(bright music) - [Matt] Sparks fly in the studio of sculptor Tori Rodriguez.

Elizabeth Dubben shares big news at Collar Works.

♪ I guess it's time ♪ And catch a performance from AILA.

♪ Love me first ♪ It's all ahead on this episode of AHA, "A House for Arts."

♪ In my own abyss ♪ - [Narrator] 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.

- At M&T Bank, we understand that the vitality of our communities is crucial to our continued success.

That's why we take an active role in our community.

M&T Bank is pleased to support WMHT programming that highlights the arts, and we invite you to do the same.

(bright music) (upbeat jazz music) - I'm here in Shore, New York, about to step inside the studio of artist Tori Rodriguez.

Follow me.

(upbeat jazz music continues) - [Tori] I'm a multimedia artist, primarily working in metal sculpture and also fine art painting.

(upbeat jazz music continues) The first time I welded was in high school and completely fell in love with it, but didn't think that that's what I wanted to do, like, as a career.

As I started to get more into my art in my twenties, at the same time, I was working in manufacturing, doing programming and design work for a company that does all precision cutting.

So I got a lot of exposure to different materials.

Steel, aluminum, stainless, some specialty alloys.

Initially went to school for interior design, took some time off of college for a few years, and then went back to school full-time for welding.

And that really pushed me to get more into metal sculpture.

I just really love steel.

It's very versatile that you can use steel for building large structures, for building smaller things.

There are different finishes that you can put on it.

I love texture.

I have a whole thing about texture.

So playing with the different finishes and patinas and treatments on steel, I find that to be a lot of fun.

(pensive music) The Mastodon in Cohoes, New York, that was my first large scale piece that I did.

I worked with the Abram Lansing Elementary School, the principal of the school and I sat on an art committee together.

That's how we met.

And then he had this idea to have me come in and talk to the students.

So I got sketches from a bunch of third graders of what they wanted this giant sculpture to look like.

Put them in a pile, see what the popular vote was, see what was buildable, and that's how the sculpture kind of came to be.

I built a frame out of one steel tubing and then the rest of it is entirely out of scrap.

I had no idea what I was getting into, but I'm pretty happy with it.

Have you seen the owl?

(triumphant music) The owl is at Okte Elementary and that's in Clifton Park.

The art teacher at Okte Elementary, her kids play soccer in the field where Mastodon is.

So she saw that and she was like, "I need a sculpture like this."

So I got linked up with her and she was like, you know, "Could you build something like this for us?"

And I said, "I can, but my stipulation is that I get to come in and talk to your students about how cool welding is."

We're seeing such a shortage of welders in the industry right now that companies are just, they're hurting.

A lot of 'em are forced to move toward automation because they can't fill positions.

And there's just like not as many people coming into the industry as the people who are coming out of the industry.

So in a world of social media influencers, how do you try to inspire the next generation to want to do something, to work with their hands, to do something that's really an essential skill?

I mean, welding is used in so many industries, so that's part of why I go in to talk to students and work with them.

You know, the art part is very cool, but it really, you know, I have a dual purpose of being there in trying to inspire the next generation to still want to stick with the trades.

(quirky music) So I've done plenty of small-scale sculptures.

I like the idea of doing something that's functional but also artistic.

A couple years ago I was walking through my house looking for some drinking glasses.

I was having people over and I'm like, "Where did all my drinking glasses disappear to?"

And they were scattered throughout my house holding plant clippings.

So I was like, "Okay, I'm a fabricator, I'm an artist.

It's time to make something cool."

That's when I started making propagation stations.

I love the juxtaposition of the heavy industrial, almost post-apocalyptic design of these with the delicacy of the glass in the plant.

I also am finishing a new prototype design for a banana stand that goes in your kitchen that's in the shape of a scorpion.

(upbeat jazz music) The large scale project on deck is going to be a suspended sculpture coming out of a skylight in Downtown Albany.

It's going to be in a restaurant.

I can't tell you who it's for yet, but they have a very Louisiana, New Orleans vibe and they asked me to build this out of old instruments to kind of bring that jazz feel into the space.

The instruments for this project were donated by Cole's Woodwind Shop up in Saratoga Springs.

They're older and a lot of 'em have been decommissioned.

My plan is to have a music case open on, like, the upper backside of the sculpture, and then have all of the instruments look like they're falling out of it, almost like a Mary Poppins kind of feel.

