Salon 40 // COLLAGE : Show & Tell

Hello, my name is Colin Goldberg and welcome to the Techspressionist Salon Number, I believe it's 40. Today, we will be doing a show and tell format, which we haven't really done before, but it's basically sort of a revisitation of our early salons where we did sort of like a speed share. And it'll be a show and tell about on the topic of collage and artists are welcome to use the raise hand function in Zoom. And I will, you know, call on people as in the order that the hands are raised. Or, you know, like if you're not comfortable with that, then you can always just wave at me.

Colin Goldberg

But I'm going to first. Hand the mic over to Roz, who has an important announcement about interviews.

Thanks, Colin. And I want to welcome someone I invited today who I met at the Parrish Museum last weekend. His name is Ellis Eclipse. And hi, Ellis. I just wanted to welcome you today. I invited him to come to Techspressionism and I'm glad to see him here. Young man working with virtual photography ideas.

Roz Dimon

Michael Pierre Price and I came up with a concept. During the Techspressionism show where the eye and Michael just interrupt me and say whatever you like. We're calling it like the digital handshake. I know that word is used a lot handshake. But the fact is, it is about really making a handshake with one another. And it's kind of different than the other interview series that we've had going, you know, that I started and a lot of you have participated in and taken on yourselves. But in this case, it's something we're doing online. On our own, outside of Techspressionism, just so these interviews won't be confused on the Techspressionism site as the same. You know, they're a little bit different, but they're not quite the same as our main mode of interviews, which you can find on the Techspressionism site.

Roz Dimon

And I could tell you just a little about the format that Michael and I came up with. And we're inviting all of you to maybe and this is for people who are in the show specifically. We're going to run during the show, hopefully the Southampton Arts Center show and the format for it. I will put up for anybody who wants either on Discord or send it to you. I don't have it in a format I can paste. I wouldn't want to paste in the chat. But the idea is like it's called the digital handshake. And the first one we will do a few days after the show opens, Michael and I will introduce ourselves and say a little bit about ourselves. And. And say something about the Southampton Art Show.

Roz Dimon

And I will talk about my piece in the show and share the screen for ten minutes. He will talk about his piece in the show and share the screen. And then both artists will talk about collage and layering what makes what we're doing in digital distinct and different in this time than than other forms of art. And we'll also talk about Techspressionism a little bit. But we're going to put these up on our websites. And promote Techspressionism and the show. And it is a format that you're welcome to use and invite each other to. And we can promote each other on Instagram like, oh, here's another digital handshake. Makes it very different than, you know, the mode that we think of for the interviews. Michael, do you want to say anything? And I know we want to get to collage, but just wanted to welcome everybody.

Just real briefly, we're calling, I guess, for all hands on deck to kind of promote not only the show, but ourselves as artists. And what we do with what makes our art interesting and unique and why digital is

Burgeoning right now.

And so really, we're looking at these digital handshake interviews as an adjunct to the ongoing Techspressionism exhibit at Southampton. And we just felt like it was a good way to promote the show, to promote our artwork. To promote the worldwide organization and community that we've been developing over the last nearly two years, year and a half or so. So, yeah.

That's pretty much in a nutshell, and you know what, you can write me or text me or DM me. Yes, I'm one of those other people went, what does that mean? Direct message me. That's fine. If you want to know more about it and thanks. Thanks, Colin. We just want to put this out there. And the artist will be responsible for posting these, you know, themselves.

Roz Dimon

So.

We can all help each other with that, too.

Yeah, you know, like I had originally, Roz had originally pitched this idea to me, and I just thought it might be confusing since we already have a set of interviews and a playlist to, like, make them available in a centralized way that, like, you know, it might be confusing. Fusing for people and artists that do have interviews, they're embedded already on your artist page for the exhibition.

Colin Goldberg

But I think that the more of this type of activity that is essentially people putting it out through their own channels is actually what's going to help this grow the most. And, you know, the more decentralized it is, the more, to me, it has likelihood of sticking and, you know, really becoming something beyond what is published on Techspressionism.com.

Colin Goldberg

And I think that's really important. So, yeah. And Roz, if you'd like to send me the sort of document or overview, that's something that I can send out through the mailing list as well. So that's something where like everyone will receive it, get an idea of like, you know, what your idea is. And I appreciate, you know, the initiative, because I feel like the more that people just go and start doing stuff around this concept, it's just going to help it become more self-sustaining and touch more people that way.

Colin Goldberg

So, yeah. And, you know, the show itself is really coming along. There's a press release that's being put together currently by the Arts Center and some exciting news. Helen Harrison will be writing an essay. For the exhibition about Techspressionism, you know, and she's written a monograph on Pollock, numerous books. She's a very well known scholar on the topic of expressionism. And she's also going to be contributing a quote to the press release as well, which I just confirmed with her yesterday. So it's really pretty cool. So without further ado, we are going to move into the collage. And unfortunately, Davo is going to be is not feeling well, but this was sort of his brainchild. And I like this idea of a, you know, a format that's topic-based.

Colin Goldberg

And I think that, let's see, there's some hands raised already. So I see Susan, Cynthia, and Renata so far. So Susan is first, I believe, if you'd like to go, Susan, I'll hand the mic over to you.

Okay. Hi. Let me lower my hand. So we're, I'm going to share a collage that I did some time ago. Since I'm first, I don't, okay, here we go. Let me do a sharing, share content, photos. Okay. Just a second.

Okay. Okay. So can you see that? Okay.

Yep.

So this is a piece that I did. It's actually digital now, but originally the piece was a transfer, a liquid transfer, probably using, not sure what I was using at the time. It could be something like, even like acetone, but the picture of the little child was a transfer onto paper. And then I also mounted the collected flower. That's the actual flower that I mounted onto the piece. And then I took that, took the pieces, the analog piece and photographed it. And I have a series called Portrait of a Woman that I've been doing. Since 2016, I think it is where I've been photographing my face and talking about aging, a female aging. And I took a photo of myself and call it blended and collage those two together. I don't, this is an older piece of mine. So I don't remember all of the apps that I used to create it.

Susan Detroy

I think it's probably from 2017. And I wasn't, keeping track. And this, this is a newer piece that I used on AI, the wombo. So it's a newer kind of collage using my own face, but then a generated face, a generated image from my own portrait also. So I just wanted to show those two to see kind of the difference between maybe about five years of working. So, okay.

Awesome. Thank you, Susan. Any, okay. I think we'll probably hold questions until everyone's presented and then just sort of open it up. Okay. So, Cynthia, you're up next.

