(lighthearted music) - [Announcer 1] Coming up on "ART inc.," "A Night to Remember: Dr. Joseph Chazan," "In the Studio, In the City: Savonnara Alexander Sok," and "The Art of Getting Dressed."

(scene sizzling) - [Announcer 2] If you want to know what's going on... (smooth jazzy music continues) (distant engine whirring) (cat mewing) (ravens cawing) (birds chirping) (audience applauding) (television screen sizzling) (smooth jazzy music continues) (scene buzzing) - All right, so let's keep something else up here.

- [Richard] Of something happening.

- [Interviewer] Ready to go.

So you're shooting now?

We're on camera?

- Yep.

- Very good, Richard.

Okay, we're here in AS220.

No, we're not, with TV220.

Joe, if you can just tell us a little bit of, you're a doctor, but there's a lot of kinds of doctors.

- Yeah.

- What kinda doctor are you?

- Well, I'm an internist and I'm a nephrologist.

Nephron means kidney.

I take care of people with kidney disease.

(scene rattling) - [Interviewer] The reason why we're here is to talk about you not only as a doctor, but as an art patron, and collector, and friend of the arts.

And we've walked through your- (scene rattling) - And I've been smart enough to pick the good artists so people think I have a good eye, but I just found nice people who happen to be good artists.

(scene clicking) (relaxing jazzy music) (relaxing jazzy music continues) (crowd chattering indistinctly) There we go!

- Big bang.

- If anybody could ever have created a perfect situation, which at the end of their life, they could have had what he had.

All the people that he cared for, family, friends, artists, institution, and who cared about him expressing their genuine affection for Dr. Chazan.

- Oh, it was magical.

It was a magical evening.

It was like a reunion and such a celebration.

He was just over the moon about, you know, how great it was.

- So the show really speaks to the profound impact the arts have on all of Rhode Island: its thoroughbred, its economy, its very essence.

- The acknowledgement, the respect, the love, all of it, it was all focused on him the night of the opening.

A week later, quietly, he goes, he's no longer with us.

(crowd chattering indistinctly) (upbeat music) (upbeat music continues) - Primarily, this was an opportunity to look at a particular project that Dr. Chazan did with AS220, which was called NetWorks Rhode Island.

- And basically, it was a series of video portraits of Rhode Island contemporary artists.

- It's the second year that we're producing this concept, which started about a year ago when Bert Crenca and I conceived of the notion of documenting Rhode Island artists.

- By the time I met him, he had already had begun to create a legacy of collecting and supporting artists.

And some of those artists, in the early days in particular, were like the Howard Ben Tres, and Chihuly, and people like that who are in museums all over the world and stuff.

(pensive flute music) But it was also very helpful in my own personal development and the recognition that I've received for my work, so.

And that was his way.

I mean, he just, you know.

Joe said, "I don't know anything about art, but I kinda know people."

And he kinda, I don't know if he would've said it this crassly, but he collected people.

- There aren't that many individuals who collect artists who really are there to support the careers and the dreams and opportunities for artists beyond just owning their work.

- He was smitten with the idea, he was smitten with the museum, but most importantly, he was smitten by the artists.

- So that was a video that I made for WaterFire.

They were presenting a tribute at their annual fundraiser to Joe Chazan.

You know, he was this sort of larger-than-life guy when I first met him the mid '90s probably.

He was really simple about it, you know.

He felt that art was one of the really good- - [Joseph] Things that human beings do.

And it enhances and improves our existence.

- [Richard] And he realized he had the wherewithal to do that, being a very successful physician.

- He did his residency in Alabama during the segregation years.

He heard the Birmingham church bombing happened live from his backyard and how that was a huge, you know, moment in his life, where it just affected him and it made him realize that appreciation for the beautiful things in this world, building community, supporting art practice was essential.

(nostalgic music) - So for me, it's people who maybe I'm helping behind the scenes to allow them to live in a community that fosters support of them.

Since I have been around and children living in Rhode Island, grandchildren, I'd like to see the community succeed also.

(nostalgic music continues) Many of you said that he positively impacted your career or gave you an opportunity to try something new, that you could always count on his support, that he was honest, direct, and kind.

Most meaningful to me was how many of you said that he invited you into his home and his life, that you shared wonderful dinners together, that he was interested in you and your families, that he was your friend, and that you missed him.

(nostalgic music continues) - One of the things that always vexed him was like, "Why don't more people do what I do?"

- There's such a void and such a need for arts patronage in Rhode Island.

- We live in a community that has exceptional artists, and we don't have an exceptional collector base.

- I mean, there's other players, but Dr. Chazan was a really big player.

He decorated the city.

(lighthearted jazzy music) - He had incredible impact across the whole State of Rhode Island.

- And if we could bottle that and pour people shots, you know, who have means... - He could have put his name on a building.

Instead, he chose the artist and the nonprofits.

We had no value for the community, for the politicians.

And now, we have identity, we have respect.