Like very whimsical.

The instruments that are gonna be closer to the case, I want to put a stronger patina on those to make 'em look older.

And as they come into the space kind of fade out that patina and, you know, polish 'em and make 'em look newer.

My brain just has so many ideas that I'll probably die before I just can physically get to all of them.

So I like to take on projects that are gonna push me to do something better and bigger.

- Elizabeth Dubben is the co-director of Collar Works, a nonprofit art space in Troy dedicated to supporting emerging and underrepresented artists.

And they're going through some pretty major changes.

As they work to transform one of Troy's historic iron foundries into their new headquarters.

Jade Warrick spoke with Elizabeth to learn more.

- For our people who may not be familiar with Collar Works so much, wanna give us a little bit of background of what is Collar Works?

What's your role?

- Sure.

Collar Works is a contemporary arts organization based in Troy, New York.

We are a nationally recognized organization, I like to say with a global impact.

Our mission is to support emerging and underrepresented artists in the creation and presentation of their works.

And we have multiple programs from exhibition opportunities to artist residencies, studio-based fellowships, all sorts of things.

- All things great.

- [Elizabeth] Yeah.

- All things that artists love.

- [Elizabeth] Yes.

- Well I know Collar Works is going through a major growth phase right now.

So what's happening and why is this a big moment for your organization?

- We are undertaking a big capital project in South Central Troy.

We've partnered with sequence development to purchase and renovate the historic Neemes Iron Foundry and transform it into a hub of innovation and creativity.

It's going to be Collar Works's new headquarters with expanded gallery space, artist studios, presentation space.

Really a community hub for world-class contemporary art and placemaking right in South Central Troy.

- It's amazing.

- [Elizabeth] Yes.

- Especially in South Central Troy.

You know, that area's slowly becoming a hub for community, art, and just all around awesomeness, in my opinion.

So how do you think this new project or this current project is gonna have a positive influence on artists, community, and Collar Works itself?

- We've been around for 15 years and ever since we began, our focus has been trying to provide opportunities for artists to sort of overcome adversity and sort of breakthrough barriers to achieve sort of success.

And so for us, this opportunity is to sort of create a foundation for Collar Works and for Troy that kind of embeds this sustainability model around the arts, allows for us to provide greater accessibility, greater financial resources to artists and other arts organizations, other community groups to have access to space, access to shared resources, and especially to reach artists at critical points in their careers and be a true springboard for them so that they can be well on their way to having a career in the arts.

And so for us, this is a moment where we needed to take that leap.

We had been operating our programs in various locations throughout the capital region for many years and there's such high demand for the services that we provide that we needed expanded space and we needed to take this opportunity to bring everything under one roof, so to speak, and increase our services to artists and increase our impact.

- Now what are some of the services that may be new that comes with this new building and everything?

Is there anything new that's gonna happen based off of this?

- Yes.

So largely the affordable artist studios, that's a big part of the building.

And so there's going to be 11 affordable artist studios in the space.

And that's something that we've been working towards for a couple of years as an organization.

It's a huge void in the capital region.

There's so many artists in this area that need access to affordable space, as you know.

- Yep.

I do know.

(laughs) - And that's a big part of this sort of new expansion of Collar Works, is to provide the affordable artist studios to artists of the capital region.

- That's a big deal.

Grassroots to global, you know?

- Yes.

(both laugh) - So how are you staying true to your values with this big growing moment?

Seems like you're growing triple your size, you know?

So how is Collar Works being still intentional about keeping that grassroots feel, that very "by artists for artists" feel with this big growth spurt?

- I like to say that it's a large, you know, philanthropic moment for us with sustainability and longevity in mind.

And it's not necessarily to make us a huge organization long-term.

It's a moment for us to sort of rightsize the organization so that we have sustainability kind of baked into the DNA of the organization to stay small to midsize and high impact for the long-term.

- [Jade] Hmm.

- So for us, that sort of ethos of and culture of grassroots, of "for artists by artists," centering care, centering wellness, centering artist equity, fair pay.

You know, always centering sort of the artist's need, making sure that that is a part of all of our decision making, is not gonna change sort of at the core.

I think it's only going to amplify in this moment where we're growing and evolving.

- I love that.

- [Elizabeth] Yeah.

- And that's very important, very important for artists.

Very important for me personally too.

So big transitions need big support.

The community.

How is the community and efforts such as the Future Fund been helping make this transition or this dream a reality?