It's installing a plug-in. Sorry for the delay. Can everyone see the piece? Yes.

Okay.

This is a piece that's hot off the press that uses collage. I've made it in the last two weeks. It's called Turbulence. There's a call for art, an international one, called Below the Surface. It's art that deals with exploring the ocean and its issues. And it follows Below the Surface 1, which is a Synergy project in Rhode Island. Because it's a project that's really important to us. It's about the relationship between the art league of Rhode Island, of which I am a member, and Woods Hole. And so I decided to work on this piece. And it started with two photographs of textures.

Cynthia DiDonato

I think it's metal, actually. And then between placing the two pieces of metal and then manipulating layers that later came. I ended up creating probably about 14 layers to create this piece. And I can show you a fast video of the beginning of the piece all the way to the end. This was done entirely in Procreate on my iPad Pro.

And so there it is.

My second piece that I wanted to show you is called Tree Talk. And this is another collage technique I use that involves another piece of software called iColorama, which allows me to take a picture of trees. And then it segments the tree image into separate areas. For example, this brown area is one area. And as you can see, it runs right through the piece. Then there's another segment here and another segment here and at the bottom. And I'm able to bring in textures from my digital art that I've already created and then put it inside. So it's a total collage technique as well.

Cynthia DiDonato

And that's the end. Thank you.

Thank you, Cynthia. All right. And if anyone just came in, if you would like to present, just use the raise hand function within Zoom and you'll be in the queue. And I see that Anne has her hand up.

Ian Shapiro calling?

Yep. Yep.

Okay. All right. Well, I'm figuring. Hopefully making it that I can share. All right. Can you see that? Are we doing it right? No.

No.

Yeah, go ahead. Give me help.

So you're going to want to hit the green share screen button. And I think you got it. Okay. Yep.

All right. I work in climate change. And every bit. Every work I do is collage. And this is the Philippines. This is the New York City. I take maps. I take backgrounds. It's all. The academic kind of stuff comes off of the Internet. They're comprised of my own drawings. Photos. My own photos. For example, the background in this is. Is. New York city from battery park. And then manipulated of course. And.

Ann Shapiro

I'm a native of New Hampshire living in New York city. So we have to do a couple of New Hampshire pieces. And this refers to the change in climate, which is. For me, just scary as hell. In. Into the weather, for example, in, in. New Hampshire. In between 20. Up to 2039. We'll be closer to the weather that's in Virginia.

Ann Shapiro

And. This is of course true all over. I'm beginning to change a little bit and, and. Develop in another area. And of course I cannot find it. It is not. I just put it on here. We are. This is a piece. Called. I'm doing a series right now called Ray Jones. And it's a piece. The change in climate. And these are comprised of.

Ann Shapiro

Photographs. Drawings. The, the, the, the orange, red, yellow is from a painting. I did. The rest of my own photographs. And of course then. Mainly in. Maybe totally manipulated in Photoshop. That's a little bit of beginning. Okay. Thank you. And I've got to stop share. And.

I'll put it on here. All right. Thank you. And.

Hello everyone. I'm going to show. The piece I. I've been exhibiting in the name. Art show. To the mesh. Let me share. The screen. First.

Can you see my screen?

Yes. Yep.

This piece. It's. It's about. The. Difficulties that the. Third. World country have to take. In order to. Even have a short trip to another country. Like. For. A work trip. You have to prove. That. You are not. Technically. You are not a criminal. So. Leave alone. If you want to immigrate somewhere. So you cannot really pass the border. That easily. So. The idea was. I'm sending. The. Self. Little by little. Towards the border. To my. New home. So. Each part of my. Portrait was.

Negin Ehtesabian

Set. Was. Fragmented. In different postal card. Like. Applying. A lot of applications. Sending. A lot of proof. And. Everything. In order to pass this border. So. I put. A lot of. I made. This big. Self portrait. And. Like. Getting. Fragmented. Passing. The border. Sending. Postal. Card. So. Each piece. Is. Containing. All these memories. And. Different. Part of the. Process. Like.

Negin Ehtesabian

Some. Photos. Of. Memories. Some. Photograph. Of. The. Even. The. Writings. And. Different. That. Juvenile. Time. Time.

Would you be able to enlarge. Would you be able to show them larger. Yeah.

Yeah. So. After. You. Passed. The border. Fragmented. You have to make that piece all over again. To become a whole again. And become a coherent. Character. So. You have to put them back together. And then you realize that some pieces are lost. So you couldn't really. Pass everything through the border. So you have to use.

Negin Ehtesabian

Your memories. The love. You. Get. They love you. Share. And. All the new experiences in the new life. Like. This. Embroidery. Class. From the. Very old. Family. Thing. And then. All the. Bitter. And sweet. Experiences. Make you. Put these pieces together. All over again. So. You are. Becoming. Another. Kind of. A new. Made. Character. Again. It's. Still. You. But. It has. Assembled. In a new way.

Negin Ehtesabian

So. Making it. As a collage. Made. Really. Sense. Because. Then. At first. It was. A lot of. Digital.

We're not seeing your images. We're not seeing your big images. We're just seeing. A shot of. One, two, three, four, five, six. We see seven. We see eight little.

Sorry. Oh, no. We're not seeing. So. I think it's. Double click. Can you see it now? Yeah.

That's much better.

Yeah. Thank you. Thank you. Oh, I'm sorry. Yeah. So this is. The piece. I'm sorry. That's okay.

Okay. Beautiful.

So it makes sense to make it as a collage and. Because. It's like putting different pieces together. So it was first. This. Digital collage. For the portrait. And then on. I added. A lot of. Recycled materials. And. Like. Documents. And. Memories. And. Journal archiving. Things. So that's. That's that. Sorry. I didn't show the piece. So. Maybe. I make it. Little.

Negin Ehtesabian

Okay.

So.

I'll stop there. Awesome.

Thank you.

Thank you. Thank you.

Okay. And. Michael. Price.

Okay.

I'm going to.

Share my screen. And. Let me see. If I can. The idea of collage with. Digital work. I think it's kind of expanded. The notion to some degree. So hopefully this isn't too far afield. But basically. In a lot of my surrealist work. I begin. With the 3d scene that I create. I create the models that. Set up the. Digital canvas. So it's. It's almost like I'm setting up a movie stage. That I take a shot of that. That begins. And then I take everything into Photoshop. And start adding other elements.

Sometimes from the 3d. That get.

