Episode Transcript
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Speaker 1 (00:01):
The views and opinions expressed in the following programmer those
of the speaker and don't necessarily represent those of the station.
Speaker 2 (00:08):
It's staff management or ownership. Good morning, you'll find out
Poet Gold. I'm Peter Leonard and I'm the Poet Gold,
and we're on the air with Frank pelea Hudson Valley
artist who's looking forward to his show this weekend. But
before we get into Frank and all his news breaking news,
(00:31):
we're going to go right to the Poet Gold for
weekly poem prayer incantation on Gold. Let it roll.
Speaker 1 (00:37):
This is untitled. Each one of us has something good
to give, something that is uniquely ours, a single expression
of the spirit love. We each want in some small
yet significant way to share this good.
Speaker 2 (00:54):
And significant is a key words. And Frank, you've been
being significant for many decades.
Speaker 3 (01:01):
And you know you hope, so yeah, well, you've certainly
taken a lot of paths.
Speaker 2 (01:09):
In other words, I think it's not fake to say
that you're a multi media artist and.
Speaker 3 (01:16):
Plus and then some yeah youah, multi facet poly math.
That's another one that gets thrown around. Polymath means a
person who does a lot of facts, but math.
Speaker 4 (01:30):
Math.
Speaker 3 (01:30):
Yeah, math. Yeah, people think it's just about math, but no,
polymath doesn't it mean like you do a lot of things.
Speaker 2 (01:37):
I think, so.
Speaker 1 (01:39):
Math behind it.
Speaker 3 (01:40):
Yeah, that's a real word.
Speaker 2 (01:42):
Yeah.
Speaker 3 (01:42):
I like renaissance man too, Tato.
Speaker 2 (01:44):
Yeah.
Speaker 1 (01:44):
Yeah, A good friend miel was was the renaissance man.
Speaker 3 (01:48):
You know, because my mentor my hero since I was
a little kid was Leonardo da Vinci. When I read
about him, and I was a kid, said, man, this
guy everything. I kind of want to be like that,
but of course like a scientist and this, but at
least I've kept it in the in the cultural like media.
Speaker 2 (02:08):
Leon and da Vinci was singular. Really, you know, he
could do nobody else could do.
Speaker 3 (02:14):
Up there, I'm by himself on the top of him.
Speaker 2 (02:17):
There was a guy I forget the same, she said,
Adel University. He wrote a book, a set of books
on called the Genius Series. And they had Leonardo, they
had Benjamin Franklin, they had Steve Jobs, and they had Einstein, who.
Speaker 1 (02:36):
Did that series of book I heard of that. Didn't
read any of them, but yeah I heard.
Speaker 2 (02:41):
I forgot the guy's name. He's on television sometimes and
on television he's boring and yet Walter Isaacson.
Speaker 3 (02:48):
Yes, yes, yeah, he has books on Da Vinci on jobs.
Speaker 2 (02:54):
Yeah, different Walter Isaacs And when she went television. He's
like not even average good.
Speaker 3 (03:01):
I know what you mean. His books amazingly researched. I
read his Da Vinci.
Speaker 2 (03:07):
Book and oh really.
Speaker 3 (03:09):
Yeah, it's like every little thing about him. You know,
I didn't know he was a musician. He actually made
instruments Da Vinci and taught he did set design, who
you know, I mean, besides all the other things. I
never knew all this.
Speaker 2 (03:23):
Other He made most of his money as a set
design places which actually have a real talented sex guy
Leonardo or something made Warl machines, but.
Speaker 3 (03:36):
Which I've done set design too. That's another thing on
my list.
Speaker 2 (03:41):
And Frank, give us a sense of just some of
the types of art you've done and what we might
look forward to seeing in your upcoming.
Speaker 3 (03:51):
In the show in particular in general down to what
you have in the show. Well, I mean I do
a lot of different things. I don't have everything in
the particular show. But the show is big. It's the
gallery is three thousand square feet and I kind of
filled it up. Well, you know, you know, a lot
of people say less is more, I just say more
(04:12):
is more. So I got about seventy pieces in the
show and it ranges from small little paintings to to
big you know, seven eight foot sculptures and paintings, photographs, installations,
tabletop sculpture books, photo books, et cetera. And I also
(04:33):
have a video going. It's a loop. A friend of
mine and I made a fifteen minute video of kind
of a sampling of my artwork over the last fifty years,
and you know, covers the different medias, the different series, paintings, sculpture, murals,
et cetera. And so that'll be running in the gallery
(04:56):
on a loop. And also so I have a CD.
I had a band in the eighties and I finally
put together a nice CD package with you know, with
a booklet inside and everything. So that's going to be
available for sales.
Speaker 2 (05:11):
We kind of band, what kind of music it was.
Speaker 3 (05:14):
It was called John Wayne, which this is in the
early eighties when the dumbest, the dumber your name was
the band name the better, you know. So we just
picked John Wayne, but we spelled it differently. We didn't
want to get in trouble with the actors family, so
we spelled j O N W A I n E.
You know, kind of phonetic. But we were for mostly
(05:37):
artists and we just sort of got together and formed
this kind of rock and roll band. But the elite
singer was an African American fellow named William Pope, and
he so people called us Afro new Wave, although our
music really had nothing to do with Africa, but it
sounded good, so we used it. It ends up to
(06:00):
the lead singer of the African American fellow. William ended
up being a world famous performance artist.
Speaker 2 (06:07):
Yeah.
Speaker 3 (06:07):
In fact, he would do very kind of strange things.
He had some of his props for chicken bones and
one piece he crawled like a couple of miles in
Lower Manhattan, dressed in Superman costume, sort of like the
opposite of Superman flies a pie and as an African American,
(06:31):
he was like is on the ground, you know, and
that's sort of what made him famous man, you know.
But he died. He died about two years ago.
Speaker 2 (06:40):
Yeah, So when you said before, you know, looking back
on fifty years of otes, that makes you feel.
Speaker 3 (06:46):
That, well, the show isn't quite fifty, although I have
some pieces that are forty years old, but most of
the work is twenty twenty five years and they have
a sampling of of my different series. I have several
dictator portraits. That's one series, and and then I have
my Chinese Fresco painting. I have the Berlin wall piece.
(07:09):
I have some Cuban images, Italian.
Speaker 2 (07:12):
French political overtone.
Speaker 3 (07:15):
The show is has a lot of politics in it,
you because I have several big I do these very
unflattering portraits of dictators. You know, dictators love to have
their pictures beautiful gold with gold and everything mine or
the opposite. They're not flattering at all. You know, they're
(07:35):
they're appealing paint. You know, they're rotting, their pet chunks
of falling out, they're bullet holes in it. You know,
the gold leaf is tarnished, you know, because it's always
like wishful thinking kind of on my part. You have, Oh,
I have a good cross section. I've got putin a
(07:59):
sod Airdiwan of Turkey, I have Kim jumn I Trump
is in there, and who else Shi shin Ping of China.
