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0:32 THOMAS GLASSFORD: We’re in Tijuana right now, in the Consulate installing this piece that
0:36 we’ve created especially for the main gallery area here. You go through the world and you
0:44 find the starburst is like — like the most favorite thing in the way of the idea of an
0:48 astral form that’s kind of symbol of otherworldliness, God, you know rays, all of these kind of things.
0:56 So, hence the collection of astral forms.
1:00 PEDRO REYES: This is the ear. All of it composes this kind of very elaborate shape that we
1:16 have inside.
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1:25 Because it’s about cultural diplomacy, it’s very important not only what you have to say,
1:30 but also what you are — ought to hear.
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1:48 THOMAS GLASSFORD: Having grown up on the border of Texas and Mexico for me the border was
2:03 — has always been a gray zone, which is not necessarily part of Mexico or part of the
2:09 United States for that matter like many border zones around the world. And in a certain way
2:14 the United States has been my motherland I would say that — of fatherland or vice-versa,
2:18 I would say that the opposite is true with Mexico. I have been living in Mexico for 21
2:22 years and producing and working from Mexico as a Mexican artist as well as an American
2:31 artist. This work was conceived and built completely in Mexico City as well.
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2:46 PEDRO REYES: I was looking at sources for inspiration — nature — and that led me to
2:56 anatomy. And in anatomy I found the organ that allows for us to communicate.
3:07 Inside our body, this is like about eight millimeters long and the sculpture is eight meters long.
3:20 That means it’s 1000 times amplified.
3:32 Oh it’s — you know – a sense of accomplishment
3:35 and relief (laughter).
3:50 The art is something that should allow people
3:54 to talk, but not about the piece, but just like talk about larger aspects of life. So
4:01 it’s not that it’s about this piece of metal here, it’s about the other discussions that are yet to come.
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