0:00:07.471,0:00:12.306 [Ursula von Rydingsvard: "Ona"] 0:00:19.377,0:00:20.979 [buzzing sounds from machinery] 0:00:20.979,0:00:23.769 [Polich Talix Fine Art Foundry, Rock Tavern, NY] 0:00:36.727,0:00:41.398 I'm trying to get a look that has a wide range-- 0:00:41.398,0:00:42.667 a variation-- 0:00:43.364,0:00:45.577 between the different colors. 0:00:48.310,0:00:49.925 [VON RYDINGSVARD] And then I did this a lot. 0:00:49.925,0:00:50.837 [PHILIP CASTORE] I see that. I like it. 0:00:50.837,0:00:51.623 [VON RYDINGSVARD] And I did this. 0:00:51.973,0:00:53.245 But I really exaggerated. 0:00:53.245,0:00:54.155 [CASTORE] Okay. 0:00:54.155,0:00:56.048 [VON RYDINGSVARD] But you, with your leaky lines, 0:00:56.048,0:00:57.217 might have made the best thing of all, 0:00:57.217,0:00:58.422 do you know what I mean? 0:00:58.422,0:00:59.278 [Philip Castore, Patina Artist] 0:00:59.278,0:01:00.346 [CASTORE] Well, we'll see! 0:01:00.346,0:01:01.884 [VON RYDINGSVARD] We'll see what it looks like. 0:01:02.004,0:01:06.104 I'm just trying to figure out what is going to work! 0:01:07.326,0:01:10.734 Next to a big big big Corten steel building. 0:01:16.239,0:01:18.871 The Barclays Center piece "Ona" 0:01:18.871,0:01:22.793 is really the most major piece that I've done in bronze. 0:01:22.793,0:01:26.112 I have never done anything quite that scale. 0:01:27.187,0:01:30.846 And "ona" in Polish refers to 'her' or 'she', 0:01:31.753,0:01:35.859 And I thought that there's something about that sculpture 0:01:35.859,0:01:40.352 that has some hint of a female feel. 0:01:42.292,0:01:44.986 It is a simple name and it has a reference 0:01:44.986,0:01:46.552 that makes sense in my head 0:01:46.552,0:01:50.436 in terms of what that sculpture looks like. 0:02:03.097,0:02:05.468 I was surprised I was using colors. 0:02:06.335,0:02:08.661 I can't stand colors ordinarily 0:02:08.661,0:02:10.715 because, in part, I don't know how to use them. 0:02:10.715,0:02:13.555 But, also, they feel abrasive to my eyes. 0:02:13.555,0:02:16.464 So I was amazed that I was doing this with a patina. 0:02:20.487,0:02:23.151 I really didn't know where I was going, 0:02:23.151,0:02:25.259 and I kept thinking during the whole process 0:02:25.259,0:02:26.552 of my putting on the patina, 0:02:26.552,0:02:30.260 "Ursula, you should have stuck to your black!" 0:02:31.120,0:02:34.321 But I was convinced that for the Barclays Center, 0:02:34.321,0:02:38.060 which is so loaded with that metal look-- 0:02:38.060,0:02:40.461 the rusting Corten steel. 0:02:40.461,0:02:44.691 I was so convinced that I wanted something that was lighter and brighter. 0:02:47.398,0:02:50.309 [CASTORE] The heat opens up the pores of the bronze 0:02:50.309,0:02:52.443 and readily accepts the chemical. 0:02:52.443,0:02:55.405 You can have a wet application or a dry application. 0:02:55.405,0:02:57.287 It gives you different looks. 0:02:58.982,0:03:02.648 [VON RYDINGSVARD] I've been able to make the wood do acrobatics, 0:03:02.648,0:03:06.780 and I sort of twist it to go into places 0:03:06.780,0:03:09.644 it never thought it could or would want to. 0:03:10.124,0:03:12.085 I can't do that with metal. 0:03:14.646,0:03:16.806 There's a level of frustration 0:03:16.806,0:03:21.448 because I feel like I'm not in as much control. 0:03:23.447,0:03:25.383 The beautiful thing that the wood can do 0:03:25.383,0:03:27.776 is give me so many details. 0:03:28.337,0:03:31.425 It gives me a psychological base 0:03:31.626,0:03:35.098 and details of that base with which to work. 0:03:37.500,0:03:40.662 I'm definitely not trying to replicate the wood. 0:03:41.154,0:03:44.815 And I'm wanting it to feel like metal, 0:03:44.815,0:03:46.721 because it obviously will feel like it. 0:03:46.721,0:03:48.921 And I want it to look like metal. 0:03:49.456,0:03:51.850 But bronze in any case, in time, 0:03:51.850,0:03:54.184 sort of finds its own patina, 0:03:54.184,0:03:56.544 and then it takes on its own look. 0:04:06.836,0:04:09.121 Often these sculptures are large. 0:04:09.121,0:04:10.845 Often I'm on scaffolding. 0:04:10.845,0:04:13.678 I'm on scaffolding, in fact, one-third of my life. 0:04:14.478,0:04:16.214 There's always this urgency 0:04:16.214,0:04:20.111 with my having only so many years left. 0:04:20.321,0:04:23.776 And when they say, "When you get older, life gets easier,"-- 0:04:24.006,0:04:25.560 it does not. 0:04:26.089,0:04:29.877 You know, my biggest hope is that I get more courage, 0:04:29.877,0:04:31.708 I get more trust in myself, 0:04:31.708,0:04:32.784 I get more faith-- 0:04:32.784,0:04:37.175 that I'm able to do things that maybe I wasn't able to do before. 0:04:37.823,0:04:42.480 And I feel unbelievably lucky to have the kind of talent-- 0:04:42.480,0:04:44.077 the kind of brains-- 0:04:44.077,0:04:46.073 that are working with me. 0:04:49.176,0:04:52.751 I've been working in Brooklyn for thirty-four years. 0:04:53.140,0:04:57.524 It does make me happy that there's a piece of mine in Brooklyn. 0:05:02.145,0:05:06.284 It was very clear that this was not a museum situation. 0:05:07.877,0:05:10.940 I wanted this to feel 0:05:11.377,0:05:15.281 as though one could approach the work... 0:05:15.415,0:05:17.583 that one could approach it psychologically. 0:05:17.583,0:05:19.739 One could also approach it physically. 0:05:19.739,0:05:22.677 But they would both sort of blend. 0:05:22.940,0:05:25.277 Somehow, I think that one could almost 0:05:25.277,0:05:27.180 see with one's hands, as well, 0:05:27.180,0:05:28.993 when one feels it. 0:05:37.518,0:05:41.384 It just gives me pleasure to have the possibility 0:05:42.554,0:05:45.845 to enable people to be exposed to art, 0:05:45.845,0:05:47.650 should they want to. 0:05:50.413,0:05:53.983 It's nothing that I would wish to force upon them. 0:05:54.383,0:05:56.814 But that makes me feel good.