Castro now I did years ago, and I sold the
painting a long time ago, so I don't have that.
(08:19):
Plus he's a little bit passed. I'm trying to be
more current, you.
Speaker 1 (08:23):
Know, I think I think you know, the way that
you the way you described how you portray dictators may
be subconsciously how they really see themselves. And that's why
they want to become dictators. You know, they're tarnished and yeah,
but they don't want us to know that, right, They
don't wantus to know the essence of being a dictator
that you're tarnished, and that's how you see yourself in
(08:43):
the world. So that's why you need to make sure
no one reveals that. Sort of like the Wizard of Ours,
you know, Dorothy's trying to get to this place, this place,
and all of a sudden, the Wizard is not this right,
this huge thing, but this little man.
Speaker 3 (08:56):
Right behind, a little you know kind of thing man,
you know, right right, smoking mirrors, you know.
Speaker 2 (09:04):
Yeah, yeah, and uh, you know, we all understand enough
about trying to present ourselves well, but when the way
dictators were, they want to present themselves as almost like gods.
Speaker 1 (09:20):
Exactly and oppressed and all pressed.
Speaker 4 (09:25):
You know, they're very oppressive, very impressive, all powerful, and
you also recognize, you know, without picking on their mental health.
Speaker 2 (09:35):
It's nuts, you know, like and we all want to
maybe be be perceived as maybe ten percent better than
we are, but they want to be perceived God, it
seems like it's really unhealthy and regardless of what political
meaning you have.
Speaker 1 (09:53):
And it's not just it's not just uh, not to digress.
I want to get back to your art, you know.
But but but you know, it's it's it's not just them,
it's also the family who who is is complicit in
any dictator, you know, in supporting sort of like, well
that's Uncle such and such, So let's just let's just
(10:14):
let him be, you know, until until Uncle such and
such starts starting.
Speaker 3 (10:20):
Yeah, right, right, right the problems.
Speaker 1 (10:23):
Yeah, if you're just tuning and you listen to Finding
Out with Pete and the poet Gold and I'm the
poet Gold And we're here with artist Frank Palaiah speaking
about his upcoming uh exhibit Urban Archaeology that's in Garner, New.
Speaker 3 (10:36):
York, Garnerville, Garneville. Yeah, it's an interesting place. It's not
just a gallery. It's actually a complex of buildings from
the eighteen fifties. It used to be a textile mill
and they used to even make Civil War uniforms. That's
how old it is. And it's about maybe twenty buildings,
(10:57):
all beautiful brick, you know. And one building is a
gallery where my show is. And then they have a restaurant,
they have artists studios, they have a dance rehearsal space.
It's it's different things. And then there are other little
small shops that are intermixed with it. So it's like
and mister Garner he owned this mill, so they named
the town after him because he pretty much employed everybody
(11:19):
in the town. That's why it's Garnerville.
Speaker 2 (11:22):
Yeah, and how long would you think somebody should spend
with your work? In other words, somebody walks.
Speaker 3 (11:29):
In there, Well, with seventy one pieces, it's going to
take a while.
Speaker 2 (11:34):
Yeah.
Speaker 3 (11:35):
It's also big space. And my pieces are very jam
packed with imagery and meaning and connotations. And some of
them are funny, some of them are serious, some of
them are curious, some are historical. And I like to
(11:55):
cover a lot of bases.
Speaker 2 (11:56):
Before would you like somebody to leave thinking?
Speaker 3 (12:00):
Well, tee, well, you know urban archaeology. The title is
kind of relates to the fact that, well, a lot
of us live in cities and whatever we see around
us today will eventually be buried in the ground, and
you know, in one hundred years from now, the people
will be digging it up. See, but my work looks
(12:22):
like it's already being dug up. It's like the archaeology
of the future, but it's today. So how I work
is I travel a lot. I've been to about twenty
six countries, and wherever I go, I photograph walls, murals,
street art, graffiti, posters, billboards, that kind of thing, because
(12:43):
it gives me an idea what's going on in the country.
And I have a little saying that walls are the
drop cloths of a society, Like whatever's happening in this country,
you see it on the walls. If you're in a
country that is spotless, you know, not nothing out of place,
(13:03):
You're probably in a fascist country like Singapore or China.
If you're in a country where you got all this
crazy stuff on the walls, you know, spray paint and posters,
all kinds of weird stuff, you're probably in a liberal democracy.
So you know. So anyway, so my pieces reflect a
particular country, you know, and you can get a sense
(13:26):
of what's going on.
Speaker 1 (13:29):
And that's so true. I mean I was mentioning on
one of our other shows, and you've heard me say
this often about your work. It was one of the
first murals that I saw, and you know, and I said, okay,
you know, there's a mural here. And it wasn't that
it was just you know, a mural. It spoke to
a community. And then I saw something that Nestor had done,
(13:50):
and not knowing any of you guys, it really said
to me, Okay, you can possibly live here because it's
an environment where they're receptive to some form of art.
Speaker 3 (14:02):
Yeah, you know, that's one of the nicest things anybody's
ever said about my artwork. And that's what's great about murals.
I like murals a lot because they are part of
real life, you know, part of the physical world. They
affect people, they affect communities, They affected you. Also, a Soprina,
(14:24):
I think told me the similar things. She saw some
murals of mine, and that's why she moved to Poughkeepsie.
Speaker 2 (14:30):
So you want to explain whose Suprena is.
Speaker 3 (14:33):
She's another local artist, sculptor and is a gallery on
Main Street. And she has a gallery on Main Street, right,
and a.
Speaker 2 (14:41):
Very lively spirit. But yeah, so both she and gold
who are great friends who are affected by your work,
independently of each other. But the work, talking about it
is the big thing you have on Main Street. You
want to talk about that all the storefronts. Yeah.
Speaker 3 (14:58):
Well, you know, when I first moved up to Poughkeepsie
in two thousand and one, I think luckily, there was
a grant available to do not a mural specifically, but
to do a project that would had to do three
things to get the grant. It had to reduce crime,
create jobs, and beautify the city. So murals do all
(15:21):
those three things, you know, They discourage graffiti, they create
jobs obviously, and they beautify the city. So I got
the grant, I painted that mural, and my goal was
to paint you know, dozens and dozens of murals, which
over the years I have painted about twenty five murals,
(15:43):
thirty milals, you know, in a Hudson Valley, not just Poughkeepsie.
