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This Rob on the Road
is sponsored by the Sacramento
Metropolitan Arts Commission.
Up next,
Rob on the Road - Portraits of Artists
Did you know that Northern California
is one of the most popular places in the country
for artists to create their masterpieces!
>> I'm around people like Thiebaud, Kondos, Garibaldi..
and all of these Sacramento icons and people
that are Northern California..
You know, you left one name out of that list.
Who's that?
Collum. You.
Artist Tim Collum shares his canvas creations
and his powerful passion and purpose.
>> For me I think it's just being positive and upbeat
and giving back as much as I can.
Plus..
>> welcome to Studio L.
L for?
L for Lobenburg.
Of course, there you go!
A stroke of genius from David Lobenburg
inside his Sacramento studio.
And this piece just blows my mind.. Yosemite.
>> Music is the best way that I can show my gifts
with the world.
Than and much more right now,
on Rob on the Road - Portraits of Artists.
And now, Rob on the Road, exploring northern California.
♪
And he has been called an art phenom
and you are watching him at work. Artist Tim Collum.
Good to see you, Tim.
>> Good to see you, Rob.
We are here in your studio and it is amazing!
These creations are stunning, tell me about them.
>> Thank you very much.
It's really a late night release for me and it's one of those
things where I can express it on canvas with tons of color,
tons of texture and really,
um just get as much paint on that canvas as possible.
>> This has exploded for you; has it exceeded
your wildest imagination that you're becoming a household name
for your art.
>> Yeah, it.. you know to me,
it's just the reactions
that I get are more and more where I get surprised
and honestly it's one of those things where I give someone
a painting or surprise them or something like that
and I think for me that's the best thing is their smile
and yeah, it's a little hard to get used to.
It's a little uncomfortable at times because people
are starting to get to know
my work a little bit more and for me it's just
the same thing as late night in a garage and really,
or in a studio and just basically just working away.
>> We have some legends in northern California that
are known all around the world for their artistic work
and you Tim have been compared to them.
Yeah that's, I mean those instances are the things
that make me, I'm like whoa.
>> But I see it, I've interviewed them
and I see the caliber of work.
>> Yeah, I uh.. it's one of those things
that I'm really fortunate where I live Rob,
and the thing is I'm around people like Thiebaud,
Kondos, Garibaldi..
Sacramento icons and people that are northern California
and I'm just fortunate to grow up kind of in their playground
so that's for me one of those things that I've gotten a chance
to see their art first hand and talk to them and definitely
highlight influence with them so I take a lot of their own
style and each one of them and put it together into my own.
>> You know, you left one name out of that list.
>> Who's that?
Collum. You.
>> See, that's still hard.
Well for me to talk about, absolutely.
>> You know,
you said something when we first started
that I picked up on and you said it's
sort of a late night release for you and I was sitting here
watching you paint and I felt such peace..
>> there is, there is.
It's an incredible amount of peace, it's something
you get lost in.
It's almost a dance with a painting and a rhythm
that you have and it's something for me that,
it takes me to another place so a lot of the times
that I'm painting, I'm painting somewhere I really want to be
or painting something similar to where I've been before
and that's one of those things for me that it's very
quiet times when I obviously don't have music blasting
but sometimes 12 to 1 in the morning
there's no phone calls, there's no interruptions
there's nothing else and it's just me,
a canvas and some paint.
What is it about these paintings that you think people
are connecting with so much?
You know that's a great question
and I think a lot of it is that people can relate to it,
I think they're positive and they're upbeat and bright
and I use a lot of texture and they're not so defined
and they're not so I would say.. so detailed that people
get overwhelmed.
It's a pretty simple picture that people look at even though,
you know as far as recreating some of these pictures
are probably a little tougher to do but at the same time
it's where people have been and a lot of people have been there
and these places or they can relate to it
and they just want something that brightens up a room
and I deal with a lot of perspectives.
>> It's so interesting that you paint from memory.
>> Yeah, I do.
I mean, memory is a big part- I try to stay away from painting
from photography in general just because I think in a way
it dilutes what you can do and for me it's one of those
things where I stay away from it and a lot of memories come
from a feel of where you've been so it could be an atmosphere,
it's something that you've been at in the coast and you feel
the cold or whatever it is and then I use a lot of blues
and purples and it transitions into a painting.
>> And it transitions into an energy.
When we opened the door here
to your studio and I saw
all the color and the size, be they small or large
I felt happy. Well, and that's what I love.