And then how can other people get involved?

- It really comes down to relationships and resources.

(Elizabeth laughs) - [Jade] Mhm.

- And community and that kind of connectivity that we need in building those relationships and bringing people into the fold to just support our organization and our programs and our efforts kind of across the board.

So there's no denying that when we are undertaking, you know, such a expansion effort as we are, we need financial resources and support and our organization relies on philanthropy and the generosity of our community.

And so we are very thankful for individual contributions, but we also are a volunteer-based organization and we look for people to volunteer their time in helping us share their expertise to help us with our programs and events and other aspects of our organization.

Serving on our Board of Directors, helping, you know, at events or with our programs.

So there's many ways to get involved with Collar Works.

Yes.

- It's a community endeavor and a lot of people have been out there supporting, whether through the Future Fund, again, whether through serving on the board, there's so many ways that you can help uplift organizations for the greater good.

- Yes.

- So I know the doors will most likely open in 2026.

So what do you want people to feel when they go into the space?

What do you want them to feel, what do you want them to see, and what do you want them to, like...

I don't know, like, when they leave that space, what are they left with?

- Overall, we want them to feel invigorated and inspired.

Like they've walked in and experienced something fresh and exciting that they haven't seen before.

You know, we want that sort of high class, high quality artistic integrity to really shine, like they've walked in, you know, to kind of a major city and they've experienced something that they wouldn't have seen anywhere else.

You know?

Questioning life and society and dreaming a little bit, you know, too, and that they are eager to come back and see more, experience more.

- Man, that's all we can ask for, right?

Well, thank you, Elizabeth, for stopping by to tell us about this amazing new project and I can't wait to visit the new space.

- Thank you, Jade.

- Please welcome AILA.

(soulful R&B music) ♪ Every morning, don't you go hide ♪ ♪ Every morning ♪ ♪ Don't you go hide ♪ ♪ I'm feelin' irritated ♪ ♪ Trapped in the ways of my own thinking ♪ ♪ This prison has an wards, only senses for calculatin' ♪ ♪ Sun is bakin' ♪ ♪ Beatin' and glowin' on my skin ♪ ♪ I'll shed a layer or two ♪ ♪ For the crowd to see in ♪ ♪ Cue the soiree ♪ ♪ Glasses clinkin' fancy for days ♪ ♪ Folks embracing one another ♪ ♪ Knowing that they in the good days ♪ ♪ No fear of missing out on outside craze ♪ ♪ We in here drinking lemonade on the beach ♪ ♪ Because we do care, intentional ♪ ♪ I'm intentional with my visions ♪ ♪ And reasons as to why ♪ ♪ It's important to know perspective ♪ ♪ A third person point of view ♪ ♪ Won't leave me out here guessing ♪ ♪ Wonders and lessons and sandpapers ♪ ♪ Will feel like blessings ♪ ♪ I'm not stressin' ♪ ♪ This is as good as it gets ♪ ♪ This meaning what you think is the best of the best ♪ ♪ It's always changing ♪ ♪ Elusive in the wispy, wispy whispers ♪ ♪ A string of unexplainable, innocuous tongue twisters ♪ (soulful R&B music continues) ♪ Every morning, I will go out there ♪ ♪ Every morning, oh ♪ (AILA vocalizing) (pensive blues music) (AILA vocalizing) ♪ Don de Parma ♪ ♪ Check it ♪ ♪ A baby goat born in the womb ♪ ♪ For the music and the hope, oblivious to the drama ♪ ♪ And the things that people spoke ♪ ♪ I think karma gonna get them ♪ ♪ Every time they want the smoke ♪ ♪ So why I, I, I take a step back ♪ ♪ To figure out the game of shows ♪ ♪ Everybody got a story they gon' wear on they coats ♪ ♪ And, yes, me being the little homie knows ♪ ♪ Or look where to step ♪ ♪ When it comes to steppin' on the people's throats ♪ ♪ The flow goes manancing ♪ ♪ The words fluidly dancing ♪ ♪ Through the curbs and the music ♪ ♪ They guys about to go stupid ♪ ♪ Buckle up for a ride driven by your hungry student ♪ ♪ If you listen to the speech ♪ ♪ You don't stay hungry and stay foolish ♪ ♪ Taking life so serious comes with a price ♪ ♪ But I knew this ♪ ♪ It's all fun and games 'til somebody gotta do it ♪ ♪ They think it's also effortless ♪ ♪ It is, baby ♪ ♪ I do this, I live that, I be that ♪ ♪ Life is being trueness ♪ ♪ Not a care in the world, yeah ♪ ♪ Let 'em breathe in ♪ ♪ To be there in the world, yeah ♪ ♪ Let them see it ♪ ♪ Not a care in the world ♪ ♪ Let 'em breathe in ♪ ♪ To be there in the world ♪ ♪ Let them see and take my eyes up out the cloth ♪ ♪ Just to paint a pretty picture ♪ ♪ Full of shadows and the darkness ♪ ♪ Bring 'em all out on the front ♪ ♪ And hit his step ♪ ♪ But you out here bringing dogs out ♪ ♪ Play with Barbie, then you gettin' called out ♪ ♪ Excuse me, AI, there's been a system overload ♪ ♪ You've been dubbed as the pretty girl ♪ ♪ That gives at every show ♪ ♪ Genetically modified to fit ideas of people's notes ♪ ♪ Generating images with words ♪ ♪ Like a trooper with ♪ ♪ This is a statement, a turning point in my life ♪ ♪ My name is in the pavement to building my foundation ♪ ♪ The origin, the basic, authentic AI creation ♪ ♪ Innovative in a way that's posing as the matrix ♪ ♪ But I digress ♪ ♪ I leave one more for learning less ♪ ♪ An even score, yeah ♪ ♪ I'm settling score, but ♪ ♪ Not a care in the world ♪ ♪ Then I'm breathin' ♪ ♪ To be there in the world ♪ ♪ Let 'em see it ♪ ♪ Not a care in the world ♪ ♪ Then I'm breathin' ♪ ♪ To be there in the world ♪ (pensive blues music continues) - [Voice 1] Yo, she really fire.

