HIGHER OR MORE"-- "OH, OK."
WE'RE JUST ON THE SAME PAGE.
OH, GREAT. YOU KNOW, I REALLY LIKE
DOING THE SEAMS ON THE OUTSIDE.
THAT REALLY WORKED OUT.
MARTINEZ: WE READ OUR MINDS. [LAUGHS]
SHE MARK THE FABRICS AND I DO THE CUTTINGS.
IN MEXICO, I WENT TO THE PATTERN SCHOOL
AND SEWING SCHOOL.
I LOVE MY WORK. IT'S MY PASSION.
LEVENTON: PART OF THE REASON WEARABLE ART
HAS BEEN SUCH A QUINTESSENTIALLY CALIFORNIA FORM
ARE THE PLACES TO STUDY--
UC DAVIS, UC BERKELEY,
CALIFORNIA COLLEGE OF ARTS AND CRAFTS.
MANY OF THE ARTISTS CAME FROM NON-FIBER PROGRAMS
AND SEVERAL OF THE EARLY BAY AREA ARTISTS
STARTED BY PAINTING ON FABRIC.
BENNETT: FRIENDS SAID, "SYLVIA YOU DON'T WEAR CLOTHES,
YOU WEAR PIECES."
WHICH IS TRUE.
I'VE ALWAYS REFERRED TO THIS WORK AS PIECES,
NOT JACKET, VEST, WHATEVER.
LEVENTON: K. LEE MANUEL WORKED PRIMARILY
WITH FEATHERS AND PAINTED LEATHER.
THIS COLLAR IS VERY WEARABLE.
IT JUST FOLDS OVER THE SHOULDERS,
TIES IN BACK,
AND FORMS TO THE BODY.
JEAN CACICEDO'S RAIN COAT,
IT'S A FELTED COAT.
THE WORDS "RAIN" ARE PUNCHED INTO THE COAT.
AND THE COAT ITSELF IS SLASHED FULL OF LITTLE RAINDROPS.
IT'S A RAIN COAT THAT IS A RAIN SHOWER,
BUT IT'S FULL OF HOLES.
YOU ARE NEVER EVER EVER GOING TO BE ABLE
TO KEEP THE WATER OFF YOU.
KAISIK WONG GREW UP IN THE BAY AREA.
HE WENT TO PACIFIC BASIN COLLEGE OF FASHION.
AND KAISIK WAS INVOLVED IN THE AVANT-GARDE UNDERGROUND WORLD
IN SAN FRANCISCO.
HE LOVED ETHNIC FABRICS--
GUATEMALAN IKAT AND CHINESE BROCADE
AND LAMÉ. HE LOVED LAMÉ.
KAISIK WAS DOING SOMETHING VERY INDIVIDUAL.
IN 2002, BALENCIAGA SENT A VEST DOWN THE RUNWAY,
AND IT WAS A DEAD RINGER FOR A VEST
THAT KAISIK HAD DESIGNED IN 1974.
KNOX BENNETT: YOU CAN'T COPYRIGHT ANY OF THIS STUFF.
BENNETT: IF YOU HAVE THE TALENT,
YOU REINVENT AND MOVE ON.
YOU DON'T--YOU KNOW, YOU CAN'T PROTECT ANYTHING.
PEOPLE WERE SO CREATIVE.
THERE WERE SOME JUST FABULOUS PIECES OF WORK
THAT WERE SO INVENTIVE.
AND AS CLOTHING,
THEY WEREN'T ALWAYS THE MOST COMFORTABLE THINGS TO WEAR.
YOU FELT LIKE A WALKING SCULPTURE.
LEVENTON: YOU NEED A CERTAIN CONFIDENCE
TO CARRY OFF A MAJOR PIECE OF CLOTHING
SO THAT YOU ARE WEARING IT
INSTEAD OF HAVING IT WEAR YOU.
BENNETT: THIS IS JANET LIPKIN.
IT'S A SWEATER/JACKET.
THE ELEMENTS ARE FLOWER SHAPES, PETALS.
THE COLLAR WILL GO UP INTO A FULL SORT OF BLOSSOM EFFECT
AROUND THE FACE.
IT'S A REALLY NICE EXAMPLE OF HER FREEFORM CROCHET.
I USED TO WEAR IT ALL THE TIME BACK IN NEW YORK,
BUT I COULDN'T GO HALF A BLOCK WITHOUT BEING STOPPED
BY PEOPLE--"WHAT IS IT? WHO MADE IT?
HOW DID YOU GET IT?"
AND ON AND ON AND ON.
IT FINALLY GOT TO THE POINT WHERE--
I'M SERIOUS, I COULD NOT WEAR IT
IF I WERE IN A HURRY OR THAT.
I HAD TO JUST LEAVE IT AT THE HOTEL.
THAT WAS CALIFORNIA.
THAT WAS THE IMPACT IT HAD.
I MEAN, THAT REALLY WAS CALIFORNIA INFLUENCE.
KNOX BENNETT: YEAH.
CROSS: WHEN I DECIDED TO MAKE THE TRANSITION
FROM WEAVING MYSELF TO BUYING THE FABRIC,
JUST OPENED A WHOLE WORLD FOR ME.
I COULD TAKE SOME OF THE COLOR OUT
AND OVERDYE IT,
EMBELLISH IT, DO MY APPLIQUÉS ON IT.
I CAN AIRBRUSH OUT A COLOR I DON'T LIKE.
IT'S JUST ENDLESS WHAT I CAN DO.
IT'S LIKE I HAVE THIS CANVAS IN FRONT OF ME,
BUT IT'S A GARMENT.
LIVING IN CALIFORNIA,
THE WHOLE WEARABLE ART MOVEMENT WAS HAPPENING,
AND IT WAS SO EXCITING TO SEE ALL THESE ARTISTS,
BUT IT WAS CONCEPTUAL CLOTHING.
AND I KNEW I DIDN'T WANT TO DO CONCEPTUAL CLOTHING,
BUT THAT WAS AN INFLUENCE,
THAT WORLD OF CONCEPTUAL, WEARABLE ART.
I'M MORE WEARABLE DESIGN.
THEY'RE WEARABLE ART.
LEVENTON: I'M NOT SURE I AGREE WITH HER,
ALTHOUGH THERE IS NOT NECESSARILY OVERT CONTENT
IN DEBORAH CROSS' WORK.
THERE HAVE ALWAYS BEEN PEOPLE IN THIS MOVEMENT
WHO CONCENTRATED ON MAKING BEAUTIFUL CLOTHES.
AND SO TO BE CALLED WEARABLE ART
FOR JUST SHEER PHYSICAL, AESTHETIC BEAUTY,
I THINK THAT'S PERFECTLY LEGITIMATE.
LEVENTON: CALIFORNIA, I THINK,
HAD THE IDEAS OF DESIGN.
THE ARTISTS IN CALIFORNIA,
THEY WERE DIFFERENT.
IT DID LOOK DIFFERENT.
THERE'S SOMETHING IN CALIFORNIA MENTALLY THAT'S JUST
MORE FREEING.
IT REALLY IS A CREATIVE STATE.
WOMAN: ♪ I LOVE YOU ♪
♪ CALIFORNIA ♪
♪ YOU'RE THE GREATEST STATE ♪
♪ OF ALL ♪
♪ OOH ♪
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