>> welcome to "culturewire." today we are at recology. they are celebrate 20 years of one of the most incredibly unique artist residency programs. we are here to learn more from one of the resident artists. welcome to the show, deborah. tell us how this program began 20 years ago. >> the program began 20 years ago. our founder was an environmentalist and an activist and an artist in the 1970's.

she started these street sweeping campaigns in the city. she started with kids. they had an exhibition at city hall. city officials heard about her efforts and they invited her to this facility. we thought it would coincide with our efforts to get folks to recycle, it is a great educational tool. since then, we have had 95 professional artists come through. >> how has the program changed over the years? how has the program -- what can the public has an artist engage with? >> for the most part, we worked with metal and wood, what you would expect from a program like ours. over the years, we tried to include artists and all types of mediums. conceptual artists, at installation, photographers, videographers. >> that has really expanded the

program out. it is becoming so dynamic right now with your vision of interesting artists in gauging here. why would an artist when to come here? >> mainly, access to the materials. we also give them a lot of support. when they start, it is an empty studio. they go out to the public area and -- we call it the big store. they go out shopping, take the materials that, and get to work. it is kind of like a reprieve, so they can really focus on their body of work. >> when you are talking about recology, do you have the only sculpture garden at the top? >> it is based on work that was done many years ago in new york. it is the only kind of structured, artist program. weit is beautiful.

a lot of the plants you see were pulled out of the garbage, and we use our compost to transplant them. the pathway is lined with rubble from the earthquake from the freeways we tour about 5000 people a year to our facility, adults and children. we talk about recycling and conservation. they can meet the artists. >> fantastic. let's go meet some of your current artists. here we are with lauren. can you tell us how long have been here so far and what you're working on? >> we started our residency on june 1, so we came into the studio then and spent most of the first couple weeks just digging around in the trash. i am continuing my body of work, kind of making these hand- embroidered objects from our day-to-day life. >> can you describe some of the

things you have been making here? this is amazing. >> i think i started a lot of my work about the qualities of light is in the weight. i have been thinking a lot about things floating through the air. it is also very windy down here. there is a piece of sheet music up there that i have embroidered third. there is a pamphlet about hearing dea -- nearing death. this is a dead rabbit. this is what i am working on now. this is a greeting card that i found, making it embroidered. it is for a very special friend. >> while we were looking at this, i glanced down and this is amazing, and it is on top of a book, it is ridiculous and amazing. >> i am interested in the serendipity of these still life

compositions. when he got to the garbage and to see the arrangement of objects that is completely spontaneous. it is probably one of the least thought of compositions. people are getting rid of this stuff. it holds no real value to them, because they're disposing of it. >> we're here in another recology studio with abel. what attracted you to apply for this special program? >> who would not want to come to the dump? but is the first question. for me, being in a situation that you're not comfortable in has always been the best. >> what materials were you immediately attracted to when you started and so what was available here? >> there are a lot of books. that is one of the thing that hits me the most. books are good for understanding, language, and art in general. also being a graphic designer, going straight to the magazines and seeing all this printed material being discarded has

also been part of my work. of course, always wood or any kind of plastic form or anything like that. >> job mr. some of the pieces you have made while you have been here. -- taught me through some of the pieces you have made while you have been here. >> the first thing that attracted me to this was the printed surface. it was actually a poster. it was a silk screen watercolor, about 8 feet long. in terms of the flatwork, i work with a lot of cloddish. so being able to cut into it come at into it, removed parts, it is part of the process of negotiating the final form. >> how do you jump from the two dimensional work that you create to the three-dimensional? maybe going back from the 3f to 2d. >> everything is in the process of becoming. things are never said or settled.

the sculptures are being made while i am doing the collages, and vice versa. it becomes a part of something else. there's always this figuring out of where things belong or where they could parapets something else. at the end goal is to possibly see one of these collage plans be built out and create a structure that reflects back into the flat work. >> thank you so much for allowing "culturewire" to visit this amazing facility and to learn more about the artists in residence program. is there anything you like our viewers to know? >> we have art exhibitions every four months, and a win by the public to come out. everybody is welcome to come out. we have food. sometimes we have gains and bands. it is great time. from june to september, we accept applications from bay area artists. we encouraged artists from all mediums to apply. we want as many artists from the

bay area out here so they can have the same experience. >> how many artists to do your host here? >> 6 artist a year, and we receive about 108 applications. very competitive. >> but everyone should be encouraged to apply. thank you again for hosting us. >> thank you for including us in "culturewire." ♪ >> started in 1990. the citizens of the marina district came to the fire department and asked for a program to survive for 3 days.