But and I had this goal in my head to
make Poughkeepsie the mural capital of New York State. And
so and in those days, this is twenty four years ago,
there weren't a lot of murals around I there are
hardly any so, but now murals are popular because people
(16:07):
realize the value of them, So now there are a
lot of murals everywhere. But yeah, that's that was oh
so Yeah. The first mura was the Old Main Street Mural,
which was kind of a nostalgic bureau bring mural, bringing
back the good old days of Poughkeepsie, because people kept
telling me, oh, Poughkeepsie used to be such a nice town.
(16:27):
And I said, well, okay, I can't snap my fingers
and make Poughkeepsie, you know, fantastic, but at least I
can paint it and make you feel good. So that's
sort of the idea. And I took I got archival
photographs of real businesses that were in Poughkeepsie over the
over the one hundred years actually, and then I took
seven or eight and painted them in the in the mural.
Speaker 2 (16:52):
And I guess I'm driving. The thing is freaking huge.
Speaker 3 (16:55):
Yeah, one hundred and thirty feet.
Speaker 2 (16:57):
Okay, so we say you have a big seven foot
I think on your new show. Yeah, it's one hundred
and thirty feet is a lot of painting.
Speaker 3 (17:06):
From Yeah, it's the second biggest mural, and this one
is the biggest mural that I did in the second
biggest mural in Touches County, the one on Green Garden Street,
which is right around the corner from the old Mains.
Speaker 2 (17:17):
Oh yes, okay, yeah.
Speaker 1 (17:20):
Do you still do off of the mural walks?
Speaker 2 (17:23):
Oh yeah.
Speaker 1 (17:24):
In fact, i'm can you give people your website?
Speaker 3 (17:27):
Oh yeah, sure, it's Frank Palaya and it's spelled f
r A n C p A l A i a at.
Speaker 1 (17:38):
I mean dot com dot com, Yes, Frank plea dot com. Right,
So this show opens It opens on May third, but
the opening is actually Sunday, and yes, May fourth, from
three to five, and it goes to June fifteenth. So
I think it's one of those shows that when you
think about seventy or seventy one pieces, that you kind
(18:00):
of go soak some, soak in as much as you
can and then come back, you know, yeah, back when
we bring someone back with you, you know.
Speaker 2 (18:09):
Yeah.
Speaker 3 (18:09):
You know, a lot of people when they look at
my work, they're completely baffled because they see these huge
chunks of masonry, like big walls ripped out of billings
all over the gallery. But actually none of them are real.
They're all completely fabricated from scratch. In fact, they're just
(18:29):
the opposite of what they look like. They look real,
but they're completely simulated. They look heavy, but they're feather
light because I use polystyrene for the bulk of the works,
their styrophoam, and then they look old but they're brand new.
So everything is the opposite, and so people are kind
(18:50):
of totally baffled, which is great. It's nice to surprise
people in that way.
Speaker 1 (18:56):
I think for myself with your art, because initially I
wasn't you. I wasn't exposed to your urban work. I
don't know how I became exposed to some of your
urban work. I don't know if I saw something in
Jersey City, because you've done work that before. But I
was used to sort of like the nostalgic mural type
that nostalgic mural type work that you've done. And so
(19:19):
when I first saw one of your urban pieces with
the I think there was something with a light bulb
one time, I think a piece that I saw and
then the the sort of faux brick wall type plaster
type thing, I was like, wait a minute, it is
the same artists.
Speaker 3 (19:34):
I'm like this. For about ten year period, I stopped
making the walls, and I was making illuminated photo sculpture
with found objects, right, okay, making light boxes with found objects.
Speaker 2 (19:48):
You want to explain that, frankly, not everyone. Well, the
only reason I'm familiar with what you're saying that I've seen. Yeah,
but it's hard to explain.
Speaker 3 (19:55):
Well, I got a little tired of making the walls,
and I always wanted to make photo light boxes, but
I could never afford the actual light boxes. They're really expensive.
And one day I'm sitting in my studio kind of
figuring out what to do, and I'm looking and there's
an old suitcase in my studio. Literally, a light bulb
goes over my head. That's it. I can make a
(20:17):
light box out of the suitcase. Just cut a hole
in it, put a bulb in there, and put a transparency,
a photo transparency in there. Bingo, there's your light box.
So then I started, you know, between suitcases and crates
and trunks and auto parts and appliances and furniture. I
made light boxes out of all car I made a
(20:37):
whole car with solar panels on it so I would
illuminate the inside of it.
Speaker 2 (20:44):
And I found out you took junken.
Speaker 3 (20:47):
Yeah, And I was always interested in recycling and you know,
keeping the world a little bit cleaner, taking all this
old junk that's all over and giving these items a
second life, so to speak. And uh, and actually the
second life is better than the first life because maybe
the piece will be put in a museum, you know,
where it's treated like, you know, pampered instead of just
(21:10):
thrown away.
Speaker 1 (21:11):
But do you sell these pieces, these pieces for I try? Okay,
if you're just tuning in, you're listening to Finding Out
with Pete and the poet gold and I'm the poet Golden.
We're here with Frank Palaia local artists or multifaceted artists,
and we're talking about his exhibit and and a lot
about his other works as well. He has an exhibit
coming up in Garnerville, New York. It's called Urban Archaeology.
(21:36):
So so going back to you said, you try to
sell some of these pieces?
Speaker 3 (21:40):
Yes, Uh, these light boxes got great you know, comments,
I got grants, I got lots of shows, but it
was very difficult to sell on people, as if for
summer you didn't like to have to plug them in,
you know. But I kept saying, it's just like a
light radios, like, well, you don't buy radio because you
have to plug it in, you know. Anyway, So after
(22:02):
many years of not selling too many light boxes, I
kind of making stop. It went back to my walls
because I was starting to get interest in my walls again,
my urban walls.
Speaker 2 (22:14):
Yeah, a lot of people had discouraged from art for
exactly that reason, that it's hard to make a living
out of it. Can you give us a sense of
how you manage over the last fifty years to make
a living as an artist? Oh?
Speaker 3 (22:26):
Boy, it's not easy. The life of an artist is
not easy. But if you, you know, stick to it
and just don't give up. I'm lucky. I got a
master's degree, and I got I think I've received about
twenty grants altogether in five different categories of artwork, and
(22:50):
so you know. I also I picked up sign painting
over the years. That was a very good way to
make quick money. And it also was related to what
I was doing because my artwork is about walls and
I'm painting signs on walls. And actually the sign painting
got me involved with murals. Got me interested in murals
(23:11):
because I used to paint signs on walls, outdoor walls,
and the owner would say, hey, Frank, can you paint
a car?