We have respect!

And people acknowledge that being an artist is something good for the community.

- The work of the artist about people, and the work as a physician is the same.

And you do it because you do it.

That's what you're supposed to do.

And you're supposed to follow the goal of accomplishment without necessarily looking for reward or recognition.

I'm very pleased with the show.

Have a good time and buy some art.

(crowd cheering) (scene sizzling) - What's up Jay Lew?

How you been, bro?

What we're gonna do today is we're gonna kinda just chop it up and talk about our experiences together and kinda what you do as an artist, growing up as an artist in Rhode Island.

- Okay.

- And during that time, I'm gonna do this portrait of you.

In the day and age where we have social media and everything's moving so fast, we can follow people in our community and not even know who they are.

So I use live painting to make it comfortable, do something interesting, and collaborate with my guest at the same time.

- We might look at a wall, you might see a white wall, we see something different.

- [Savonnara] I see a canvas.

- Exactly.

- Really just taking the time, listening and digging deep into somebody's story, and just trying to learn as much as you can about them.

- Every person has a duty to produce something to the world, whether it's a tangible thing, whether it's a lesson, or whether it's just being a good person or good vibe, you know?

(upbeat music) - Jay Lew is a very, he's a special person, just talented, ahead-of-his-time artist.

- I could sit in discomfort if I know that in the long run, I'm gonna get to where I need to be.

- When we first started working together in 2019 at AS220 Youth, he was actually a youth that aged out and then later became an instructor.

Being a mentor is a very heavy, important role to play in somebody's life.

The way that he's juggling being an artist, and an instructor, and a mentor, it's an art in itself.

So he's perfect candidate for somebody that I would like to learn more about.

It's like the most inspiring thing just to see your mentor actually still do what they're teaching, you know what I mean?

- Right.

We teach through a craft.

Really, yesterday, I'm in a studio, I started writing to a beat.

"What are you writing to?"

I'm like, "Oh, I'm about to jump on this beat."

"You need to collab on it?"

"Yeah, for sure."

Now, me and you can work on a collab.

I'm like, "Yo, I'm buying a beat off a youth member."

You know what I'm saying?

- Uh-huh?

♪ Trying to save me ♪ ♪ Stop holding your breath ♪ ♪ And you think I'm crazy ♪ - The way that I was brought up, coming from a refugee family, the Cambodian community always stuck really close to each other.

We always took care of each other.

If we saw each other at the temple, we'll make sure the other families are eating and comfortable just the way that we are.

And I really moved around a lot as a youth, so I was always, like, the outsider looking in.

And I always noticed how much the community that I was in, I was like, took me in.

We definitely need to be connected.

We need to be friendly and then loving to each other.

It's nice to have a family, a support team that really sees you and hears you.

I'm not a master, I'm not an expert.

I'm a student learning the same way as everybody else.

Hence the reason why I think AS220 is also so great because we harness that type of learning.

We just want you to learn how to be a good, good to yourself really.

You know what I mean?

- Right.

- Being good to yourself will automatically open the door to being good to your craft, being good to your family, being good to everybody around you.

(relaxing music) - What's up, bro?

- All right, man?

- All right, nice to see you.

Thanks for coming.

Also, thanks for being a part of that segment.

- Appreciate your involvement.

- I got that piece that we worked on, so let's go ahead and check it out.

- Appreciate it.

Let's go, let's go.

- Okay.

All right, bro, moment of truth.

- Ah, no worries.

Wow.

- [Savonnara] I know one of your most recent single was called "The Monsters in My Head," right?

- [Jay] Yeah, yeah, yeah, "Monster."

- [Savonnara] So I took a part of your lyrics from your hook, and I put it right into the shadowy monster that, I guess, portrays the monsters in your head, so.

- I appreciate it, man.

- Yeah, thank you, bro.

- Yo, love you, bro.

I really appreciate it.

- Thank you too, man.

Love you too.

- Y'all gotta see this.

Look at this wild, crazy piece.

Like, I'm literally trying to process it.

This is crazy.

- Yeah.

(upbeat music) - Street art is a love letter to our city, to ourselves, to our community.

It's an open letter to our family, our friends, our chosen family, and it's, I think, an invitation to a lot of artists who have been, like, dormant or quiet, or maybe emerging artists who are afraid to pop out into the scene.

(upbeat music continues) For me, when I showcase this, I'm hoping that I inspire, like, other young artists or just artists in general to, like, just do what you want, say what you want, like, paint what you want so that at least people can see and hear you.

(upbeat music continues) (upbeat music continues) We're painting at Avenue Concepts here today.

Avenue Concepts is just a place where a lot of street artists would like to come and practice their skills.

They have legal walls here that is open 24 hours, so we can come at any time of the day or night, and it's a safe place for us to showcase our work.

(upbeat music continues) The way I work is with layers, so I just layer, and layer, and layer until I find something that I like.

Once I'm, like, comfortable with the background that I make, then I come in with a concept.