there is a 70 percent chance we will have a 6.5 earthquake. 71 large fires. 40 major rescue operations. [inaudible]. rescue operations there were 34 structure fires we need 275 engines to handle this. we have 41. you will be on your own and we should be prepared. we will go over the merge training program. part of the training program is helping you make the decisions that will save lives. in this situation this person carrying a pail of water to put out the fire will not put out the fire. how many people have used a fire extinguisher before. >> may be 10 percent of you. by the end of the week you will

be putting out a fire with a fire extinguisher. you don't want to learn out to house an extinguisher when they big fire is in front of you. when you turn off your natural gas and water. hazardous materials will be talked about next week. 35-40 percent of you. you will find out that all of you have hazardous material in your home. the third week is disaster medicine. you, going into a room spending 45 seconds on one person into 3 life saving techniques. by the fourth we we will teach you as search and rescuers how

to keep yourself safe by identifying safe and none safe building to go into. sometimes objects are too heavy for you to liftoff of a body. we will teach you privying which will use anything you have, wood or cement blocks so you is see that people can lift heavy objects off of people. now, you have to have a plan. every program needs to have a plan. we can't say, here are your skills. class 6, after half an hour we will split you into teams of 10 people each. putting out the fires. you will go into a dark room and doing a search. you will be treating people with injuries on them.

be doing privying. lifting heavy objects off of a doll and giving iv and turning off utilities. we are building you up to the hand's on scenario. >> what do you do? let's say you feel a tremor and it's going to shake, what are you going to do? all right. 40 people said -- >> where we going to go? >> under a table. >> [laughter]. >> going to be survival of the fitef. fittest. if you have a table go under the table. look above you, what's going to fall. what's going to hit your head. most of the chairs decent. if you are in a movie theatre

or stadium what do you do? the same thing. these chairs are not heavy dutiy but covering your head is most important. if it's an empty room go against the wall and cover your head. a lot of cut in disaster heads and arms will get cut. those you can control the bleeding where as the head injury is harder. cover your head, the most important thing to do. we cover, beaware. 15 seconds. in the marina people said it felt like a minute. if you are covering yourself under the table and it's shaking what will happen in 30 seconds? you look up, where's the table. hold on to the table. if you are inside, stay in

don't go from the known to the unknown. if you are downtown in an office building or shopping at macy's, do you run in the middle of the street? no. you stay where you are. how much time do you have? seconds. you have to make a decision within seconds. if you run to the street what will happen? >> get hit by a car. you have windows, glass to fall on you. high rise. if you know where you are, stay there than to go somewhere you don't know what's there. once it's shaking between 30 seconds to a minute and once it's over, things will fall and

tip over. give it time to move around. of course, if there is danger coming to you, you want to move. so, picture these buildings. against the wall. will i go behind this wall? lean against it, cover my head? no. the pictures frames. if they come off and hit me on the top of the head, more injuries. be aware of that target. look behind you before you lean against the wall. sometimes wrong place at the wrong time there is no way to get down this way. try to find a [inaudible] place if you can. get next to something that's sturdy that will block up against you.

how much time do you have? short. >> this picture, what's a good spot? round ones. >> make sure there are no windows on top of you. if you go to that one notices sky lights above. they will fall down and hit you. either table is fine. stay away from the windows you will be better. make sure you go between the windows and make sure the glass does not pop and cut you. >> elevators, what do you think? you don't get in elevator? no. you will be stuck there for awhile. if you go down the stair well. if there's an earthquake and you are in a high rise

building. ing -- no. if it hadn't collapsed in the disaster chances are it will stay up. outside, where's an open area? high rise building when glass breaks it floats it with hit 2 blocks away from where it falls. if you are outside, you want to look up and make sure nothing is coming toward you. there is 3-5 feet of glass on market street. top of that you are going to have office furniture and debris falling into the street. even if you are in a car if you are next to large, brick buildings and if collapsed on you there is no safe place to go. how about here.