1 00:00:07,471 --> 00:00:12,306 [Ursula von Rydingsvard: "Ona"] 2 00:00:19,377 --> 00:00:20,979 [buzzing sounds from machinery] 3 00:00:20,979 --> 00:00:23,769 [Polich Talix Fine Art Foundry, Rock Tavern, NY] 4 00:00:36,727 --> 00:00:41,398 I'm trying to get a look that has a wide range-- 5 00:00:41,398 --> 00:00:42,667 a variation-- 6 00:00:43,364 --> 00:00:45,577 between the different colors. 7 00:00:48,310 --> 00:00:49,925 [VON RYDINGSVARD] And then I did this a lot. 8 00:00:49,925 --> 00:00:50,837 [PHILIP CASTORE] I see that. I like it. 9 00:00:50,837 --> 00:00:51,623 [VON RYDINGSVARD] And I did this. 10 00:00:51,973 --> 00:00:53,245 But I really exaggerated. 11 00:00:53,245 --> 00:00:54,155 [CASTORE] Okay. 12 00:00:54,155 --> 00:00:56,048 [VON RYDINGSVARD] But you, with your leaky lines, 13 00:00:56,048 --> 00:00:57,217 might have made the best thing of all, 14 00:00:57,217 --> 00:00:58,422 do you know what I mean? 15 00:00:58,422 --> 00:00:59,278 [Philip Castore, Patina Artist] 16 00:00:59,278 --> 00:01:00,346 [CASTORE] Well, we'll see! 17 00:01:00,346 --> 00:01:01,884 [VON RYDINGSVARD] We'll see what it looks like. 18 00:01:02,004 --> 00:01:06,104 I'm just trying to figure out what is going to work! 19 00:01:07,326 --> 00:01:10,734 Next to a big big big Corten steel building. 20 00:01:16,239 --> 00:01:18,871 The Barclays Center piece "Ona" 21 00:01:18,871 --> 00:01:22,793 is really the most major piece that I've done in bronze. 22 00:01:22,793 --> 00:01:26,112 I have never done anything quite that scale. 23 00:01:27,187 --> 00:01:30,846 And "ona" in Polish refers to 'her' or 'she', 24 00:01:31,753 --> 00:01:35,859 And I thought that there's something about that sculpture 25 00:01:35,859 --> 00:01:40,352 that has some hint of a female feel. 26 00:01:42,292 --> 00:01:44,986 It is a simple name and it has a reference 27 00:01:44,986 --> 00:01:46,552 that makes sense in my head 28 00:01:46,552 --> 00:01:50,436 in terms of what that sculpture looks like. 29 00:02:03,097 --> 00:02:05,468 I was surprised I was using colors. 30 00:02:06,335 --> 00:02:08,661 I can't stand colors ordinarily 31 00:02:08,661 --> 00:02:10,715 because, in part, I don't know how to use them. 32 00:02:10,715 --> 00:02:13,555 But, also, they feel abrasive to my eyes. 33 00:02:13,555 --> 00:02:16,464 So I was amazed that I was doing this with a patina. 34 00:02:20,487 --> 00:02:23,151 I really didn't know where I was going, 35 00:02:23,151 --> 00:02:25,259 and I kept thinking during the whole process 36 00:02:25,259 --> 00:02:26,552 of my putting on the patina, 37 00:02:26,552 --> 00:02:30,260 "Ursula, you should have stuck to your black!" 38 00:02:31,120 --> 00:02:34,321 But I was convinced that for the Barclays Center, 39 00:02:34,321 --> 00:02:38,060 which is so loaded with that metal look-- 40 00:02:38,060 --> 00:02:40,461 the rusting Corten steel. 41 00:02:40,461 --> 00:02:44,691 I was so convinced that I wanted something that was lighter and brighter. 42 00:02:47,398 --> 00:02:50,309 [CASTORE] The heat opens up the pores of the bronze 43 00:02:50,309 --> 00:02:52,443 and readily accepts the chemical. 44 00:02:52,443 --> 00:02:55,405 You can have a wet application or a dry application. 45 00:02:55,405 --> 00:02:57,287 It gives you different looks. 