¡Colores!; 126; Michael Naranjo

Not different things. Art was the main things, you know, they put it on the, in the old country. They got paintings on rocks, where it is buffaloes and things like that, you know, telling the story. But here in the south was, they got all kinds of drawings on the, on the, on the, the, the, the, the, the, the, the, the. The, the, the.

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The, the. The, the. The, the. The, the. The answer. The answer. The answer. It's more. It's more. It's more. It's more. I know. Okay, that's just how she's acting. Okay.

Is that her little girl? Hmm? So, how does this really sound? You can't get an idea of what they see. Somewhere, somehow. I'm like, can I describe the cow? Can you grab us in the past during the cows? I like the piece of my side of the eye. The one sitting down might be the model for that. You understand that it was good enough? It kind of tickles. It's kind of a castle. When you say, look at that. I don't know. You can vaccinate with this guy. What do you know? It's a very strong piece. It's a very strong piece. It's a very strong piece.

It's a very strong piece. It's a very strong piece. It's almost a pretty flyover. I can, you know, the light is nice, 12 o'clock when it's coming through this side window. We can maybe do just a couple more. What did it mean to touch something like the U.S. and artists? What did it mean to experience that?

I live in a world of touch. To touch Michael Angelo's David was a dream come true. It was something I lived for that I always wanted. The emotions were beyond what people normally feel in most situations. It's like a woman giving birth this energy in that room of this life. It gave me life as far as carving stone goes. Prior to looking at Michael Angelo's pieces, I carved a stone and I could give some life to this piece of stone. As far as I was capable at that point in time and place in my life. But after looking at Michael Angelo's pieces, I got a new sense of what stone was about.

I knew that there was life actual life in these pieces. I knew that there was flesh inside, that there was, that it's warm, that it... I could see before my hands could see. But after I looked at his pieces, I had new life in my hands. I could see twice as much as I could see prior to that time. It was just incredible what I could feel. I could feel much deeper into the stone. It changed my perception of stone completely, the possibilities of what could be done, of being able to create something someday, possibly, that might have a little bit of life in it. He gave an amazing amount of feeling to these pieces.

It's just ecstasy to think of the possibilities that are there. He was truly a master of what he did. I wanted to back up to the beginning of this story for seeing David statue. Just a little bit for me for television, just to kind of set it up well. I mean, my second dream, which was just overwhelming, was getting a chance to go see the David statue or something like that. Because you're giving a longer story, which I don't think I'm going to be able to use all of it. So I think I'm another quicker way to talk about this. About the scene of the day, then? Yeah. So you want me to start again? Yeah, with something a little... Just a little quicker and just like... More compact.

Yeah, more compact. And then, leave off the film crew and stuff like that. Okay. You know, the exciting of, you know, this other dream, or this other opportunity. Okay, go ahead. I remember standing at the feet of Michelangelo, and Michelangelo's David, and looking up at it and thinking that someday, I might get famous enough to have a scaffolding built and look at it. And a dream. But then two years later, this dream came true, and I had my scaffolding around Michelangelo's David. And as I was on top of this scaffolding and started to feel the David, I started to cry. And I was... The emotions were too much for me to handle. So I had to stop looking at him immediately after I touched it,

and I cried. And some minutes later, I could start again. And so as I looked at him, I looked at his eyes, and the beauty of the eyes, his eyelids were just incredible. The tear ducts in the eyes, in the corner of the eyes, that no one is going to see from down on the ground, from the floor looking up. They're there hiding in the corners of the eyes. The pupils of the eyes that look like hearts. His lips... His lips are soft. They're so soft that you can feel the heart beating, pumping, pushing this blood through his lips. And his lips look like they're going to open in a second, and he's going to start talking. The veins in his neck are just bulging from the adrenaline that he's feeling,

of looking at Goliath standing in the distance, and his hands, the tension in the hands, and holding the rock in his hands. And the size was incredible. Okay, I'm going to just jump in. I think, okay, good, that's it. The other things you said before. After I looked at the Moses, two years later, I got to look at Michelangelo's David. I think that's all I need. You might say something. Let's say that together then, I guess I want you to say something. God, it was just what an incredible experience that was. In reference to the Moses, the David. Not looking at it. Yeah. What I'm trying to get you to do is just kind of lead into the whole idea of looking at the David without too much, taking too much time.

It would kind of be an anticipation for you to try. Go ahead. I was extremely excited when I looked at Michelangelo's Moses, but to look at his David was what I really wanted also. An incredible experience to look at Michelangelo's David. A dream. To make objects, it would be nonsensical to just do the same form over and over and over. I'm not a production potter. In the sense that I'll turn out a thousand of the same thing, precisely like that turns my stomach in a way. For me personally, I appreciate it, but I wouldn't do it. I think my work is more art with a capital A and votes around it. We're back to imagery again.

Where did it come from? There must be a well inside and it just comes out. I don't really have an explanation for it. Thank you.