I love the ability to give art to people or people buying
my art or whatever it is
and especially with the charity aspect too,
where I can raise money and people..
it's a positive outlet and people want something
that's in their house that they know that, you know,
there's a lot of positivity coming from it.
>> So what is the message
of Tim Collum?
For me I think it's just being positive and upbeat
and just giving back
as much as I can and doing whatever possible to share
what's going on in my mind as far as the art is concerned.
It's really just a pleasure and I'm very grateful to where
I'm at right now.
>> And I'm grateful to be here with you as well.
Good to see you so much.
Thank you artist Tim Collum
here in his Sacramento studio.
I call this man the master of all mediums.
We're inside the Sacramento art studio of David Lobenburg.
Good to see you, David.
Same here, Rob.
Welcome to studio L.
L for?
L for Lobenburg.
>> there you go, there you go.
I say master of all mediums because it fascinates me how
you can go from oil to water color to acrylic.
>> Well, what allows me to do that is at a very early age
I learned how to draw. Drawing is the foundation.
>> Can this be taught or is this a born gift?
>> It depends what level you want to get at.
It would be like teaching someone to sing
or teaching somebody to dance. We can all do these things,
it's amazing what human beings can learn how to do.
I mean, it is a combination of sweat and hard work
but it's also a gift that they're born with.
>> You know, I look around your studio here and this piece
just blows my mind. Yosemite- it is so beautiful
here and you have been commissioned to do artwork
all across this country..
Yes.
What does it mean to you to have your artwork living nationwide..
for all time.
Oh, it's excited.
When I'm done with a painting,
I have no ownership with it whatsoever.
The joy is, is in the painting.
>> Do you leave a piece of yourself on every canvas
or does it make yourself better?
Well, again it makes myself better because
every time I do a painting I learn a little something new.
For instance I just did a painting of some clouds
going in front of Mount Shasta.
They were very subtle clouds
and I told myself I want to paint that because I want
to know the technique of how to do this,
how to capture those subtle soft clouds and they were going
against the mountains that were covered with snow
so there was a subtle range of darks and lights so that
allowed me to do that so every time I do a painting,
I'm always learning something and I love it.
>> And what I love about you is that I see in you
that you are forever the student.
Yes, Yes.
And I think, I think all.. I think people that are really
into their craft, honor their craft,
are impassioned about their craft,
how can they not be always students?
>> When you walk in this studio everyday, and I'm fascinated
with the day of an artist because every day you can create
something different.
Yes, Yes.
And you do paint every day, don't you?
>> I do paint, I teach part time at Sacramento City College
but even there I do demonstrations so yeah,
I do paint every day.
So what makes you happy today, artist David Lobenburg,
what makes you tick?
Being in my studio, the cool thing
about doing art.. you know we all have our,
you know I've got my life outside art just like you've
got your life outside of what you're doing now
and it can be challenging, it can be heart breaking,
it can be fun you know it's all that stuff that goes
into living our lives but coming here to the studio
you're concentrating only on one thing.
Everything else gets lost. It's almost like meditating.
>> Or therapy.
It really is.
It really is.
So when you leave here at the end of the day
and you turn the lights off you know you've created
a masterpiece that day, how do you feel in here?
oh, I feel great it makes me happy.
Or I'm doing a painting and it's going along fine,
I'm not done but end of the day time to go home,
have some dinner, relax, watch a little TV.
But in the back of mind I can hardly wait until
the next day because paintings gone, gone well and I'm so happy
and I want to finish it. Now the opposite can happen.
Maybe I have a day where things are not going so well..
well, I got to admit to a certain extent
it bums me out.
On the other hand I push that back because
I know that I'll eventually solve my problems
and I'll end up with a good painting and always
keep that in my mind.
You know, you are so lucky and so blessed
to love what you do.
Oh yes, yes for sure.
And we get to see it.
Yeah, yeah it comes out in my paintings.
It does.
We can't thank you enough.
Hey, thank you.
Good to see you as always, David.
Good to see you here at Studio L for Lobenburg in Sacramento.
Still ahead..
the Memorial Auditorium comes to life and fills the air
with majestic music.
Here the inspiring story
of an internationally known violinist..
My father was unemployed most of the time and we never knew
whether I would be able to get a borrowed instrument
and continue being able to pursue my dream.
And he's sweeping Sacramento by storm..
The story of tapigami's Danny Scheible.
I found that often times people make assumptions
about the way in which they're going to interact
with the world and I found art to be the best
tool to use to get people out of that everyday assumption.
.. On Rob on the Road ,
Portraits of Artists .
Let's go explore
one of the area's most recognized buildings,
the Sacramento Memorial Auditorium
where inside we found a historic organ that some people call
a sleeping giant.