Speaker 2 (23:19):
You know?
Speaker 3 (23:19):
They say, yeah, sure, I'm an artist. I could do everything.
I can do both. I could paint lettering and a car.
And I realized it's way more fun to paint images
and pictures. So I started seeking out some murals and
that's how I got into mural painting from sign painting.
Speaker 1 (23:35):
I think some artists miss that, you know, Peter knows,
I'm very much into like art as a business. But
I think a lot of artists missed that point, and
some buy into they have to be the starving artists,
and they romanticize and want to you know, become become that. Yeah,
to justify that narrative.
Speaker 3 (23:54):
Yeah, it's romantic. It's romantic for about five minutes, right, right,
and then that's it. Then you got to pay the.
Speaker 1 (24:00):
Right right exactly, you know, and there are ways to
be able to do that. And still, you know, I know,
for myself, as a poet, knowing my primary is poet poetry,
I should say, but like yourself, I'm multi fasted in
other areas, and so recognize you want to eat, you
want to be able to pay bills, So the teaching artists,
(24:22):
they became something I found very fulfilling. You know, working
with children you can't very fulfilling. And I still get
to be the artist.
Speaker 3 (24:29):
I used to teach too. That was I forgot to
mention that. For several years I taught, but I could
only get these adjunct jobs part time college, high school,
and it just never the money never ate it up
too much. You know, adjuncts are paid nothing, right, right? Yeah,
So that's actually that's how I got into sign painting
because I wasn't making really all that much teaching, and
(24:53):
a friend of mine painted. I saw one day painting
a little sign like this big, and we got fifty
bucks for and I go, I can do that. So
once I got into painting signs, I could paint a sign,
maybe not even a full day's work. I could make
one thousand dollars without even breaking a sweat. Instead of
teaching a whole semester in college. I would make five hundred,
(25:18):
eight hundred before taxes five hundred, right, how can you
live on that? Sign painting was very profitable compared to teaching,
And what do you.
Speaker 2 (25:28):
What are you trying to express? In other words, you
have Are you aware of anything in Sailu that is
a consistent theme or a consistent energy If you did
all that work, something's driving Yeah.
Speaker 3 (25:46):
Wow, that's a tough question, because well, I'd like my
art to make people think and also to make them
aware of things that maybe they're not aware of. Well,
that's that's you know, most artists, if you're a good artist,
that's what you do. That's you make people aware of
something that they didn't notice before. So it's a kind
(26:08):
of a subconscious way of exposing things in this world
that you normally wouldn't.
Speaker 2 (26:14):
Is there any kind of spirituality behind it? I mean,
do you think to yourself in those terms at all?
Speaker 3 (26:21):
Well, well, I went to Catholic school, but but my
work is not very religious. It's actually it's pretty pretty neutral,
and I did it. I even did a portrait of
the pope with in my is I forget I'm not
going to mention, but anyway, but not so much religious.
(26:44):
But you know, art can be spiritual, but not all
art is spiritual. Just depends on the artwork. And but
you know, I like my work to be to show
kind of energy and that you're alive and you're saying
you know color and texture because I see the world
(27:06):
as texture and color and movement and images, and so
I like to kind of absorb images from around the
world and then I digest them and then I read the.
Speaker 2 (27:19):
Public goal for this gold. What's the difference between U
spirituality and energy and energy? Frank s energy very comfortably.
And if reluctant on the spirituality, you want you want
to help him on that.
Speaker 1 (27:34):
Yeah, well, it's right. We're about to say.
Speaker 3 (27:36):
Well, I mean, I'm I'm spiritual, but not so much religious,
Like I don't go to church every Sunday, But that
doesn't mean you're not spiritual. This is a difference. I'm
a pantheist pretty much, and it sounds like a religion,
but it's not.
Speaker 1 (27:51):
It'stheism.
Speaker 3 (27:53):
Is it means, Pan means everything, and theism means belief,
belief and everything. Basically that they world universe.
Speaker 2 (28:01):
Is the God's nature.
Speaker 3 (28:03):
Yeah, nature, you know basically that's yeah, yeah, yeah.
Speaker 2 (28:07):
Which is a very American thing. In the nineteenth century,
a lot of the painters were pantheists.
Speaker 3 (28:12):
Yeah, probably most artists or pantheists, but they don't know it.
Speaker 2 (28:16):
Okay, I got a frying pan, I got that's what
I was so give us let's go back to the show.
We only have a few minutes. Stuff about what types
of things people will see in there and what you're
hoping they're going to like about it.
Speaker 3 (28:36):
Well, like I mentioned before, it's a real cross section
of about thirty forty years of my work. So you're
going to see paintings, photographs, sculptures, installations, video books, tape,
small tabletop sculpture or what else. It's in a combination
(28:58):
of things in between all those things because most of
my pieces include four media, four mediums painting, photography, sculpture,
and architecture in each piece pretty much, which you know
most artwork doesn't.
Speaker 2 (29:14):
Have all that.
Speaker 3 (29:15):
No, so you get your money's worth, you know.
Speaker 2 (29:23):
That's the only b multimedia. You're not only multimedia, you're
multimedia all at the same time.
Speaker 3 (29:28):
Yeah, okay, that's everything everywhere, all at once or whatever
that movie was.
Speaker 2 (29:35):
Yeah. Uh. Briting Mozuko our commissioner of Community Family Services
and Dutch County. She was on the show recently and
she said, well, you know, I'm a workaholic and therefore
ventured very casually. I think you might qualify. Do you
have any perspective.
Speaker 3 (29:52):
Yes, uh yeah, I guess I am.
Speaker 1 (29:55):
But you know, out of a hustle, Frank, that's that's
people tease me.
Speaker 3 (30:04):
Oh Frank, you're always promoting your stuff. Well hey, look,
if you're an artist, you don't have a gallery or
sugar daddy. That's you know, fucking your work. Who knows
my work better than me? So I figure, why shouldn't
I promote my.
Speaker 2 (30:20):
A lot of other people who are show you Yeah, oh.
Speaker 3 (30:22):
Yeah, I'm like, yes you do.
Speaker 1 (30:25):
So, Frank, I'm going to thank you for coming on.
This has been great once again. Frank Pelago's show Our
Urban Archaeo.
Speaker 3 (30:32):
Urban Urban Archaeology.
Speaker 1 (30:34):
Yeah, Urban Archaeology is going to be May third, June fifteenth.
The opening is Sunday, May fourth, at Garner Arts Center in.
Speaker 2 (30:42):
Garnerville, New York.
Speaker 1 (30:44):
Very good, perfect see then, thank you for our listeners
finding out with Pete and the Poel Goat. We appreciate
you and catch us also on our podcast on iHeart
The views and opinions expressed in the following programmer those
of the speaker and don't necessarily represent those of the station.
