(bright music) - [Announcer] Visit Rain Worthington's ethereal installation at Hilltown Commons.

Artist Stephen Tyson discusses his work.

♪ To find the love that you forgotten ♪ - [Announcer] And catch a performance from Dave Maswick and Joel Brown.

It's all ahead on this episode of "AHA."

- [Announcer] Funding for AHA has been provided by your contribution and by contributions to the WMHT venture fund.

Contributors include The Leo Cox Beach ♪ A House for Arts, a place for all things creative ♪ Robert and Doris Fischer Malesardi, and The Robison Family Foundation.

(bright music) - Hi, I'm Matt Rogowicz and this is "AHA," A House for Arts, a place for all things creative.

Established composer Rain Worthington recently re-embraced her earlier passion for sculptural spaces.

We took a trip to Hilltown Commons in Rens Laville to see her multimedia installation, "Ethereal Residences."

(gentle music) - I'm a composer and a multidisciplinary artist.

I've been a composer for decades and just recently expanded into multidisciplinary, kind of re-embracing an earlier passion for visual arts.

So part of this show includes drawings that are very early on to show that this visual art thread went through all the years I was composing too.

I started in art in doing photography, but I also at that time got a piano and just started making up things.

I took the piano to New York with me when I moved to New York back in the mid-1970s, and people would say, "Who's the musician?"

And I said, "I just make up things."

I was encouraged to do performances on my piano, pieces, and so I started doing that and then the music kind of took off and had a life of its own.

I always felt my music because I wasn't trained in any way and not trained on any instrument.

My music just came out intuitively and I always felt that my music kind of tapped into a nonverbal kind of channel of emotional associations.

(dreamy music) One of the pieces that probably is most recognized in a way was written in 2004 and it was after I moved upstate after 9/11, I worked at a Financial Center doing word processing in a word processing center.

The building was the Deutsche Bank building that was right across from the Southern Tower and actually part of the Southern Tower came down through the building.

I did a night shift like from four to two in the morning and so I had left before that happened, but it had a profound effect on me, as it did on everyone.

(dark uneasy music) So out of that came a piece called "Shredding Glass."

The title is meant to kind of convey something that seems impossible, you know, incongruous, you know, I mean in spite of how it was inspired by that event.

It's a quiet piece and I mean there are parts of it that are very quiet and very delicate, and it's about bearing witness to something traumatic.

When I re-embraced sculpture, I started developing little models of sculptures and was encouraged to scale them up.

Leslie Yolen, who's a great artist, knew about this space and she said, "Hey, I think you're ready.

You know, I'll introduce you and you might have an opportunity to do a show at Hilltown Commons."

So that's how it happened.

Hilltown Commons has been around since the 1920s and has gone through different reiterations as a gathering place for philosophers and scientists.

Now their motto is a Campus for the Curious.

I started discovering that gauze, translucent materials just were evocative the same way I think music can be evocative.

(pensive music) "Stillness Descending" is a piece that uses compostable plastic and wires and I paired it with a piece of music called "An Evening Indigo," and it's kind of almost existential kind of feeling about life, about a moment in time.

(pensive music continues) "Evening indigo" I wrote for a violinist from Iceland, Eva Ingolf.

When I started doing "Stillness Descending," it just seemed a perfect match to put the two together because both of them kind of create this kind of frozen moment in time in a way, as stillness descends.

(bright pensive music) "Layers of Disclosure" has kind of an involved story.

My mother had had vascular dementia.

When I was taking care of her, she didn't know how we were connected anymore, 'cause my childhood had disappeared.

But it was just amazing to see someone dealing with that and understanding some of what was happening.

But at some point she became just outta reach, just beyond reach, you know?

And I wrote this piece of music called "Just Beyond Reach," which is my emotional feeling of that time of having to accept it and having to let go.

And so layers of disclosure is kind of the layers of like the the build on each other and are kind of hiding what's underneath.

And I put a standing lamp in the middle, because I wanted it to also represent a sense of home.

(gentle somber music) "A Dance Within Memories," partly dealing with my mother and a loss of memory.

And you realize how fluid and how fine a line it is between memory and actual experience, authentic experience.

So the piece are these kind of ethereal materials turning, which is kind of like about the experience of life, but it's casting shadows on the wall and it's never the same and it's very fluid.

My hopes for people who see the show in person is to just kind of enter a space where the experience is kind of contemplative and just stand kind of in front of the piece and let it touch you in whatever ways it does.

(gentle pensive music) - Stephen Tyson is an artist and educator in Saratoga Springs.

Jade Warrick sat down with Stephen to learn about how his work unites creativity, science, and community.

- How would you describe yourself artistically?

- Hmm, that's a great question.

I see myself as a creative, I'll start with creativity.

Number one.

The importance of that is because it doesn't limit you to how you express yourself.

And so I can work in a variety of different media, whether it's digital or it's paint on canvas or illustration.

I just like the idea of being able to be free to use whatever medium best allows me to express myself.

- Gotta have the freedom, you know, just be relaxed.

That's how you go.

So what about themes of your work?

