Salon 98 //

Hello, everyone. My name is Colin Goldberg, and I'd like to welcome you to the 98th Techspressionist Salon. Today is September 4th, 2025, and the topic of today's salon is fidgetal. That's P-H-Y-G-I-T-A-L. Which is a portmanteau of the words physical and digital. I'll get a little bit more into that as far as a definition goes, in a moment, but before we get started on the presentations. I'd like to invite, Cynthia Beth Rubin, to the floor. She has a couple announcements about the upcoming Techspressionism show in Uzbekistan. So, Cynthia, take it away.

Okay, so the main announcement is that we actually… we have a catalog, and, I was able quickly this morning to put the link online, so I'm just gonna share for, like, one second, over here, if you go to this… this is our blogger website, but it actually… is linked off of the main Expressionist site, and here's our catalog, it's on MagCloud, and if you click on that, you get it, and it's free. To read. So you can just click here and go read, and the thing I wanted to make sure people saw is that the little arrows to go through it are hidden over here. So if you're not looking carefully, you go, well, that's a nice cover, I wonder what else they have.

Cynthia Beth Rubin

So, if you click on it… The little arrows, you can read the whole catalog for free. So, I will put the link to our blog, which I have not yet. Updated completely, but it's also ex… the link is there on the Techspressionist site, and it was a wonderful coming together of people who were in the show. I don't make you nauseous going too fast. Okay, so I'm just gonna stop the share. And, so… I would encourage you to explore that, and thanks to everybody who worked so hard on it, and we're, like, in the homestretch getting ready to go, so, don't ask us too much right now, because a lot of us aren't sleeping a whole lot these days, but this… I just can't thank everybody enough. We all can thank each other who worked on this. I want to thank Cynthia, because she's been leading the charge for some months here, so…

Gotta add that.

Thank you. Well, you know, last night was another night with, you know, 4 hours sleep because of the time difference when I'm going back and forth to Sharon.

It's a hallway.

It's really been amazing, but there are so many people here on this call who worked so hard.

Highest level, and this is what I…

I think somebody has their mic open, if you could…

Yeah.

Yeah, I wanted to ask Cynthia a question. On that link, can people see the video?

No, no, no. Well, you know, don't demand too much of us right now.

No, no, no, no, no, I'm just, it was just a… it was just a question. It's just a question. I'm not a demand, it's just a question.

The video's not ready yet. People have been working night and day. People are getting, like, 4 or 5 hours sleep, so what you… what we've been able to put online so far is what's online so far, and we're really excited to share it. Michael Woodruff has is a professional videographer, like, really professional, and Lucy, who's here, Lucy Boyd-Wilson Wilson, the two of them have been working so hard on doing the digital screen, which will be available at some point, and it's absolutely fabulous, and then The participating artists have some longer videos. So, one step at a time.

Cynthia Beth Rubin

We're trying to keep everything super professional, so we don't want to share things in raw, almost ready. Not quite form. And the other thing, while we're talking about sharing, is that in the chat, I put the, four different PDFs for how to put in simultaneous translation. We have instructions in Russian, and we have instructions in French. If you need to have simultaneous translation, and that's… those are not one of your languages, don't worry, because the pictures are pretty good.

Cynthia Beth Rubin

And we have both for iPhone instructions and Zoom instructions. I mean, desktop instructions. Oh, you know, the 4-hour sleep is kicking in here. So, so I would encourage anybody who, wants to have translations to just follow along, and it has been amazing. The translations are really good. And I believe that later on, YouTube, you can actually put translations in on YouTube, too, but they're not… they're not the same. Anyway, that's it for all I have to say. Time…

Thank you, Cynthia. Thanks so much. I just also wanted to, share my screen real quick, so if anybody wants to get some background information on the show that's coming up in Uzbekistan, you can get there from Techspressionism.com, from the homepage. If you scroll down a little bit, there's some general information about the exhibition here, which is, at the Museum of Contemporary Art in Ergench, and there's a link, this photo links to The microsite that Cynthia and her team of artists have put together, and from there, you can access the catalog and read the book.

Colin Goldberg

So that's how you would get there, you know, directly. And then there's also some other information, on the… on the site itself about, I believe the artist list is there, and.

Yes.

Yeah, some other background information. The artist list is still old images for some people.

Just get updated someday.

Okay. Okay, gotcha. Alright, great, so… just trying to see where I can actually… Stop my share, because… It has disappeared. Second.