And we're here with the man
who woke up the sleeping giant, this beautiful pipe organ
inside of Memorial Auditorium.
Scott Nelson, good to see you.
>> Thank you Rob for coming.
Yes, you are the curator here and this is an amazing
piece of history dating back to 1926. Tell me about it.
>> well, most auditoriums in that area were required
to have pipe organs so that they could accompany
films or just any event that was required at that point
because an organist is always less expensive
than an orchestra.
(Star Spangled Banner)
>> And this auditorium was built in memory of soldiers
who died in World War 1.
>> That's correct.
And there are not many organs from that era in auditoriums
still around, you said there's less than a dozen?
>> There's probably about 7 in their original condition
that are still left.
>> you know, I've been in here a ton of times and I had no idea
that there was an organ here.
Well,
that's why I call it the sleeping giant because
you don't really know there's an organ here unless you look
in the pit, if it's visible or if the light
is just right you can see reflection of light
from some of the pipes inside.
>> I see, so that's why we were rising up because this goes back
down into the pit.
Correct.
It's called a cash register style console,
it's historic and in this day and age, pipe organs
are a rarity and they're part of our, I guess you could say
musical heritage that in my opinion
should be preserved.
It represents a part of our history and as a mechanical
instrument it shows one of the most complex instruments
ever built that you don't get to see,
but you certainly get to hear it.
Well, speaking of - can you take us to see
some of it?
I'd be glad to, follow me.
Let's get up in the rafters. Come on, let's go explore.
>> This is the relay room,
or the brains of the organ.
>> The brains of the organ..
so this is all the mechanical wiring and functioning..
god, this is old-
>> Right. This is original from 1926,
the cables come from the console upstairs down through a trough,
a wooden trough that was built to protect it and it comes down
here and terminates.
This is all hard-wired and soldered,
everything had to be wrung out by hand.. in the old days
they didn't have the luxury of modern technology.
It's amazing to me that it still works.
It's amazing to me that it still works.
>> And Scott, what's behind this door-
oh my gosh, look at all these pipes.
>> We're presently in the swell chamber which is
the 3rd keyboard on the organ console.
It's one of the most utilized divisions
of the pipe organ,
it has very loud stops and some of the softest stops
in the organ.
Is it rare to get to come in here?
It is indeed,
we keep a padlock on the door so not just anyone can walk in.
>> How many pipes.. I mean it must be thousands..
In the total organ there are over 3,500 pipes.
In this room there are probably over 900 pipes.
Man, we are squeezed in here.
You say this is the choir division?
>> The choir division.
This has some of the softest stops in the organ in it
as well as a duplex division which is playable on another
keyboard which has some of the string stops of the organ on it.
>> And everywhere I look,
I see both metal and wooden pipes.
>> Correct.
Well I love exploring and finding history
and in this case art, alive.
Scott,
thank you so much for showing us this beautiful pipe organ.
>> My pleasure,
and I hope that you'll be able to come back
for a live performance.
I'd love to take you up on it -
here at Memorial Auditorium in Sacramento.
We all know how inspiring music can be and very few people
know that more than world renowned violinist
Rachel Barton.
Hi Rachel, good to see you!
Good to be here.
It's nice to be with you outside of the Sacramento
community Center Theater.
You have a very moving message behind your music,
tell me about that.
>> well,
um.. I really believe that classical music is
of all the wonder kinds of music that exists,
classical is the kind that most brings people together,
it's really a universal language, a music that's not
of a particular time and place but music that moves
all of us in the deepest way possible and really uplifts
our spirit and it's my mission to share classical music
with as many people as I possibly can.
>> Now you fell in love with the violin at a very early age
and boy did you skyrocket to the top quickly.
>> Ever since I started violin lessons at the age of 3,
I really felt that playing the violin is what I was meant
to do with my life, it's my calling,
it's who I am as a person and all of the challenges
I've had all the way through the years have never
deterred me from that path because during my childhood
and teenage years my father was unemployed most of the time
and we never knew where the next scholarship
was going to come from, whether I would be able to get
a borrowed instrument and be able to continue
being able to pursue my dream and holding on
to my faith that music is the best way that I can share
my gifts with the world.
>> You inspire so many people through classical music,
I'm curious Rachel,
how classic music inspires you.