That get pasted or layered or collage. Top of it. So. Just to sort of quickly. Show that. I wanted to create a. A patch. On the. On the. Balloon here. And my initial patch. I didn't like the color. So I colored it. Which is a nice thing that you can't really do too easily with. Analog pieces sometimes.

Michael Pierre Price

And then. From there. I wanted to. Get. The. Amplify. The sense of motion. Of this. Flying. Structure. So I put it. A worry. Element on top of the plates here. Let me back up a little bit. And then. There were other elements that I wanted to add into here. And so on top of that. I added this mechanical. Robotic.

Michael Pierre Price

And then.

On top of the arm. These ants. These were also created in 3d, but at a later stage.

So I had. It in. In my collage. I'm trying to make it all look completely integrated. So there's a little bit of difference there. With some traditional collage, which you can tell immediately. It's been pasted on. And then I'll. I'll quickly add in a few other elements. I added a noose. Here. I'll explain that. To you in just a moment. So much of this is symbolic in nature.

Michael Pierre Price

And then I didn't like the lights the way they were. So I added that may turn that green. I added lettering to the nose of the flying machine.

And as I went further along here, played with the scenery a bit, I added this sort of matrix kind of element on top, which was again another piece that I had created elsewhere and brought into Photoshop.

As you can see, as more and more layers are added in here, I'm doing a lot of just kind of editing to bring the piece completely together. As our sense of collage gets expanded, the idea of layers, I think, kind of builds on that and kind of borrows from the early days of collage to round up. Yeah. So, I think that's a really good point of the power that Photoshop has. This piece is called Checkmate.

Michael Pierre Price

And it really had to do a lot with my illness earlier in the year, my surgery that I had in January. This was a piece that I started a little bit before the surgery and after it. And if anybody wants to understand the symbology, we can talk about it later. So, thank you.

Great. Thank you, Michael. And for anyone that's presented already, if you could just lower your hand, that would be helpful as well. And I think Patrick, you're up next.

Perfect. There's not too many things, but I want to kind of show maybe a little bit of an arc rather than maybe one piece. Collage has been something that's been really... Let's see here. Collage has been something that's really been a big part of my practice for a long time. Back in the 90s when I used to do things based on visual sociology, putting things together from online and video culture. But I figured that's just too much to go into. So, what I'm going to go into is kind of just a couple of things. I kind of call these man-machine interfaces because of the idea that you can't just go in and do it yourself. But I figured that we're taking things from around us and sometimes the machine has more to do with this and sometimes maybe I have more to do with it. And so early, early on...

Patrick Lichty

Well, this is about... Not that early. 2015. But ever since about 2003, 2004, I've been doing plotter drawings and such. And so this is a piece called Random Internet Cats that I showed New York in 2015. And this is Random Internet Cat Number One. And the thing is that where the collage comes in is the fact that I looked at taking the piece and pulling it apart into its separations and then working it in fluorescence and such. Taking the RGB and pulling it apart and seeing how it reconstitutes itself when you throw blacklight on it. That was a fun series. Yeah. I'd like to go back to that, but that's 20 by 30 inches. And then let's see here. I'd say pandemic.

Patrick Lichty

I would like to suggest that 3D models from photogrammetry is a form of collage because you have a whole bunch of images that are being thrown together at a machine learning system that tries to make it back and reconstruct it, but with a lot of errors. So these three images are from a piece I did in Abu Dhabi and the United Arab Emirates called Confinement Spaces that was trying to reconstruct these fractured spaces that we were inhabiting during the pandemic.

Patrick Lichty

The last one was the Cultural Center of Abu Dhabi. This is actually, you might recognize this as the Louvre. This is the Louvre atrium. And then the last one is a piece that's shown a bit. This is actually a reconstruction of Victor Bout's plane. That's in Umar Khawain from the ad that was actually represented in the movie Lord of War. Actually, it's kind of funny is that now it's falling apart and it has the Palma Hotel on the side and it's basically next to a...

Patrick Lichty

It was actually a... It was actually a... It was actually a... Illegal airport and they finally caught him and that sort of thing. But anyway, these things I think are really interesting. But this kind of leads me then into like Techspressionist. And this is a collaboration between Colin and I and in the earlier days and such and kind of thinking about our time in graduate school. And I think this was really interesting in that I was kind of thinking about...

Patrick Lichty

Artificial intelligence and Colin was thinking about his vector work and also my calligraphy work, which goes forward into Techspressionist. Still life three out of 24, which this one is going to be at the... At Southampton. And the thing is, is what I wound up doing is I wound up doing a series of painting using machine learning. I mean, I sketched this from machine learning systems in... In a platform called Playform and then used some of the calligraphy work that I've been doing over the last three or four years, sandwiched this and worked these out. And you can kind of see where these are going. And this is another piece called Mayor City that is a very generous work from that.

Patrick Lichty

McGeehan and I were working on is basically all the cities that we had major experiences in and that sort of thing. And this is actually now a tapestry. And I showed this before. I think sometimes machine learning is also a form of collage. But in this case, this is, you know, of a really extremely complex nature. You know, when in other words, what you're doing is, is that you are taking images and texts and throwing them into this incredibly thick environment. And this had to do with some poetry that I did in 2018.

And

Over the Mountain. A Martin is flying.

And this will be at South Hampton.

On a distant land. It lands on her arm, leaving the smallest little mark to stay forever. What she didn't know was the bird's name and that mark were the same in the bird's tongue. Mark's tongue in aspic. Nightingales feel invisible, but are more real than you can ever imagine. Little nails over skin trace lines of flight, of light, around the tree of life.

Unattributed

Home of falls in turn, and the most sacred fruit, the bird. All the fish circle the frogs. And the little bird, purple swallow, Martin Banasch, squeezes softly and burrows into sleep, waiting for morning.

And I think lastly, there's a series that was done in Cyprus for the show Nimi. That, we worked on. And this is actually a 3D scan of a, of a street scene in Limassol. But the thing is, is that the way that it's rendered is from an impossible position. In other words, you'd be in, you'd be within a wall about three meters away from the wall. And you wouldn't be able to, you know, see this in a, in a normal perspective. This is the, another scan from the, from the old city, to, to Limassol. I think the same thing. And then the last thing, you know, it's, it's, however you could see it from that perspective, but I, I like the fact that, you know, these, these, these are all pieces that are from the city of Limassol. This is the reconstruction from the machine collaging of the, of the images from the video.