Speaker 2 (00:08):
It's staff management or ownership. Good morning, you'll find out
Poet Gold. I'm Peter Leonard and I'm the Poet Gold,
and we're on the air with Frank pelea Hudson Valley
artist who's looking forward to his show this weekend. But
before we get into Frank and all his news breaking news,
(00:31):
we're going to go right to the Poet Gold for
weekly poem prayer incantation on Gold. Let it roll.
Speaker 1 (00:37):
This is untitled. Each one of us has something good
to give, something that is uniquely ours, a single expression
of the spirit love. We each want in some small
yet significant way to share this good.
Speaker 2 (00:54):
And significant is a key words. And Frank, you've been
being significant for many decades.
Speaker 3 (01:01):
And you know you hope, so yeah, well, you've certainly
taken a lot of paths.
Speaker 2 (01:09):
In other words, I think it's not fake to say
that you're a multi media artist and.
Speaker 3 (01:16):
Plus and then some yeah youah, multi facet poly math.
That's another one that gets thrown around. Polymath means a
person who does a lot of facts, but math.
Speaker 4 (01:30):
Math.
Speaker 3 (01:30):
Yeah, math. Yeah, people think it's just about math, but no,
polymath doesn't it mean like you do a lot of things.
Speaker 2 (01:37):
I think, so.
Speaker 1 (01:39):
Math behind it.
Speaker 3 (01:40):
Yeah, that's a real word.
Speaker 2 (01:42):
Yeah.
Speaker 3 (01:42):
I like renaissance man too, Tato.
Speaker 2 (01:44):
Yeah.
Speaker 1 (01:44):
Yeah, A good friend miel was was the renaissance man.
Speaker 3 (01:48):
You know, because my mentor my hero since I was
a little kid was Leonardo da Vinci. When I read
about him, and I was a kid, said, man, this
guy everything. I kind of want to be like that,
but of course like a scientist and this, but at
least I've kept it in the in the cultural like media.
Speaker 2 (02:08):
Leon and da Vinci was singular. Really, you know, he
could do nobody else could do.
Speaker 3 (02:14):
Up there, I'm by himself on the top of him.
Speaker 2 (02:17):
There was a guy I forget the same, she said,
Adel University. He wrote a book, a set of books
on called the Genius Series. And they had Leonardo, they
had Benjamin Franklin, they had Steve Jobs, and they had Einstein, who.
Speaker 1 (02:36):
Did that series of book I heard of that. Didn't
read any of them, but yeah I heard.
Speaker 2 (02:41):
I forgot the guy's name. He's on television sometimes and
on television he's boring and yet Walter Isaacson.
Speaker 3 (02:48):
Yes, yes, yeah, he has books on Da Vinci on jobs.
Speaker 2 (02:54):
Yeah, different Walter Isaacs And when she went television. He's
like not even average good.
Speaker 3 (03:01):
I know what you mean. His books amazingly researched. I
read his Da Vinci.
Speaker 2 (03:07):
Book and oh really.
Speaker 3 (03:09):
Yeah, it's like every little thing about him. You know,
I didn't know he was a musician. He actually made
instruments Da Vinci and taught he did set design, who
you know, I mean, besides all the other things. I
never knew all this.
Speaker 2 (03:23):
Other He made most of his money as a set
design places which actually have a real talented sex guy
Leonardo or something made Warl machines, but.
Speaker 3 (03:36):
Which I've done set design too. That's another thing on
my list.
Speaker 2 (03:41):
And Frank, give us a sense of just some of
the types of art you've done and what we might
look forward to seeing in your upcoming.
Speaker 3 (03:51):
In the show in particular in general down to what
you have in the show. Well, I mean I do
a lot of different things. I don't have everything in
the particular show. But the show is big. It's the
gallery is three thousand square feet and I kind of
filled it up. Well, you know, you know, a lot
of people say less is more, I just say more
(04:12):
is more. So I got about seventy pieces in the
show and it ranges from small little paintings to to
big you know, seven eight foot sculptures and paintings, photographs, installations,
tabletop sculpture books, photo books, et cetera. And I also
(04:33):
have a video going. It's a loop. A friend of
mine and I made a fifteen minute video of kind
of a sampling of my artwork over the last fifty years,
and you know, covers the different medias, the different series, paintings, sculpture, murals,
et cetera. And so that'll be running in the gallery
(04:56):
on a loop. And also so I have a CD.
I had a band in the eighties and I finally
put together a nice CD package with you know, with
a booklet inside and everything. So that's going to be
available for sales.
Speaker 2 (05:11):
We kind of band, what kind of music it was.
Speaker 3 (05:14):
It was called John Wayne, which this is in the
early eighties when the dumbest, the dumber your name was
the band name the better, you know. So we just
picked John Wayne, but we spelled it differently. We didn't
want to get in trouble with the actors family, so
we spelled j O N W A I n E.
You know, kind of phonetic. But we were for mostly
(05:37):
artists and we just sort of got together and formed
this kind of rock and roll band. But the elite
singer was an African American fellow named William Pope, and
he so people called us Afro new Wave, although our
music really had nothing to do with Africa, but it
sounded good, so we used it. It ends up to
(06:00):
the lead singer of the African American fellow. William ended
up being a world famous performance artist.
Speaker 2 (06:07):
Yeah.
Speaker 3 (06:07):
In fact, he would do very kind of strange things.
He had some of his props for chicken bones and
one piece he crawled like a couple of miles in
Lower Manhattan, dressed in Superman costume, sort of like the
opposite of Superman flies a pie and as an African American,
(06:31):
he was like is on the ground, you know, and
that's sort of what made him famous man, you know.
But he died. He died about two years ago.
Speaker 2 (06:40):
Yeah, So when you said before, you know, looking back
on fifty years of otes, that makes you feel.
Speaker 3 (06:46):
That, well, the show isn't quite fifty, although I have
some pieces that are forty years old, but most of
the work is twenty twenty five years and they have
a sampling of of my different series. I have several
dictator portraits. That's one series, and and then I have
my Chinese Fresco painting. I have the Berlin wall piece.
(07:09):
I have some Cuban images, Italian.
Speaker 2 (07:12):
French political overtone.
Speaker 3 (07:15):
The show is has a lot of politics in it,
you because I have several big I do these very
unflattering portraits of dictators. You know, dictators love to have
their pictures beautiful gold with gold and everything mine or
the opposite. They're not flattering at all. You know, they're
(07:35):
they're appealing paint. You know, they're rotting, their pet chunks
of falling out, they're bullet holes in it. You know,
the gold leaf is tarnished, you know, because it's always
like wishful thinking kind of on my part. You have, Oh,
I have a good cross section. I've got putin a
(07:59):
sod Airdiwan of Turkey, I have Kim jumn I Trump
is in there, and who else Shi shin Ping of China.