>> oh man, that's a great question. Well, I mean..
being a classical musician is fulfilling on so many
different levels of course there's all of the historic
interest in learning about the composer's life
and analyzing the score and it's just very
intellectually stimulating and then of course it's fun
kind of like a sport to get to play all those
fast licks, and all those challenging notes
and make yourself better and better as you practice
and practice kind of like doing Olympic figure skating
or something but all of that is just background to what
it means to be on stage which is really to fully experience
the emotions of the music and even more importantly
to reach out to those listening and share those feelings
with them so that everybody gets caught up in the music
together and classical music goes farther than any other kind
of music in terms of expressing absolutely every possible shade
of emotion of the human experience.
I want to just share music with absolutely everybody.
>> And that's what you're doing
here today with the Sacramento Philharmonic.
Rachel, such a nice time speaking with you.
Thank you for being here on Rob on the Road.
My pleasure.
We'll see you next time, right here on Rob on the Road.
Well I am fascinated by the Rob on the Road
that we have found for you today an amazing artist,
Danny Scheible.
Good to see you, Danny.
Good to see you, Rob.
.. And we are sitting in the middle of tape city.
This is one of the coolest things I think I've ever seen.
Oh, thank you so much.
What is this?
>> What we're sitting in the middle of,
it's a city that's been made out of masking tape
but really what it is is it's a modular sculpture
and I refer to it as an interactive social sculpture.
>> Okay, what does that mean?
I make my art everywhere I go and I make it so I can
interact with people and show them that art
is just the same as going to work.
It's just the same as like,
doing your chores.
It's just the same as going out and getting a drink.
It's a way in which you approach life and I also encourage people
to make it with me when I go out.
Every year I try to expand into a new medium and what that
involves is creating a simple process of working that involves
very minimal tools that can be made by hand
and can be made everywhere but it's also modular
and giving people the opportunity to actually
become part of my installation.
>> well literally you and I are a part of it right now,
that's why I wanted to do this interview down on the floor
so we could bring you right in to tape city,
you said tape-opolis?
>> Sometimes,
it has many names depending on where it is and I encourage
people to actually name their favorite buildings.
They're also modular so say you know,
if you were wanting to change one of the buildings,
if I wasn't happy with it or if I wanted to make a new..
say I had a new idea and I wanted to change
the architecture you can literally pick up
a piece of the sculpture and just make it bigger.
I've found that often times people make assumptions
about the way in which they're going to interact
with the world and I found art to be the best tool to use
to get people out of that everyday assumption,
like they'll be going through their day
and they'll just assume that it's going to be on a
set pattern of like events that are going to happen,
it's like it's Monday, I'm going to wake up,
I'm going to go to work, I'm going to see these people.
To give them something new, something that they can engage
with and just like.. you know, take a break.
>> So how long have you been doing this and can you
even put a guess on how many creations you've made?
>> Oh, a guess on..
I mean there's thousands of them..
>> I've been doing it for 7 years every day and I would
probably say that it's made out of 100,000
individual pieces.
>> Talk to me about the lamps.
I am constantly trying to expand and figure out
new ways of not only displaying but working with the tape
and so applying light to a sculpture is something
that you do as any artist has to pay attention
to their light.
If it's the paint or it's the quality of the lighting
or the painting coming back out of a sculpture,
it's how you light your work.
Well, it just so happens that the tape,
like lighting it from behind revealed an entire new quality.
>> And also we see models here wearing pieces
that you've made for jewelry.
>> Yes. All of my art is temporal. It's made
so it's forced to be re-made.
My sculptures and my installations are like
mandalas and they're a way so that I can reach a point
of clarity within myself but also so I can remake
who I am so it's made to come apart and be remade
and it allows me to be free. Sometimes you get confined
by your objects and the things that you own and the idea
and more of the concept of who you think you are
and so to be able to constantly re-arrange who you are
allows me to change my ideas very freely and openly and adapt
to new situations and just become the person
I want to be instead of the person I think I am.
>> When I just sit here listening to you,
I'm just fascinated by you because not only do you have
the work of an artist but you've got the spirit
and the soul of an artist.
>> Well thank you.
So if you could say something for the art,
if you could say something for these thousands
of creations, what would you say for them?
>> Umm, I would say that the fallacy of normality
creates the banality of our reality.
Very well said.
>> I think that people are the most interesting,
unique, creative, spontaneous,
wondrous sources of not only inspiration but also of like,
meaning and connectivity that you can achieve in the world.
Well I think that that is an excellent way to end
an interview.
Danny, good to see you.
Thank you.
Thank you for having us here
in the middle of this awesome creation, tape city.
We'll give you one for the road.
Thank you, thank you very much!
This Rob on the Road is sponsored by the Sacramento
Metropolitan Arts Commission.