Patrick Lichty

It's, you know, it's broken. And then the last piece is that I did, from, Winona. Actually, this is the, this is the, this is the fountain in the central, in the central park. And, It has the has Indian Princess Winona in up at the top, you know, pointing towards the future, etc. But the thing is, is that I like the fact, again, that, you know, is that the I couldn't get close enough and it was too tall that I couldn't get her head. And that, you know, the Pelicans around worked out quite well. And then on top of that, I then collaged in some artificial intelligence sky from was a replaced sky in Photoshop.

Patrick Lichty

And that's, you know, this these last three pieces are part of what I'm starting to call kind of where I'm at the moment, as well as, you know, trying to formalize the text version is still lives a bit. Is that kind of what I'm calling AFK? Being away from keyboard. In other words, you know, making making work and also a lot of I'm doing a continuing a lot of calligraphy out on my Instagram, like two or three a day. And, you know, just really looking at this idea of, you know, how layering and that sort of thing really sort of informs my work. So anyway, I probably went way too long and I apologize. So thank you for listening.

Awesome. Thank you, Patrick. All right. And next up we have Roz.

Hello. Hold on a second here. Oh, I'll just take my hand down.

Right now.

Yeah, me too.

So.

Can you guys hear me? See my screen yes okay I thought I'd go back I know we're keeping this kind of short and I'm going back to a commission my first fascination of course with digital was as I've told many of you is all by accident when my wool's filled with pixels so it was all about that electronic pixel for quite a while but then as I got into layers and the potential for layering I saw that this was also a whole new dimension in painting I'm going back to a piece it was done in 1990 it was a commission for a magazine called electronic directions by roger sperberg and they had interviewed al gore who had just kind of released his whole ideas about the information highway I was working at the world trade center my graduate school at the time in digital and I took all the imagery here it's a collage like for me collage is always involved with storytelling and here I'm telling a story that works on multiple planes it's an 11 by 17 tabloid magazine that's going to be sent out to people so I made it in the shape of the american flag and the address right over here where I'm pointing in the bottom left left, I knew it would be folded.

Roz Dimon

So I incorporated the whole idea of an address in the entire piece. And it's all about the pushing and the pressing of people in America, go, go, go, go, go, and how we are always competitive. There's the ones and zeros of the ASCII code up here. Al Gore's face is in here, the Photoshop.

Can you go up there on the left top of your screen there click the red the green button click this no oh am I not sharing way over to the left where there's red yellow and green buttons yes the green button will get rid of the window yeah oh

Okay thank you so much I

Always need help I always need good

Thank you very much yeah that's great my husband helps me I usually wear my shirt on inside out you know to my own openings and things like that but so just taking you a little bit of time to get started with the question I'm going to go ahead and get started with the question I'm going to go ahead and closer in here thank you very much it's the information highway Al Gore actually signed three of these but collage was part of a larger story and making a flag and also it was all images that I took at the a huge gym down at the World Financial Center with people pumping and pressing and you can see the people pushing here and you know little figures for the restrooms and, you know, in the bottom right, it says less great, not so good, excellent, needs help, all about the competitiveness of America.

Roz Dimon

And now I'm going to go shoot forward to some of my latest work, which some of you are familiar with, called My Diamondscapes, where I'm doing these pieces that are multi, multi-layered, like hundreds to thousands of layers. This is a piece in the Shelter on Historical Society. It's a commission, and it takes 300 years of history making it into a work of art. And I took photographs of artifacts and this family's history, and it's a still, it's still a painting, but it is a collage that you can enter into, and that gets into the topic of abstraction. I'm just going to play this real quick to show you a young girl interacting with the piece. What are you looking for?

Oh, yeah, the document. Exactly.

Oh, yes, exactly. Yeah, you can. That's true. Right. So the painting says still on the wall, but when she interacts with it on her iPhone, she gets to pull everything up 100% with a story. Yeah, the British flag. It's easier to find the American flag, I think.

I was looking for the one where it was a guy in the U.S. That was one of the things.

Yeah. Oh, the wheel. Yeah, definitely. Yeah, you got that one.

Definitely got that one.

Okay, so let me get out of this and just quickly show you a little bit more in that piece. When you go inside this piece, it's all these different things that are coming up to tell the story. And I...

When the Revolutionary War ensued...

Oh, let me turn the sound off because there is sound. But the idea here is not a PowerPoint thing that goes from left to right, even though I'm using old technology, all hand-coded, so that it's open source. But it's not going left to right like a PowerPoint, but really going deep inside the space of a painting. I mean, that's my whole obsession with these pieces. And it's hard to get that across. And then everything is sourced in this bibliography, so that it extends out to the world. And I think that's a really good point. That's why I love this piece so much. Because it's really powerful to other artists and other people. And I'm excited about this form of art. And there's certainly more, but I'll stop share right now.

All right. Thank you, Roz. And next up we have Malavika. Are you here, Malavika?

Can you hear me? Hello? Yep. Yep. At my place, it is late night, so I'll say good morning. So I'm showing one of the things which always my works are related with collage and layering. So this particular work I have used, I'll show the first things which I have used. So generally what I do, I take a lot of photographs and I do drawings also. Like this drawing, actually I made it on a newspaper.

Malavika Mandal Andrew

And that's when I have scanned and I am used to create this particular work by repeating. So the collage and the layering goes together. And yeah, that's all. Actually I was not knowing, so I just picked up one image to show it. Thank you.

Awesome. Thank you. And if you could just stop the share, Malavika. There you go. Great. All righty. And next up we have Renata. Thank you. I think you're muted, Renata.

There.

There we go.

Last time I spoke was July. And I remember saying I wanted to increase the density and the complexity of my works. And I think I've succeeded. And I think I've done it. This is quite recent. I think it maybe was done five days ago. And as I've been listening to the other presenters, I think it's kind of self-evident that with digital techniques, there's always a layering going on. And it's a form of collage. The main piece that was stuck on top of the drawings here is on the left in the center. It's kind of a weird. It's kind of a square. But it's bent. And I'm always trying to increase the depth. And I'm really I know Roz talks a lot about resolution. I'm really, really seriously hampered by my insistence that everything I do is super sharp.

Renata Janiszewska

I've been trying to let go of having it really crisp. I know that you probably don't like it. I know that you probably don't like it. I'm probably not seeing it as well over Zoom as you would if you were looking at it on my screen. This is another collage of a different sort. And it's part of an animation series that I'm working on called Marlin Spike.

Renata Janiszewska

And I use shapes that I paste down over my backgrounds. And I actually put my own cat Felix into this painting. And the woman in the painting's name is Marlina. And she lives in a castle called Marlin Spike. And that's the name of the series. There was one other piece I wanted to show, but I'm not in the right place. So I will just I will stop there.