- [Voice 2] Yo, that was you?

That was hot!

You wrote that?

(overlapping voices on recording) - [Voice 3] Who are you?

Why have you been hidin'?

You're really one of a kind.

Like what?

You know, it's 'cause she's homemade.

She's authentic.

(mellow R&B music) (AILA vocalizing) ♪ Listen, I pull up outside ready for the function ♪ ♪ When I see about three guys ♪ ♪ Drunk as hell with their hypnosis eye ♪ ♪ Walk upstairs ♪ ♪ And at least I see my homegirls ♪ ♪ Up the stairs, I went ♪ ♪ I'm all trippin' over myself ♪ ♪ Dang, get it together ♪ ♪ No blame, just nervous ♪ ♪ Haven't been out outside since Thursday ♪ ♪ Lookin' kinda homeless ♪ ♪ Wait, what's that mean ♪ ♪ And should I keep the cycle going ♪ ♪ I've seen some random things ♪ ♪ Without thinkin' it goes unnoticed ♪ ♪ I need to feel me ♪ ♪ See, this why I don't go out ♪ ♪ I haven't been tendin' to my feelings ♪ ♪ I need to feel me ♪ ♪ See, this why I don't go out ♪ ♪ I haven't been tendin' to my feelings ♪ ♪ I bumped a beat ♪ ♪ Have some drinks ♪ ♪ Not feelin' me, but feelin' great ♪ ♪ Gettin' a call from my mama ♪ ♪ I drank too much alcohol, adult imposter ♪ ♪ Mama asking where I'm at ♪ ♪ I'm at a party, Ma ♪ ♪ She says, Hey AILA, why you there ♪ ♪ Your mental not up to par ♪ ♪ I try to reason ♪ ♪ Sayin', Ma, we going out to the bars ♪ ♪ But now it don't even make sense ♪ ♪ Man, I'm so confused ♪ ♪ Homegirl lit, she ain't seein' a thing ♪ ♪ God damn, back to back ♪ ♪ It's me, myself again ♪ ♪ The big homie ♪ ♪ I put the out one big OG ♪ ♪ A reflection, everywhere I go, a big mirror ♪ ♪ Now I see me ♪ ♪ My body wanna give out ♪ ♪ And now my mouth tastin' sour ♪ ♪ We've been two-stepping to a beat for how many hours ♪ ♪ What a bore ♪ ♪ Is this what I deemed as experiencing more ♪ ♪ Man, what was I thinking ♪ ♪ I knew I didn't want to party ♪ ♪ Yet I still went out lookin' for a party ♪ ♪ I knew I didn't want to party ♪ ♪ Yet I still went out lookin' for a party ♪ (line ringing) - Uh, hey girl.