Castro now I did years ago, and I sold the
painting a long time ago, so I don't have that.
(08:19):
Plus he's a little bit passed. I'm trying to be
more current, you.
Speaker 1 (08:23):
Know, I think I think you know, the way that
you the way you described how you portray dictators may
be subconsciously how they really see themselves. And that's why
they want to become dictators. You know, they're tarnished and yeah,
but they don't want us to know that, right, They
don't wantus to know the essence of being a dictator
that you're tarnished, and that's how you see yourself in
(08:43):
the world. So that's why you need to make sure
no one reveals that. Sort of like the Wizard of Ours,
you know, Dorothy's trying to get to this place, this place,
and all of a sudden, the Wizard is not this right,
this huge thing, but this little man.
Speaker 3 (08:56):
Right behind, a little you know kind of thing man,
you know, right right, smoking mirrors, you know.
Speaker 2 (09:04):
Yeah, yeah, and uh, you know, we all understand enough
about trying to present ourselves well, but when the way
dictators were, they want to present themselves as almost like gods.
Speaker 1 (09:20):
Exactly and oppressed and all pressed.
Speaker 4 (09:25):
You know, they're very oppressive, very impressive, all powerful, and
you also recognize, you know, without picking on their mental health.
Speaker 2 (09:35):
It's nuts, you know, like and we all want to
maybe be be perceived as maybe ten percent better than
we are, but they want to be perceived God, it
seems like it's really unhealthy and regardless of what political
meaning you have.
Speaker 1 (09:53):
And it's not just it's not just uh, not to digress.
I want to get back to your art, you know.
But but but you know, it's it's it's not just them,
it's also the family who who is is complicit in
any dictator, you know, in supporting sort of like, well
that's Uncle such and such, So let's just let's just
(10:14):
let him be, you know, until until Uncle such and
such starts starting.
Speaker 3 (10:20):
Yeah, right, right, right the problems.
Speaker 1 (10:23):
Yeah, if you're just tuning and you listen to Finding
Out with Pete and the poet Gold and I'm the
poet Gold And we're here with artist Frank Palaiah speaking
about his upcoming uh exhibit Urban Archaeology that's in Garner, New.
Speaker 3 (10:36):
York, Garnerville, Garneville. Yeah, it's an interesting place. It's not
just a gallery. It's actually a complex of buildings from
the eighteen fifties. It used to be a textile mill
and they used to even make Civil War uniforms. That's
how old it is. And it's about maybe twenty buildings,
(10:57):
all beautiful brick, you know. And one building is a
gallery where my show is. And then they have a restaurant,
they have artists studios, they have a dance rehearsal space.
It's it's different things. And then there are other little
small shops that are intermixed with it. So it's like
and mister Garner he owned this mill, so they named
the town after him because he pretty much employed everybody
(11:19):
in the town. That's why it's Garnerville.
Speaker 2 (11:22):
Yeah, and how long would you think somebody should spend
with your work? In other words, somebody walks.
Speaker 3 (11:29):
In there, Well, with seventy one pieces, it's going to
take a while.
Speaker 2 (11:34):
Yeah.
Speaker 3 (11:35):
It's also big space. And my pieces are very jam
packed with imagery and meaning and connotations. And some of
them are funny, some of them are serious, some of
them are curious, some are historical. And I like to
(11:55):
cover a lot of bases.
Speaker 2 (11:56):
Before would you like somebody to leave thinking?
Speaker 3 (12:00):
Well, tee, well, you know urban archaeology. The title is
kind of relates to the fact that, well, a lot
of us live in cities and whatever we see around
us today will eventually be buried in the ground, and
you know, in one hundred years from now, the people
will be digging it up. See, but my work looks
(12:22):
like it's already being dug up. It's like the archaeology
of the future, but it's today. So how I work
is I travel a lot. I've been to about twenty
six countries, and wherever I go, I photograph walls, murals,
street art, graffiti, posters, billboards, that kind of thing, because
(12:43):
it gives me an idea what's going on in the country.
And I have a little saying that walls are the
drop cloths of a society, Like whatever's happening in this country,
you see it on the walls. If you're in a
country that is spotless, you know, not nothing out of place,
(13:03):
You're probably in a fascist country like Singapore or China.
If you're in a country where you got all this
crazy stuff on the walls, you know, spray paint and posters,
all kinds of weird stuff, you're probably in a liberal democracy.
So you know. So anyway, so my pieces reflect a
particular country, you know, and you can get a sense
(13:26):
of what's going on.
Speaker 1 (13:29):
And that's so true. I mean I was mentioning on
one of our other shows, and you've heard me say
this often about your work. It was one of the
first murals that I saw, and you know, and I said, okay,
you know, there's a mural here. And it wasn't that
it was just you know, a mural. It spoke to
a community. And then I saw something that Nestor had done,
(13:50):
and not knowing any of you guys, it really said
to me, Okay, you can possibly live here because it's
an environment where they're receptive to some form of art.
Speaker 3 (14:02):
Yeah, you know, that's one of the nicest things anybody's
ever said about my artwork. And that's what's great about murals.
I like murals a lot because they are part of
real life, you know, part of the physical world. They
affect people, they affect communities, They affected you. Also, a Soprina,
(14:24):
I think told me the similar things. She saw some
murals of mine, and that's why she moved to Poughkeepsie.
Speaker 2 (14:30):
So you want to explain whose Suprena is.
Speaker 3 (14:33):
She's another local artist, sculptor and is a gallery on
Main Street. And she has a gallery on Main Street, right,
and a.
Speaker 2 (14:41):
Very lively spirit. But yeah, so both she and gold
who are great friends who are affected by your work,
independently of each other. But the work, talking about it
is the big thing you have on Main Street. You
want to talk about that all the storefronts. Yeah.
Speaker 3 (14:58):
Well, you know, when I first moved up to Poughkeepsie
in two thousand and one, I think luckily, there was
a grant available to do not a mural specifically, but
to do a project that would had to do three
things to get the grant. It had to reduce crime,
create jobs, and beautify the city. So murals do all
(15:21):
those three things, you know, They discourage graffiti, they create
jobs obviously, and they beautify the city. So I got
the grant, I painted that mural, and my goal was
to paint you know, dozens and dozens of murals, which
over the years I have painted about twenty five murals,
(15:43):
thirty milals, you know, in a Hudson Valley, not just Poughkeepsie.