All right.

Thank you, Renata. You're welcome. And next up we have Tommy.

Hi, give me one second to hit the share screen here. I'm hopefully going to just share. My desktop. Can you give me a thumbs up if you see my desktop? Cool. So what I do is I take a sequence of photographs and then run it, run them through a small program I wrote in Python. And what the program does is it compares them for difference.

Tommy Mintz

What's different in a pixel by pixel comparison generates alpha channels. So it's like a layer mask that I then run another function in the program to generate collages, gathering these moments of difference into these aggregate time lapse collages. I am shooting right now with a 50 megapixel Canon 5 DS. I'm very into this Renata. I agree. Like this idea of clarity and being able to zoom in and see things as you. You know, pinch to zoom and reveal interesting moments that weren't visible otherwise is really exciting and continues to fascinate me. So I'm just going to very quickly show maybe a couple of my most recent collages here. So what we're just looking at is one that I shot on 13th Street and 8th Avenue.

Tommy Mintz

And, you know, I do. Take a bunch of pictures and then run them through the program. And then I picked the one I like most. I call that the final piece. But there's a lot of byproducts that I'm creating here that I've been thinking a lot about, like how to utilize, especially within NFT space. Here's another recent image that I made of hope. This is my small one that I put up on Twitter. Sorry. Let me go ahead and move on to the big version here. I found. I've been tweeting links to and if these that I'm minting, if they're very large, sometimes they have a problem loading on Twitter. Maybe I'll just make this big so everybody can see this sort of full screen and see all the interesting details that emerge when you really get to sort of peer into these.

Tommy Mintz

Places where there's multiple moments layered after layer, you know, on top of one another in a way that I would never do. I consider this sort of an algorithmic, aesthetic, algorithmic sense of humor, even, you know, sort of like the way all these shoes come together is something that I didn't choose.

Tommy Mintz

Let's go on to one last one and then I'll stop. I feel like I could always, like all artists, show your recent work and just keep talking about it. Last one here. No, I'll go down to I feel like I have a very messy system of organizing. Unfortunately, here's one that's kind of wild in the details here. This is a storefront here in Sheepshead Bay near where I teach. And there's a bunch of mannequin heads that they show hats on.

Tommy Mintz

And here I have a bunch of people walking past, you know, sort of the mannequin heads. And. Becoming one with them in different ways, you can sort of see different facial parts of different people and mannequins inter interwoven collage, if you will.

OK, well, that's all I'm sharing. Thank you so much for your attention.

Awesome. Thank you so much, Tommy. And I don't see any other hands up. There were on the chat that we're talking about, presenting anyone anyone else like to go now? I think, well, I'm going to jump in. There was one piece that when I first started thinking about this topic, you know, I thought about these audio visual pieces that I did about 15 years ago and I've gotten back into doing audio visual work with my NFTs now where the there is a collage component in terms of the audio. But I'm going to show something that I did.

Colin Goldberg

It was about 15 years ago that has sort of a visual collage as well as an audio collage component. You guys able to see my screen, see a browser? Great.

Yeah, but somebody is somebody is breathing is really it's me.

I'm sorry. That's why I was shuffling around paper and breathing loudly. I apologize. I have a cold. Colin, it's

OK.

All right.

So this is a piece where the audio is composed from samples and the video is actually from footage that I shot while I was living in New York City and these village as well as on a trip to Montreal. And the sound samples come from a variety of sources, including, I believe, Twilight Zone. Scooby Doo and an old black and white TV show called The Prisoner.

I will not be pushed, filed, stamped, indexed, briefed, debriefed, or numbered. My life is my own. My life is my own. We want information. Information. Information. Who are you? Who are you? Who are you? The new number two. Who is number one? You are number six. Six. Who is number

That's it's pretty pixelated because it's 15 years old oh

That's awesome 15 years ago

Wow

It was really strange is that what is it this week do you remember mtv does anybody remember mtv's techno show from britain called amp it had things like future sound of london and let's see your dj supreme and all that sort of thing and I was and I've been watching that a lot the last couple weeks and that was that was just that was just channeling right in there as far as I was concerned like early early 2000s trip trance yeah

Yeah definitely definitely techno music is usually what I'm listening to when I'm making any kind of visual work so and it's been fun you know definitely getting back into doing audio visual stuff with nfts and I think you know nfts provide an opportunity for people doing time-based work to get it out there and you know in a way that never existed before so I'm thinking about maybe minting a bunch of this early stuff at some point you

By the way how are you doing with your minting

Pretty good actually I see another hand up here jan swinburne so before we get into discussion let me keep going and anyone else who would like to present before we open it up for a conversation just use the raise hand tool so jan the floor is yours

Hi everyone I just had a couple of pieces that I had to make and I'm going to show you a couple of pieces that are sort of analog but kind of early Techspressionistiness so I'll just see if I can share them with you they're a bit amusing on the topic of the collage desktop that's what I want okay all right can you see it my desktop yep okay yes great all right so I'm just gonna try and get these pictures up why isn't my bar coming oh heck okay here's the first one I'll just pull them the thing here oh that's not the one I was thinking of but it does relate to the collage this is from a series I've been working on with beholden and I use the this was a picture of light that I transformed in an app and then I usually fill in the background with another piece of light but let me try and get the one I'm aiming at here so we're having trouble here there we go there so this is a collage that eventually sort of became a digital piece and I also kind of blew up in gigapixel because it's very early work and I call it I grew up with the idea of you know like are there people in the tv kind of thing and these are sculptures that were attached to a crt screen and I took some photographs of them so that was one piece that I thought was kind of related to collage an assemblage but has now sort of transferred itself into the digital realm and then this other piece is a an assemblage which is very analog which I thought would be amusing for the talk digitally represented now but I just sort of thought it was amusing as a throwback to the idea of Techspressionism and kind of these figures leaning into leaning into it in a way way back when and that's it that's all I really wanted to share with you today okay thanks

Awesome thank you chan very dada

Yeah it's just it's sort of on the silly side but it's

Good to be silly absolutely and I saw lee messaged me over the chat that he has some stuff to share with us so it's all yours lee

Well hi everybody I'm going to try to do this I hope this is going to work out because I've got, as you see, there's two of me here. One is me actually talking, and then the other one is me trying to share my screens. So I have a bunch of, I was going to show a newer piece that I've been working on that I showed, well, Patrick saw it and Colin saw it. I was pretty excited about it, but it's not collage. And so I'm going a little bit further back in time, and I hope the sound is going to work on this. And it's just a little clip. I used to do a lot of video collage. Does the sound work?