I'm about ready to get the Uber.

You ready too?

Whew!

All right, bet.

(laughs) ♪ I need to feel me ♪ ♪ See, this why I don't go out ♪ ♪ I haven't been tending to my feelings ♪ ♪ 'Cause I need to feel me ♪ ♪ See, this why I don't go out ♪ ♪ I haven't been tending to my feelings ♪ ♪ We on the way home, feeling tired ♪ ♪ Ready to return back home to our thrones ♪ ♪ The throne within, the driver jet ♪ ♪ The stuff about these topics ♪ ♪ And now we're retreat ♪ ♪ He's dropping knowledge, wisdom ♪ ♪ Reminding us of power ♪ ♪ Tellin' us to go home and wash our tiaras ♪ ♪ Ours, to be mindful of our hours ♪ ♪ He dropped us off, we tipped him well ♪ ♪ Gave thanks for all his blessings ♪ ♪ Go inside, you're ready to sleep with all our lessons ♪ ♪ And I don't have no problems with partyin' ♪ ♪ But when I'm trying to avoid something growing within me ♪ ♪ That's where things start to go left ♪ ♪ And now I'm startin' to see ♪ ♪ I enjoy my people ♪ ♪ But not when I'm tryin' to flee ♪ ♪ I'm beginning to be more aware ♪ ♪ Of what I'm feeling within ♪ ♪ And I realize that I do crave human connection ♪ ♪ But not artificially nor only when I'm drunk ♪ ♪ I enjoy my people sober ♪ ♪ Gettin' down and gettin' crunk ♪ ♪ Yeah, gettin' down and gettin' crunk ♪ ♪ Yeah, yeah, yeah ♪ ♪ Gettin' down and gettin' crunk ♪ ♪ Yeah, gettin' down and gettin' crunk ♪ ♪ I enjoy my people sober ♪ ♪ Gettin' down and gettin' crunk ♪ (pensive R&B music continues) (dreamy R&B music) (AILA vocalizing) - [Voice On Recording] Hi, Nora.

(AILA vocalizing) Hi, Nora.

(dreamy R&B music continues) Nora?

Nora?

♪ Oh, oh ♪ ♪ Did you ♪ ♪ Allow me ♪ ♪ To be free ♪ (dreamy R&B music continues) ♪ Did you ♪ ♪ Allow me ♪ ♪ To be free ♪ ♪ Are you playin' with me ♪ ♪ How, how, how ♪ ♪ I know you said don't ask no questions ♪ ♪ Why, why, why, why, why ♪ ♪ Why, oh why, oh why, oh why, oh why, oh why ♪ ♪ I'm cast away in the wind ♪ ♪ They forgot about me ♪ ♪ Nah, I forgot about my wins ♪ ♪ I crushed it in my hand right as we speak ♪ ♪ They forgot about me ♪ ♪ No, I forgot about me, oh ♪ (dreamy R&B music continues) (AILA vocalizing on recording) ♪ Did you ♪ ♪ Allow me ♪ ♪ To be seen ♪ (dreamy R&B music continues) ♪ Did you ♪ ♪ You, allow me ♪ ♪ To be seen ♪ (dreamy R&B music continues) ♪ You'll seek everything I gave you ♪ ♪ And give it to another person ♪ ♪ You'll blame it as your own knowledge ♪ ♪ Information from your own noggin ♪ ♪ Wow ♪ ♪ Oh, wow ♪ ♪ That really hurt ♪ ♪ I felt so insecure ♪ ♪ I guess it's time to put me first ♪ ♪ Put me first ♪ ♪ Give myself a kiss to know my worth ♪ ♪ In my own abyss, I'll rehearse ♪ ♪ Bein' a cool chick ♪ ♪ I'll take a dip into my heart first ♪ ♪ I'm gonna put me first, yeah ♪ ♪ I'm going to put me first ♪ ♪ Give myself a kiss, okay ♪ ♪ And know my worth, my worth ♪ (bright music) - Thanks for joining us.

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

I'm Matt Rogowicz.

Thanks for watching.

(bright music continues) - [Narrator] 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.

- At M&T Bank, we understand that the vitality of our communities is crucial to our continued success.

That's why we take an active role in our community.

M&T Bank is pleased to support WMHT programming that highlights the arts, and we invite you to do the same.