But and I had this goal in my head to
make Poughkeepsie the mural capital of New York State. And
so and in those days, this is twenty four years ago,
there weren't a lot of murals around I there are
hardly any so, but now murals are popular because people
(16:07):
realize the value of them, So now there are a
lot of murals everywhere. But yeah, that's that was oh
so Yeah. The first mura was the Old Main Street Mural,
which was kind of a nostalgic bureau bring mural, bringing
back the good old days of Poughkeepsie, because people kept
telling me, oh, Poughkeepsie used to be such a nice town.
(16:27):
And I said, well, okay, I can't snap my fingers
and make Poughkeepsie, you know, fantastic, but at least I
can paint it and make you feel good. So that's
sort of the idea. And I took I got archival
photographs of real businesses that were in Poughkeepsie over the
over the one hundred years actually, and then I took
seven or eight and painted them in the in the mural.
Speaker 2 (16:52):
And I guess I'm driving. The thing is freaking huge.
Speaker 3 (16:55):
Yeah, one hundred and thirty feet.
Speaker 2 (16:57):
Okay, so we say you have a big seven foot
I think on your new show. Yeah, it's one hundred
and thirty feet is a lot of painting.
Speaker 3 (17:06):
From Yeah, it's the second biggest mural, and this one
is the biggest mural that I did in the second
biggest mural in Touches County, the one on Green Garden Street,
which is right around the corner from the old Mains.
Speaker 2 (17:17):
Oh yes, okay, yeah.
Speaker 1 (17:20):
Do you still do off of the mural walks?
Speaker 2 (17:23):
Oh yeah.
Speaker 1 (17:24):
In fact, i'm can you give people your website?
Speaker 3 (17:27):
Oh yeah, sure, it's Frank Palaya and it's spelled f
r A n C p A l A i a at.
Speaker 1 (17:38):
I mean dot com dot com, Yes, Frank plea dot com. Right,
So this show opens It opens on May third, but
the opening is actually Sunday, and yes, May fourth, from
three to five, and it goes to June fifteenth. So
I think it's one of those shows that when you
think about seventy or seventy one pieces, that you kind
(18:00):
of go soak some, soak in as much as you
can and then come back, you know, yeah, back when
we bring someone back with you, you know.
Speaker 2 (18:09):
Yeah.
Speaker 3 (18:09):
You know, a lot of people when they look at
my work, they're completely baffled because they see these huge
chunks of masonry, like big walls ripped out of billings
all over the gallery. But actually none of them are real.
They're all completely fabricated from scratch. In fact, they're just
(18:29):
the opposite of what they look like. They look real,
but they're completely simulated. They look heavy, but they're feather
light because I use polystyrene for the bulk of the works,
their styrophoam, and then they look old but they're brand new.
So everything is the opposite, and so people are kind
(18:50):
of totally baffled, which is great. It's nice to surprise
people in that way.
Speaker 1 (18:56):
I think for myself with your art, because initially I
wasn't you. I wasn't exposed to your urban work. I
don't know how I became exposed to some of your
urban work. I don't know if I saw something in
Jersey City, because you've done work that before. But I
was used to sort of like the nostalgic mural type
that nostalgic mural type work that you've done. And so
(19:19):
when I first saw one of your urban pieces with
the I think there was something with a light bulb
one time, I think a piece that I saw and
then the the sort of faux brick wall type plaster
type thing, I was like, wait a minute, it is
the same artists.
Speaker 3 (19:34):
I'm like this. For about ten year period, I stopped
making the walls, and I was making illuminated photo sculpture
with found objects, right, okay, making light boxes with found objects.
Speaker 2 (19:48):
You want to explain that, frankly, not everyone. Well, the
only reason I'm familiar with what you're saying that I've seen. Yeah,
but it's hard to explain.
Speaker 3 (19:55):
Well, I got a little tired of making the walls,
and I always wanted to make photo light boxes, but
I could never afford the actual light boxes. They're really expensive.
And one day I'm sitting in my studio kind of
figuring out what to do, and I'm looking and there's
an old suitcase in my studio. Literally, a light bulb
goes over my head. That's it. I can make a
(20:17):
light box out of the suitcase. Just cut a hole
in it, put a bulb in there, and put a transparency,
a photo transparency in there. Bingo, there's your light box.
So then I started, you know, between suitcases and crates
and trunks and auto parts and appliances and furniture. I
made light boxes out of all car I made a
(20:37):
whole car with solar panels on it so I would
illuminate the inside of it.
Speaker 2 (20:44):
And I found out you took junken.
Speaker 3 (20:47):
Yeah, And I was always interested in recycling and you know,
keeping the world a little bit cleaner, taking all this
old junk that's all over and giving these items a
second life, so to speak. And uh, and actually the
second life is better than the first life because maybe
the piece will be put in a museum, you know,
where it's treated like, you know, pampered instead of just
(21:10):
thrown away.
Speaker 1 (21:11):
But do you sell these pieces, these pieces for I try? Okay,
if you're just tuning in, you're listening to Finding Out
with Pete and the poet gold and I'm the poet Golden.
We're here with Frank Palaia local artists or multifaceted artists,
and we're talking about his exhibit and and a lot
about his other works as well. He has an exhibit
coming up in Garnerville, New York. It's called Urban Archaeology.
(21:36):
So so going back to you said, you try to
sell some of these pieces?
Speaker 3 (21:40):
Yes, Uh, these light boxes got great you know, comments,
I got grants, I got lots of shows, but it
was very difficult to sell on people, as if for
summer you didn't like to have to plug them in,
you know. But I kept saying, it's just like a
light radios, like, well, you don't buy radio because you
have to plug it in, you know. Anyway, So after
(22:02):
many years of not selling too many light boxes, I
kind of making stop. It went back to my walls
because I was starting to get interest in my walls again,
my urban walls.
Speaker 2 (22:14):
Yeah, a lot of people had discouraged from art for
exactly that reason, that it's hard to make a living
out of it. Can you give us a sense of
how you manage over the last fifty years to make
a living as an artist? Oh?
Speaker 3 (22:26):
Boy, it's not easy. The life of an artist is
not easy. But if you, you know, stick to it
and just don't give up. I'm lucky. I got a
master's degree, and I got I think I've received about
twenty grants altogether in five different categories of artwork, and
(22:50):
so you know. I also I picked up sign painting
over the years. That was a very good way to
make quick money. And it also was related to what
I was doing because my artwork is about walls and
I'm painting signs on walls. And actually the sign painting
got me involved with murals. Got me interested in murals
(23:11):
because I used to paint signs on walls, outdoor walls,
and the owner would say, hey, Frank, can you paint
a car?
Speaker 2 (23:19):
You know?