No, I think, I'm not hearing it anyway. I think what you're going to have to do is stop the share, and then when you click share screen, the prompt that comes up, there's a little check box that says share computer audio. You want to just make sure that's checked before you select. Select the screen that you want to share.

Okay. So let's stop share. Okay. And let's try this again. Share. But when I share screen, I don't share screen. I share. What did you say?

When you click the share screen button, there should be a little prompt that comes up, a dialog box. And on that box, there should be an option. That's a check box that will say share computer audio.

Yeah. Yeah. Okay. Okay. So let's see if this works. So this was, one little piece that I did about, well, about media in general. But where did it go? Oh, God. I'm sorry about this. Let's try one more time. Share it with. Now it's gone. Screen. Here with sound. Let's see if this is going to work. Yeah.

Lee Schnaiberg

So I had a couple queued up, a couple of old VJing clips that are really collage based. This one is got about 500 clips in about three minutes. Well, no 500 clips in about 10 minutes, but it's not working. I am so sorry. I was so excited to participate in show.

And I guess I want to try one more one more time. Lee, you can see the you had it up on YouTube because. Yeah. Yeah. Maybe give it one more shot. If you want to do share screen, select, make sure that audio option is selected and then see if you could just pull it up.

You know, what's going on is that the let's see share screen. Stopped Windows. No, you know what happened? My brave browser crashed. So while I was showing the video, brave crashed and I queued up all these videos videos on there, so they would have.

OK, gotcha.

So that really actually heard of that browser before.

Brave. Yeah, it's got really good privacy. I do have that other thing that I did want to show, but it's so not a collage, but. It's it should do. What do you think, Colin? You saw it. It's sort of I was reacting to people's feelings this week in a way that I normally don't do, because normally I just draw that line. That doesn't end or mess around with my algorithm on my phone. And instead I did some actual AI work, which is.

You go ahead and go ahead and show it if you have it ready to go. Why not?

I think that'll work. And I don't think there's sound on it, but just to make sure I take the sound off because it doesn't really need sound. So, OK. So this is. This is. Is I was looking at all the people's reactions up here in Canada, people invite invaded the nation's capital and then with the wars and climate and with the fact that the Arctic was 50 degrees warmer than it should be and the Antarctic was 70 degrees warmer than it should be, this is kind of what I was feeling. And it's sort of what I was feeling other people were feeling. So I. I put myself into that wombo and just try to sort of look a bit like.

Lee Schnaiberg

You know what, what, what, what somehow I wanted to get some feelings out there so that I didn't have to feel them anymore and I didn't really feel like this. I was kind of posing, you know, I was like, well, what if I did a monk pose right with my hand up on the side and try to scream really wide? But I wasn't screaming. I was just like, you know, making a tank, Cynthia. OK, so it's collage. I was kind of not so sure because it's sort of stills.

Lee Schnaiberg

But this is basically it got it off my chest, you know, and I felt like I could go back to shooting my normal photos, there is one slipped in there of the actual photos. But I just. I needed to get it out there because I felt like I was banging into this stress from people. I see people on the street and I feel the stress and I see people in the anti-social networks and I see more stress and I and fighting with people and fighting about stupid stuff or fighting about, like, you know, this side of it's red. And no, but that side is red. And it just it got to me. So I was like, OK, this is what I was feeling. And then I got it out there. And I put it out in the anti-social networks. That was it. And I felt like I could go back to doing my normal work, which was really good, is it was fun to do and it was a fun experience.

Lee Schnaiberg

I did like that one boat and I've been trying to feed it into other into my normal my photos and in my paintings, I haven't had a lot of success yet. And plus, like for that. Little experiment, it was fine, but the resolution doesn't really blow me away. So I'm trying to find ways to get a greater resolution, but to see what I can do with these eyes looking at the work that I'm doing, but so thanks for letting me share that.

Lee Schnaiberg

It for me, it really was a little bit cathartic. And I know, Patrick, I know you said there's bigger problems and I agree with you. I hope you had a chance to see a little bit of the video that I sent you as a link.

I think I you know, I think I think it's I think it's a it's a very effective piece. And I mean, and I didn't say what I say I said is a as a criticism, you know, and I'm just sort of like saying, oh, my God, you know, it's like, yeah, we were we're just we're heading we're heading down the big pike.

Oh, yeah, I agree. I mean, I know the movie that I say the link was like it's like a two and a half hour long movie. So I didn't think. So you might get to see the whole thing. It is a collage, too. So it almost fits in today. But it's yeah, I agree with you completely. And I mean, you know, 30 years ago where I was, I remember when I was making movies about climate change, I chased around the Global Climate Coalition and I'd be like, hey, can I get some of that Exxon money? And they kicked me out of bond for bugging them.

Lee Schnaiberg

And a lot of people that I meet would be like, well, you know, we want to have warmer weather. So what are you complaining about? And I'm like, that's not how it works. It's not like Montreal is going to be Miami. It means where's your food coming from? And now people are starting to get it. But like the kids, the kids understand it. People our age, I find are like, well, what are you going to do? I'm like, no, you guys.

I mean, consider this. Silent Spring next year will be the 60th anniversary of its publication.

It's crazy. That's crazy. And we still we're. We're not allowing glyphosate for lawns up here, only for food. And our wheat is not Roundup ready. So they use that for desiccation. This is insane. So everybody has unwashed Roundup in their bellies. So many people got the gut microbiomes are dying because we're poisoning them with every slice of bread that's not organic.

Lee Schnaiberg

It's craziness. And the only glimmer of hope I have is one hat that I still wear a little bit is with the CDR people. And if there's one snowball's chance of like just getting out of the worst case scenario and just having real bad situation, the carbon dioxide removal people there's like 40 different groups that are working on carbon dioxide removal. A lot of it is like with algae, with rock weathering. It's stuff that's not high tech stuff that can make better quality food as well as taking carbon out of the atmosphere. But even if we get carbon back down to preindustrial levels, the damage in the Arctic and in the Arctic, we're going to be coming through with big problems. Although that's not the expressionism column. Sorry. That's a side issue. But thanks. Thanks for letting me participate.

Lee Schnaiberg

I really appreciate it. Thanks.

