I don't want to make sculptures that are designed and then built and it's one of the important

reasons I work with a team and it's all in-house as opposed to, you know, other artists might

design something and then you send it to a fabricator.

I like to be able to leave a lot unfinished and thinking of a piece until you're halfway

through with it and so you need to have that needs to be in-house and you need to be making

that with people that you can have a lot of trust with and that you want to give agency

to.

That was artist and sculptor John Grady, whose work exists in the intersection of art,

education and advocacy.

Influence by the environment and human impact on it, there's a specific attention paid

to the idea of impermanence.

He often destroys his art as part of its showing or exhibition because art, like life, is

temporary, both are a journey that rarely turns out how you'd expect, so it's important

to embrace change.

To achieve this vision, John believes in the power of collaboration, that the inclusion

of different perspectives always benefits and improves a project.

That more people involved means more minds thinking through complex issues and ideas.

So here he is, John Grady.

Welcome to Chattermarks, a podcast of the Anchorage Museum, dedicated to exploring Alaska's

identity through the creative and critical thinking of ideas, past, present and future.

My name is Cody Liska and I'll be your host.

John, as I was doing my research on you, I came across photos of your studio, which

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