Like does your work follow a certain theme or are you inspired by any outside influences that show within your work?

- There isn't a particular theme when it comes to my work.

I would say I've been inspired by a variety of different types of art, but not only art, but also in the areas of science.

For example, photo microscopy, looking at cells, looking at things that can't be seen with the unaided eye.

The idea of dots and patterns and being able to see those in nature, but also to see how those are expressed in various cultures around the world has given me the freedom to create connections in ways that were not easily clear to me when I was very young, 'cause I love to do cartoons, I love to do illustration caricatures.

People like Al Hirschfeld who used to be an illustrator with the New York Times, with his beautiful lines and movement, those inspired me.

But as I began to discover Australian Aboriginal Dreamtime art in dots and the way in which this related to worlds and existence that go beyond the every day that connect generations, that move through time, to me this was liberating.

And when I was very young, I had the opportunity to see Martin Luther King at Hunter College.

And the way in which people came together around this idea of uplift, of support of one another to see beyond individual differences, embracing them, acknowledging them, but not being limited by them to find higher values in community with one another.

And so I think my work, if there is an underlying theme, it's about the freedom of expression.

It is also recognizing and observing things in nature, in human behavior and community in general.

And finding the best values out of those situations in order to bring them to light and to show the opportunity to use these as a catalyst for change in positive transformation.

And I think that the arts are a vehicle for that kind of transformation that has a positive value for humanity.

- Oh, I a hundred percent agree.

Art truly can change and shift cultures.

It is one of our leading forces with that.

- Yes.

Absolutely.

- Thank you.

That's beautiful.

You have a heavy like hand in the education within the arts.

So give us a little bit about like why is education important in the arts and what's your favorite part about being an arts educator?

- Well, I started out working for a theater and dance service organization in New York City.

I wanted to do something that allowed me to use the visual arts in a way that was something that I really love, in a way that could inspire people and inspire young people.

And so I was at a Brooklyn Museum retrospective of the work of Romare Bearden.

Coincidentally, somebody came over to me and said, "Hey, there's a principal in the Bronx that's looking for an art teacher.

Would you be interested?"

And I'd complete my graduate work.

And I said, yeah, I would be interested.

And went up there, the interview.

And that launched my academic career, you might say, my interest in education.

And so I did that and it was great because I had a chance to work with young children who did not necessarily see art as a career pathway.

They were just enjoying the idea of creating.

And I would always introduce something that had to do with art history.

I tried to provide a historical context so they can understand how the arts developed, the different communities that the arts developed.

And to recognize that they also had something to contribute, something to say.

I would use the classroom after school to have them work on developing a spring festival of the arts.

So that really excited me, the idea that if we could find ways to create opportunities for young people and also their parents to see the viability of the arts, you know, that this is something that could be feasible if we put the energy and put the pieces in place that allowed this to manifest.

And so that's been really exciting for me and I've continued to do that in a variety of ways.

- It's one of the best parts.

Yes.

And you also like tell the parents, "Hey, look at me.

I used to also be a little kid who was in the same position who just strived to just find creativity.

And now I'm a very successful artist trying to then pass it on."

- Yes.

- So it's just like look right in front of you, who's trying to teach.

Like it's true.

You really can be a successful career-driven artist.

- Absolutely.

- It's gotta break that stereotype.

- Mm-hm.

- So I know you're involved with Black Dimensions Art and Hamilton Hill.

Wanna give us a little bit of your background with those two organizations?

- Oh, listen, one of the things that I've really enjoyed coming to the Capital region 25 years ago was being introduced to Black Dimensions in Art and the Hamilton Hill Arts Center.

I can't say enough about the people who have been involved with those organizations, Margaret Cunningham being one of the key founders, not only the Hamilton Hill Arts Center, Miki Conn as well.

Both of them were part of the founding of the Black Dimensions in Art, which grew out of Black Arts Incorporated.

This organization today is giving opportunities for artists who are international.

They're giving opportunities for young people to learn from professionals.

They are also, and specifically Black Dimensions in Art, one of the things that we've done is we've partnered with SUNY Schenectady.

I developed a program called Art Through the Microscope, where the young people at Trinity Alliance did observational studies of different types of cells through the microscope.

And then they did not only observational drawings, but also then a creative version inspired by what they observed.

And what this did, Jade, was it gave young people an opportunity not only to be creative, but also to see the importance of science and creativity working together.

- Wow, that's great.

Great resources there.

Well, sounds great.

Well, folks need to check Black Dimensions in Art out, Hamilton Hill and your work personally.

And thank you again for joining us.

- Oh, thank you Jade.

Appreciate being here.

- Please welcome Dave Maswick and Joel Brown.