Thank you, Lee. And so I think. I'm not sure if anyone else wants to go, but I did want to just mention one thing while the cameras are going and we're all here together. So we need a topic for next the next salon, which is in two weeks. I'm actually not going to be present because I'm going to be in the middle of installing the show in Southampton at that time. So hopefully Davo will be able to moderate. But I did want to establish a topic and I'm throwing it out there for suggestions. And I think this format maybe should be the format for the next salon. The format that we run with for the next one. I mean, I'm happy to switch back to presenters if anyone wants to jump forward into being, you know, doing this sort of older, you know, the one the sort of two, three presenter style thing, but I think this quick share works really well.

Colin Goldberg

And I wanted to ask you guys what you think, if anyone has a suggestion for a topic.

Can I suggest climate? I mean, I know it's pretty heavy handed, but I mean, I noticed and stuff was amazing and I think maybe there's a whole bunch of people that have some maybe stuff that's slightly climate related.

What do you guys think?

I don't think climate.

All those in favor. Anyone opposed? All right, climate, it is. I don't know who. Robert was, but we're following his rules today. So we have a topic and I think that's pretty much everyone that wanted to present on collage. So we'll just open it up to conversation. Anyone want to discuss the work they've seen?

If you want to have an obscure joke, say, well, who was he? Well, he's your uncle.

Colin, I have a question. I have a question for Negin. Sure. Yeah. Negin, I saw your piece a few times in photographs in the gallery, but I didn't really know how big it was. Can you tell us the dimensions, please?

It's about one and a half meter long in one, I think, or one meter something. Sorry. I don't have the precise size,

But it's big. Yeah, it's a beautiful.

Because all these postal cards are the big postal cards, not the small ones. Okay.

Thank you. I'd like to say something. Can I say something? Go ahead. So in the future, I'd like to see us do a time when we reach out. I think it's going to be a great time to reach out to people who are not part of the group. We are already a pretty diverse group, but we're not as diverse as the universe is. And I think that would be great if we had a time where some of us committed to bringing somebody into the group and asking him to do a presentation who I don't know. I had somebody attend once from Senegal. And he's not that digital. So he wasn't sure if he really fit, but I think he would fit. And I'd like to see that kind of outreach. But that takes some time for us to think about. So does anyone else? Is anyone else interested in that idea? Yeah.

I actually asked Iranian digital artists. Several of them are really happy to do presentation. But the timing is a big problem because they work. And then it is it starts at 2 a.m. For us. So it's a problem.

So what would be I mean, we switched to this time, but maybe in the future, if there were a reason we could consider a different time, what would be a time that would bring Iranian artists in? If people work during the day, I'm just thinking, like, can you translate it to Eastern Daylight?

Yeah, at least. At least like starting at 12 one. Not later.

For your time, our time in Iran

Would be good, would be like 10 a.m. How fast and I am before it's before you change the time. It was our 1030 p.m.

OK, so how many hours ahead is Iran? I can look that up. I know. What time is it now? It's two in the morning.

OK, I can't. It's 322. Now it's 322. Yeah. OK.

So nine hours, nine hours. Yeah, it's just something I'd like to see at some point. And I think it would take maybe you already have a group of Iranian artists. So that might not take a lot of work for some of the rest of us if we wanted to do some outreach. We might have to do some thinking about it and do some work.

Yeah, I think, you know, I definitely think that makes sense. I'm concerned if we, you know, change the time up, you know, on an ongoing basis, it's going to be hard for people to know, you know, that this is happening at a specific time on a specific day of the week. But I think that, you know, we can definitely accommodate it in a variety of ways. And I do agree with this idea, you know, certainly. And I was thinking about it, too, that it might be interesting for people. Like, I think that the best way for something like this to work would be if you, Cynthia, wanted to organize a bunch of people or if Negin wanted to organize a bunch of people, that you would basically be the organizer or the person who's putting it together would be the moderator for that particular salon, you know, and that way it wouldn't be like, here's my idea, Davo, like you have to run it.

Colin Goldberg

You know what I mean? It would be more like you're putting an event together. And that could be done either within the existing salon time framework or outside of it, you know, and I started thinking like, wow, wouldn't it be interesting if there is a salon for people who spoke French or German? And then there's a bunch of people who are all speaking that language. I mean, it wouldn't have to be at the same salon. It's just a Zoom meeting. You know what I mean?

I think the idea of special events is really good. I you know, the like maybe a special event or something like that would that would accommodate this, the one thing is, is that unless unless you're talking about like Cynthia wanting to have like an African thing or something like that, I think that probably should have some pretty deep conversations about, you know, about a bunch of different languages, because that could that could create that could create.

Patrick Lichty

You know, in other words, there's a good side to that and there's a bad side to it.

Well, I think one way that you can do it, I think I've said this before. We did it one time. We had a present and we did this at SIGGRAPH Asia where one of the presenters presented in Mandarin. Now, he was a dean at an art school. He was an experienced teacher. So his PowerPoint was extremely well constructed and he had English translations in subtitles of what he was doing. But the enthusiasm of his voice made it worth having him present in Mandarin rather than in stilted, I'm uncomfortable. I don't want to be here English.

Cynthia Beth Rubin

So I think if people are willing to get English subtitles in, then, you know, I'm open to having them do it and very often people people can answer questions with a little bit of help in English on the spot. But actually presenting. Is, you know, can make people uncomfortable so that I would suggest that the people do a presentation that has subtitles in it, not that they have to read it, that they just generally show what they're speaking about. And it's a little hard to get that idea across to people that they can be loose with it. But I think we could manage as long as because it's the imagery that we're after. Right.

Cynthia Beth Rubin

More than anything.

Yeah, I think that I'm happy to facilitate by doing the recording and publishing it to the YouTube channel and on the site. But I think whoever anyone that has an idea that wants to move it forward should just basically develop it as far as they can, like the way that Roz and Michael came up with this handshake concept or whatever else. And, you know, it doesn't require any sort of centralized action for something like that to happen other than if you want it to be published on the YouTube channel, like, you know, I can facilitate the recording and the publication of it, but everything else in terms of organizing a separate standalone event, the mechanics of it and everything else like that. I would say that's up to whoever has the idea and wants to move it forward.

OK, I will file it away to do something with Francophone Africa, but slowly. And maybe, Negin, you could think about doing something. It would be great to see Iranian artists. I would love that.

And with the, you know, the international component in the Southampton show, it really started me thinking that, you know, in countries like France and Germany, there's a good number of people in the index. And all it would really take would be one point person to say, hey, let's get a bunch of us together speaking our native language recorded on Zoom. And then, you know, that's to me the basis of sort of this node based model where, you know, if this is really going to grow beyond English speaking artists, something like that has to occur. Otherwise, you know, it's pretty much an English centric phenomenon.