Speaker 3 (23:19):
They say, yeah, sure, I'm an artist. I could do everything.
I can do both. I could paint lettering and a car.
And I realized it's way more fun to paint images
and pictures. So I started seeking out some murals and
that's how I got into mural painting from sign painting.
Speaker 1 (23:35):
I think some artists miss that, you know, Peter knows,
I'm very much into like art as a business. But
I think a lot of artists missed that point, and
some buy into they have to be the starving artists,
and they romanticize and want to you know, become become that. Yeah,
to justify that narrative.
Speaker 3 (23:54):
Yeah, it's romantic. It's romantic for about five minutes, right, right,
and then that's it. Then you got to pay the.
Speaker 1 (24:00):
Right right exactly, you know, and there are ways to
be able to do that. And still, you know, I know,
for myself, as a poet, knowing my primary is poet poetry,
I should say, but like yourself, I'm multi fasted in
other areas, and so recognize you want to eat, you
want to be able to pay bills, So the teaching artists,
(24:22):
they became something I found very fulfilling. You know, working
with children you can't very fulfilling. And I still get
to be the artist.
Speaker 3 (24:29):
I used to teach too. That was I forgot to
mention that. For several years I taught, but I could
only get these adjunct jobs part time college, high school,
and it just never the money never ate it up
too much. You know, adjuncts are paid nothing, right, right? Yeah,
So that's actually that's how I got into sign painting
because I wasn't making really all that much teaching, and
(24:53):
a friend of mine painted. I saw one day painting
a little sign like this big, and we got fifty
bucks for and I go, I can do that. So
once I got into painting signs, I could paint a sign,
maybe not even a full day's work. I could make
one thousand dollars without even breaking a sweat. Instead of
teaching a whole semester in college. I would make five hundred,
(25:18):
eight hundred before taxes five hundred, right, how can you
live on that? Sign painting was very profitable compared to teaching,
And what do you.
Speaker 2 (25:28):
What are you trying to express? In other words, you
have Are you aware of anything in Sailu that is
a consistent theme or a consistent energy If you did
all that work, something's driving Yeah.
Speaker 3 (25:46):
Wow, that's a tough question, because well, I'd like my
art to make people think and also to make them
aware of things that maybe they're not aware of. Well,
that's that's you know, most artists, if you're a good artist,
that's what you do. That's you make people aware of
something that they didn't notice before. So it's a kind
(26:08):
of a subconscious way of exposing things in this world
that you normally wouldn't.
Speaker 2 (26:14):
Is there any kind of spirituality behind it? I mean,
do you think to yourself in those terms at all?
Speaker 3 (26:21):
Well, well, I went to Catholic school, but but my
work is not very religious. It's actually it's pretty pretty neutral,
and I did it. I even did a portrait of
the pope with in my is I forget I'm not
going to mention, but anyway, but not so much religious.
(26:44):
But you know, art can be spiritual, but not all
art is spiritual. Just depends on the artwork. And but
you know, I like my work to be to show
kind of energy and that you're alive and you're saying
you know color and texture because I see the world
(27:06):
as texture and color and movement and images, and so
I like to kind of absorb images from around the
world and then I digest them and then I read the.
Speaker 2 (27:19):
Public goal for this gold. What's the difference between U
spirituality and energy and energy? Frank s energy very comfortably.
And if reluctant on the spirituality, you want you want
to help him on that.
Speaker 1 (27:34):
Yeah, well, it's right. We're about to say.
Speaker 3 (27:36):
Well, I mean, I'm I'm spiritual, but not so much religious,
Like I don't go to church every Sunday, But that
doesn't mean you're not spiritual. This is a difference. I'm
a pantheist pretty much, and it sounds like a religion,
but it's not.
Speaker 1 (27:51):
It'stheism.
Speaker 3 (27:53):
Is it means, Pan means everything, and theism means belief,
belief and everything. Basically that they world universe.
Speaker 2 (28:01):
Is the God's nature.
Speaker 3 (28:03):
Yeah, nature, you know basically that's yeah, yeah, yeah.
Speaker 2 (28:07):
Which is a very American thing. In the nineteenth century,
a lot of the painters were pantheists.
Speaker 3 (28:12):
Yeah, probably most artists or pantheists, but they don't know it.
Speaker 2 (28:16):
Okay, I got a frying pan, I got that's what
I was so give us let's go back to the show.
We only have a few minutes. Stuff about what types
of things people will see in there and what you're
hoping they're going to like about it.
Speaker 3 (28:36):
Well, like I mentioned before, it's a real cross section
of about thirty forty years of my work. So you're
going to see paintings, photographs, sculptures, installations, video books, tape,
small tabletop sculpture or what else. It's in a combination
(28:58):
of things in between all those things because most of
my pieces include four media, four mediums painting, photography, sculpture,
and architecture in each piece pretty much, which you know
most artwork doesn't.
Speaker 2 (29:14):
Have all that.
Speaker 3 (29:15):
No, so you get your money's worth, you know.
Speaker 2 (29:23):
That's the only b multimedia. You're not only multimedia, you're
multimedia all at the same time.
Speaker 3 (29:28):
Yeah, okay, that's everything everywhere, all at once or whatever
that movie was.
Speaker 2 (29:35):
Yeah. Uh. Briting Mozuko our commissioner of Community Family Services
and Dutch County. She was on the show recently and
she said, well, you know, I'm a workaholic and therefore
ventured very casually. I think you might qualify. Do you
have any perspective.
Speaker 3 (29:52):
Yes, uh yeah, I guess I am.
Speaker 1 (29:55):
But you know, out of a hustle, Frank, that's that's
people tease me.
Speaker 3 (30:04):
Oh Frank, you're always promoting your stuff. Well hey, look,
if you're an artist, you don't have a gallery or
sugar daddy. That's you know, fucking your work. Who knows
my work better than me? So I figure, why shouldn't
I promote my.
Speaker 2 (30:20):
A lot of other people who are show you Yeah, oh.
Speaker 3 (30:22):
Yeah, I'm like, yes you do.
Speaker 1 (30:25):
So, Frank, I'm going to thank you for coming on.
This has been great once again. Frank Pelago's show Our
Urban Archaeo.
Speaker 3 (30:32):
Urban Urban Archaeology.
Speaker 1 (30:34):
Yeah, Urban Archaeology is going to be May third, June fifteenth.
The opening is Sunday, May fourth, at Garner Arts Center in.
Speaker 2 (30:42):
Garnerville, New York.
Speaker 1 (30:44):
Very good, perfect see then, thank you for our listeners
finding out with Pete and the Poel Goat. We appreciate
you and catch us also on our podcast on iHeart
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