(light guitar music) ♪ Well, I tried my best to win you over ♪ ♪ I tried everything I could to make you mine ♪ ♪ You are the puzzle I can't solve ♪ ♪ You are the complicated blot ♪ ♪ When it comes to loving you ♪ ♪ I can't connect the dots ♪ I tried to move your heart from one place to another ♪ To draw the line between the points of you and me ♪ ♪ To find the love that you forgot ♪ ♪ I gave it all I got ♪ ♪ When it comes to loving you, I can't connect the dots ♪ ♪ I thought the dots would clearly show ♪ ♪ Where I need to go for love ♪ ♪ But now I see that I was wrong ♪ ♪ You knew it all along, it's true ♪ ♪ And when I see you walking with another ♪ ♪ my heart sinks lower than my feet ♪ ♪ You must have given him the key ♪ ♪ To the love that you keep locked ♪ ♪ When it comes to loving you, I can't connect the dots ♪ ♪ Oh yeah ♪ (light playful guitar music) ♪ I thought the dots would clearly show ♪ ♪ Where I need to go for love ♪ ♪ But when I read between the lines ♪ ♪ I see I missed the signs, it's true ♪ ♪ And when I see you walking with another ♪ ♪ My heart sinks lower than my feet ♪ ♪ It makes me wonder what he's got ♪ ♪ Makes him someone that I'm not ♪ ♪ When it comes to loving you, I can't connects the dots ♪ ♪ When it comes to loving you, I can't connects the dots ♪ ♪ When it comes to loving you ♪ ♪ I can't connects the dots ♪ (light guitar music) ♪ Did you always know our story ♪ ♪ Was gonna end this way ♪ ♪ That the things we love keep tearing us apart ♪ ♪ Now it's raining down in Texas ♪ ♪ There's a storm in New Orleans ♪ ♪ And there ain't no sunshine left in Tennessee ♪ ♪ You flashed that Mona Lisa's smile ♪ ♪ And that was all it took ♪ ♪ We were Romeo and Juliet for life ♪ ♪ Now it's raining down in Texas ♪ ♪ There's a storm in New Orleans ♪ ♪ And there ain't no sunshine left in Tennessee ♪ ♪ Oh it's a childish thing ♪ ♪ And I should know better ♪ ♪ But the love inside my head ♪ ♪ Don't match the love inside your heart ♪ ♪ And it's still raining down in Texas ♪ ♪ There's a flood in New Orleans ♪ ♪ And there ain't no sunshine left in Tennessee ♪ (gentle guitar music) (gentle guitar music continues) ♪ Oh, it's a childish thing ♪ ♪ And I should know better ♪ ♪ But the love inside my head ♪ ♪ Don't match the love inside your heart ♪ ♪ And it's still raining down in Texas ♪ ♪ There's a flood in New Orleans ♪ ♪ And there ain't no sunshine left in Tennessee ♪ ♪ And there ain't no sunshine left in Tennessee ♪ (light guitar music) ♪ How many have to stand to be counted ♪ ♪ How many have to scream to be heard ♪ ♪ How loud it have to be until they hear us ♪ ♪ How long is it take before we learn ♪ ♪ How many hearts must break to find justice ♪ ♪ How much does it cost to be free ♪ ♪ Where in the world are the answers to these questions ♪ ♪ What in the world would it take for us to see ♪ ♪ It seems no matter how hard we tried ♪ ♪ Nothing will spare us these tears in our eyes ♪ ♪ With our hands on our heads ♪ ♪ And our hearts to the sky ♪ ♪ Some things never change ♪ ♪ Some things never change ♪ ♪ How long is it gonna take before we matter ♪ ♪ How long is it gonna take to be heard ♪ ♪ How long will it be until our prayers are answered ♪ ♪ How long must we (indistinct) to watch our bridges burn ♪ ♪ It seems no matter how hard we try ♪ ♪ Nothing will spare us these tears in our eyes ♪ ♪ With our hands on our heads and our hearts to the sky ♪ ♪ Some things never change ♪ ♪ Some things never change ♪ (gentle guitar music) ♪ There's something happening here ♪ ♪ And what it is ain't exactly clear ♪ ♪ There's a man with a gun over there ♪ ♪ Telling me I got to beware ♪ ♪ I think it's time we stop ♪ ♪ Hey, what's that sound ♪ ♪ Everybody look what's going down ♪ ♪ Stop, children, what's that sound ♪ ♪ Everybody look what's going down ♪ (gentle guitar music continues) ♪ It seems no matter how hard we try ♪ ♪ Nothing will spare us these tears in our eyes ♪ ♪ With our hands on our heads and our hearts to the sky ♪ ♪ Some things never change ♪ ♪ It seems no matter how hard we try ♪ ♪ Nothing will spare us these tears in our eyes ♪ ♪ With our hands on our hearts and our heads to the sky ♪ ♪ Some things never change ♪ ♪ Some things never change ♪ ♪ There's something happening here ♪ ♪ Some things never change ♪ ♪ What it is ain't exactly clear ♪ ♪ Some things never change ♪ ♪ There's a man with a gun over there ♪ (bright music) - Thanks for joining us.

For more arts, visit wmc.org/AHA and be sure to connect with us on social.

I'm Matt Rogowicz.

Thanks for watching.

(bright music continues) - [Announcer] Funding for "AHA" has been provided by your contribution and by contributions to the WMHT venture fund.

Contributors include The Leo Cox Beach Philanthropic Foundation, Chet and Karen Opalka, Robert and Doris Fischer Malesardi, and The Robison Family Foundation.