This one particularly, it's about love, but it's not like everybody's storybook feel of love.

A lot of times, I won't explain my concepts to people only because I like for my pieces to have the an open story, where people can just build their own story off of.

(upbeat music continues) We're kinda using the walls of our city as like a journal entry, just showing people how you feel.

And then not only if you're making this concept, but you're tapping into people who feel the same way.

So like, it's kinda almost like telling people that you're not the only one feeling this way.

(upbeat music continues) I wanted to come up with a concept where I can represent not only myself and my personalities, but just the people that I meet, the people in the City of Providence.

It just started inspiring me a lot more.

(hopeful music) A lot of the pieces that I do, they're just like a portrait of our people, of our community, basically.

(hopeful music continues) (hopeful music continues) (hopeful music continues) Street art, at least for myself, it's something for me to communicate when I can't find the words to communicate what I'm feeling, and it's just a great way to keep us grounded, to let us know we still have culture, let us know we still have a look, a personality.

Some people will say graffiti is like just defacing property, and I think all of that type of art is just a voice for people who aren't heard, marginalized communities that aren't being seen.

We act out when we're not being heard, or noticed, or, like, being helped.

We don't have to go out sometimes and protest and march all the time or riot, but, like, street art and visual arts, in general, is just a more peaceful way to convey what we're trying to say.

Yeah, we need that.

It's a platform for us.

(spray paint hissing) (hopeful music continues) (hopeful music fades) (scene buzzing) (smooth jazzy music) - My name is Bao.

I am a bespoke cutter and tailor at K-zao Studio.

(smooth jazzy music continues) The name of the studio, K-zao comes from the word Ka Zao in Vietnamese, which means folk songs.

I think the first moment that I fell in love with fashion was looking at the way that my moms and my grandma dress to go to work.

They would dress up in this very well-tailored suit.

It's very inspiring.

It's very, like, a different kind of energy that she's giving when she's wearing that.

She looks very confident.

She's going out there in the world and getting s*** done.

(sewing machine rattling) People comes to us for an experience, and that is very different from getting clothes off the rack.

They would have the opportunity to be very mindful about what they're putting on their body.

I think that takes a lot of courage.

Is there a color theme that you and Avery are thinking about?

- We're leaning towards more, like, springtime colors, blues and greens.

So the project I'm gonna work on with Bao is we're gonna be, well, Bao is going to be making a suit for my wedding.

(relaxing music) I'm going to be having top surgery, so I think I'll finally feel really comfortable in formal clothes.

I'm definitely a little bit nervous.

- Can you raise your arms up for me, please?

- I think it'll be really exciting to just move around and go through my day.

- You can get as technical as you want through anything, but at the same time, the relationship that you have with other people is important as well.

- Being transmasculine, like, especially when you start doing hormone therapy, like, your body does change.

So for me anyway, more of the issue became around, like, what was comfortable and looked the way I wanted it to.

Until recently, I was never interested in formal wear at all, like having anything remotely related to that because it felt so, like, pushed on me as a kid to be very formal in a feminine way.

This quilt is really special because in my transition, the backing of this quilt is the last dress that I ever wore, and I actually only wore it once, and then I never wore it again, and then I ripped it up.

(ventilator humming) - I think the process that we are doing here is very slow.

We get to know every clients.

Before we measure anyone, it's good to just talk to them, get to know them as people, like who they are, why are they here.

Why they're here is a very hard questions for a lot of people to answer.

- Gender means to me something that's very innate and an integral part of your identity.

I remember I quit playing soccer when they changed us from co-ed soccer to all-girls soccer.

The binary separation of everything that starts to happen when you're, like, six, seven, eight can be really, really difficult.

- All I try to do interacting with clients is to give them all the time that they deserve, all the time that they should have got from all of the experience getting dressed, make sure that they are comfortable in presenting the image of themself that they feel most comfortable with.

For every commissions that we make, we'll meet with the clients upwards of four times.

After four meetings, now you're touching a lot of parts on their body and make sure that they are comfortable with the work that you're making for them.

- K-zao Studio, it's really focused on the individual person that comes in, and what they want, and what their vision is, which I really respect.

And it's also really focused on clothing that isn't gendered and isn't designed that way, which is really, really important, especially for the queer community.

(jacket rustling) (lighthearted music) - I think my least favorite part of working with a client is the last fitting, the delivery.

It's the first time that the clients see the work.

It's special, it's very emotional.

- For trans people, finding formal clothes is a more complicated process.

Bao creates the most amazing, perfect space to find those clothes and to have those clothes made in a beautiful, beautiful way.

- [Announcer 1] Thanks for watching.

And we'll see you next time on "ART inc." (TV screen sizzling) (scene buzzing) (carefree music) (carefree music continues) (carefree music continues) (carefree music continues) (carefree music continues) (carefree music continues) Watch More "ART inc.," a Rhode Island PBS original series now streaming at ripbs.org/artinc.