Colin Goldberg

You know, which I think is going to be a limitation. I mean, that's my own personal take on it.

But I wanted to I wanted to add that I'm in contact with at least two French artists who I'm sure would be really thrilled to present. And I was thinking, well, Cynthia, would you object if I sent a couple of French speaking artists to your project or your idea?

Oh, it'd be great because they could help with outreach. I, I would love that. And I'm willing. To help them translate, I'm not talking about translating a whole speech I'm talking about, you have bullet points, I'd be very happy to translate those. It's a way to learn about other people's work.

You know, we just added two artists from Russia to the index. We have at least, I think, five Russian artists. We do have some in Germany. And I agree with Colin. I think that. The direction that it goes, we should try to encourage the idea of nodes.

I have to say, I love the idea because I felt that the digital revolution that we're part of is it is the new rising global language which can speak almost like a new kind of hieroglyphics to the world that goes beyond language as we know it. It's another language. It's another language. And I think it's evolving. So this is exciting.

And I'm just going to share a link in the chat also for one of the artists that's going to be in the Southampton show, his name is Demian Ferry and he's a Ukrainian artist, he's in Kyiv right now and his piece. I'm just going to share my screen real quick before we close. So you can see what his work looks like. So this is his piece here.

Colin Goldberg

And he. He also creates audio techno music and his Instagram is accessible through the Southampton show page and there's his link tree. That's like the jumping off point. But he does mint NFTs both on Tezos and on the Ethereum blockchain and has quite a lot of work out there. So, you know, if you guys are interesting in supporting a Ukrainian artist, he's one of us and he's going to have a piece in the in the show. We also actually have a Russian artist, which is interesting, you know, and I think that it just shows how, you know, how art can sort of just transcend politics.

Colin Goldberg

And, you know, we're all. Interested in developing our creative selves, so. Just wanted to put that out there.

Thanks, Colin. Thanks.

Do you want to give us the link of the Russian artist, too?

Yeah, absolutely. Let me. So.

I do have a Russian artist Facebook friend, and when he posted paintings on Facebook, I put a piece and he took that down, understandably.

But so I'm just going to share my screen here. So this is a piece that I've been working on for a long time. This is the landing page for the show that just went up. And the Russian artist, Mounth, and this is one of Andy Thomas's NFTs at the top, there's Negin's piece, which was selected by the Arts Center as a featured image. And this is actually the Russian artist Mounth, his piece here. And then we have Verneda.

Colin Goldberg

And Randy. The bottom. So those are the pieces that were selected as key art images by the Arts Center. And then Mounth, whose work we're looking at now. All of the artist links are live. So this is his piece here. And there's also links to his website and Instagram. And initially he actually had said he wanted to donate any proceeds to people who needed more than him. And then I got a message from him again. Saying he actually was most likely going to be trying to leave the country and probably would need it. So it's, you know, I feel like it's something it's one thing to see this stuff on the news, but it's another thing to get a DM over Instagram from an artist in Kyiv right now.

Colin Goldberg

And his concern was, is the resolution good enough on my piece for fabrication? You know, he wasn't like this. This is where his head was at. So I don't know. That's interesting to me. It's something something kind of it makes me feel like, you know, people can still go about their artistic lives in spite of forces outside of their control.

Colin Goldberg

So. So. It looks like we're just about at time, unless anyone has anything they want to share before we stop recording. And then, you know, you're welcome to hang out for a little bit afterwards. This is where we do our sort of, you know, after party slash what do you call it? Advisory board meeting, which has always struck me as way too official. So it'll be an after party instead.

Colin Goldberg

But I think it's going to be a great opportunity for us to kind of get All right. So, oh, sorry.

I am I have a I actually have a question for a one. Timothy Mintz, if I can access to him. Sure. Absolutely. Absolutely. I noticed when you shared your screen, your operating system was a MacBook, but you said that you used a Python to do edits on your photography. I was wondering how long have you known how to code and is it difficult working with Python on your MacBook?

Yeah. So I think it's a great question. I think it's a great question. I learned how to code when the Raspberry Pi was released. Here's a Raspberry Pi. It's a thirty five dollar computer that I felt comfortable experimenting with. I wasn't actually I didn't code it. I didn't code the Python program to run originally on a Mac. I wrote it to run on a Raspberry Pi. So Python can run on many different platforms. So you don't need and actually, by the way, my code is up on GitHub. If you look up my name, you could find my code. It's all there, open source and you could put it onto a Raspberry Pi or there's another version that I sort of tweaked a little bit to run on the Mac.

Tommy Mintz

But I learned how to code by reading one book called Python for Beginners by I'm forgetting the name now. It was a book. You know, I read one book. I know Python and Raspberry Pi both have a lot of community support. Raspberry Pi dot o r g is where I got a lot of my community support and sort of asking questions about working on this particular project. So does that help? Alice, that answer your question?

It actually does. I know a little bit about Raspberry Pi as well, as well as some floss software. As I edit most of my virtual photography and Adobe like adjacent that is free and open sourced called Darktable, which is great.

Yeah.

Yeah. As for Raspberry Pi. I think I had a cousin that and a pizza box to make a laptop, which is a really interesting moment. So thank you for answering a question.

Great. Yeah. And Python is, I think, a great first programming language and there is a lot of code that you just reuse. You get the libraries. There's a Python image library that I call a bunch in my code, you know, to do all the image. And I think that's a really good way to kind of load in and comparison of actually loading into arrays, I think, is what it helps do.

Tommy Mintz

Yeah. And Alice, feel free to email if you haven't, if you actually try to run the code on your Raspberry Pi, I'm happy to help you.

I definitely definitely definitely.

And anyone that wants to reach out to any of the artists on here, the easiest way to do it probably is to go to the artist index, which is just at expressionism dot com slash artists. And there's links to each artist's website, Instagram. And from there, you should be able to hunt down a contact link or something like that. So, yeah, that's about it. And we're just about at time here now, I think. So I'm going to count us down to stop recording. And then, like I said, whoever wants to hang for a little bit can do so. So we will stop. And the next the next salon is going to be on April 13th, two Wednesdays from today. I actually, again, will not be there. Unfortunately, I will be in the midst of installing the exhibition. But hopefully Davo is going to be feeling better by then. And we're going to be doing another show and tell on the topic of climate.

Colin Goldberg

So we will stop recording in five, four, three, two, one and.