46 00:02:58,982 --> 00:03:02,648 [VON RYDINGSVARD] I've been able to make the wood do acrobatics, 47 00:03:02,648 --> 00:03:06,780 and I sort of twist it to go into places 48 00:03:06,780 --> 00:03:09,644 it never thought it could or would want to. 49 00:03:10,124 --> 00:03:12,085 I can't do that with metal. 50 00:03:14,646 --> 00:03:16,806 There's a level of frustration 51 00:03:16,806 --> 00:03:21,448 because I feel like I'm not in as much control. 52 00:03:23,447 --> 00:03:25,383 The beautiful thing that the wood can do 53 00:03:25,383 --> 00:03:27,776 is give me so many details. 54 00:03:28,337 --> 00:03:31,425 It gives me a psychological base 55 00:03:31,626 --> 00:03:35,098 and details of that base with which to work. 56 00:03:37,500 --> 00:03:40,662 I'm definitely not trying to replicate the wood. 57 00:03:41,154 --> 00:03:44,815 And I'm wanting it to feel like metal, 58 00:03:44,815 --> 00:03:46,721 because it obviously will feel like it. 59 00:03:46,721 --> 00:03:48,921 And I want it to look like metal. 60 00:03:49,456 --> 00:03:51,850 But bronze in any case, in time, 61 00:03:51,850 --> 00:03:54,184 sort of finds its own patina, 62 00:03:54,184 --> 00:03:56,544 and then it takes on its own look. 63 00:04:06,836 --> 00:04:09,121 Often these sculptures are large. 64 00:04:09,121 --> 00:04:10,845 Often I'm on scaffolding. 65 00:04:10,845 --> 00:04:13,678 I'm on scaffolding, in fact, one-third of my life. 66 00:04:14,478 --> 00:04:16,214 There's always this urgency 67 00:04:16,214 --> 00:04:20,111 with my having only so many years left. 68 00:04:20,321 --> 00:04:23,776 And when they say, "When you get older, life gets easier,"-- 69 00:04:24,006 --> 00:04:25,560 it does not. 70 00:04:26,089 --> 00:04:29,877 You know, my biggest hope is that I get more courage, 71 00:04:29,877 --> 00:04:31,708 I get more trust in myself, 72 00:04:31,708 --> 00:04:32,784 I get more faith-- 73 00:04:32,784 --> 00:04:37,175 that I'm able to do things that maybe I wasn't able to do before. 74 00:04:37,823 --> 00:04:42,480 And I feel unbelievably lucky to have the kind of talent-- 75 00:04:42,480 --> 00:04:44,077 the kind of brains-- 76 00:04:44,077 --> 00:04:46,073 that are working with me. 77 00:04:49,176 --> 00:04:52,751 I've been working in Brooklyn for thirty-four years. 78 00:04:53,140 --> 00:04:57,524 It does make me happy that there's a piece of mine in Brooklyn. 79 00:05:02,145 --> 00:05:06,284 It was very clear that this was not a museum situation. 80 00:05:07,877 --> 00:05:10,940 I wanted this to feel 81 00:05:11,377 --> 00:05:15,281 as though one could approach the work... 82 00:05:15,415 --> 00:05:17,583 that one could approach it psychologically. 83 00:05:17,583 --> 00:05:19,739 One could also approach it physically. 84 00:05:19,739 --> 00:05:22,677 But they would both sort of blend. 85 00:05:22,940 --> 00:05:25,277 Somehow, I think that one could almost 86 00:05:25,277 --> 00:05:27,180 see with one's hands, as well, 87 00:05:27,180 --> 00:05:28,993 when one feels it. 88 00:05:37,518 --> 00:05:41,384 It just gives me pleasure to have the possibility 89 00:05:42,554 --> 00:05:45,845 to enable people to be exposed to art, 90 00:05:45,845 --> 00:05:47,650 should they want to. 91 00:05:50,413 --> 00:05:53,983 It's nothing that I would wish to force upon them. 92 00:05:54,383 --> 00:05:56,814 But that makes me feel good.