Colin Goldberg

Hmm. Strange. I no longer… I don't know if Zoom has changed its interface?

Really hard to do this now.

How am I going to stop my share?

Were you in full-screen mode on the internet? Maybe if you had Command, Control-F or something?

Yeah…

If you unplug your second monitor, that's what I usually have to do.

Oh, dear.

Shit. Alright, let's try that.

We were kidding.

Digital already.

Real pad.

You know what, that did it. Well, that's extremely poor UI design on Zoom's part. But, that fixed it, thank you. So… alright, so my sharing has successfully stopped now, right? Okay, good. Alright, so, moving on to, the actual topic of the salon. Today's topic is fidgetal, and I'll just read you a little definition that I got, from the web. Figital is a portmanteau combining physical and digital. It refers to experiences, strategies, or environments that seamlessly blend tangible, real-world example elements with digital enhancements to create more immersive, interactive, and personalized engagements.

Colin Goldberg

Okay, it goes into some examples. I thought it was interesting to learn that the term, was actually, born from the commercial realm. It was coined in 2007 by Chris Wheel. Then chairman and CEO of Momentum Worldwide, and was coined to emphasize the merging of physical and digital realms in marketing communications. So it was sort of co-opted by the fine art world, probably, I don't know, around the time… I started seeing it pop up around the time that the NFT phenomenon was really starting to jump off, maybe 2021, 22, when people were talking about fidgetal mints, where they would mint.

Colin Goldberg

And it would include a print, or the print would include an NFT, or vice versa. That's really when I first started seeing the term. Being used in a fine art context. But it's certainly open to interpretation, and we have a number of artists that are gonna be presenting today. We have Ann Shapiro, Roz Dimon, and myself kind of signed on to give… Presentations, but after each one of us presents, I would encourage anyone else in the Zoom to jump in and share some work, that, you know, might be relevant to the topic, and I think, you know, almost anything that ends up being, you know, produced as a physical object in the end could fit under this umbrella. So, that being said, I'm going to ask Ann Shapiro to, kick us off. So, Anne, are you ready to present?

I'm as ready as I've ever gonna be, but before I start, do I have to… how do I shut off my second monitor? Do I have to unplug it, or just… closing it off will do.

I unplugged mine, I'm not sure if there was something weird that I did that, like, made the little bar disappear. I think, actually, maybe it was just the fact that I was in full screen mode, that… that caused the issue, so…

Find out.

Yeah.

Find out. We'll find out soon enough.

I suggest unplugging if you start to have issues. I don't think they designed the interface for…

Real people. See what happens. Okay.

Ann Shapiro

Okay, I'm assuming you can see it?

Yep.

Cynthia, how can I make it bigger?

It's big. It's real big now. It's in fact, for me, on my second monitor, too big, and I have to make my monitor smaller. So you're fine.

That's a new thing. I'm always having trouble with that. Okay, I got excited with the topic, because I didn't know there was such a thing as fidgetal. And, first of all, I love the word, I love how it sounds. And, so, I went back. I haven't done too much of a… well, and I'll talk about what I have done. Most of the work I'm going to show you today is involved with climate change, because that's my main topic, my major topic, the thing I focus on. Obviously, I do other stuff, but this is it, and this is, so this was essentially a painting. The background was painting, and I call this help, I'm melting.

Ann Shapiro

And I actually… I… this is an older piece. I actually remember finding this piece. Online. I take most of my stuff online, take all my photographs, mostly from Wikimedia. And so this was, probably an early, a fairly early attempt at what I didn't know was fidgetal. I'm assuming that is. And, oops. Okay.

Ann Shapiro

This was not so much a climate change, just, I come from the world of, land… I define myself as a landscape painter. The fascination with the computer, though, kind of moved that away. But this… so this was, again, an… these… most of these are earlier. And just, presentation of… these are the digital pieces. I assume you can tell, and they were taken one day, the photographs were taken, literally in sunset, Maine. On Deer Isle. And as you will. Okay.

Ann Shapiro

I shouldn't have numbered these in. All right, back to, climate change.

Ann Shapiro

Last month, don't do that. Whatever I did, okay. I'm from New Hampshire. Although I've lived in New York more than I lived in New Hampshire. But it is, as my home state, and I felt initially when I started to work in climate change, well, you know, New Hampshire has the shortest, coastline of any of the states. And I said, it's only 18 miles, and not as the crow… it weaves in and out, and it's still only 18 miles. And… but what I discovered is, all too soon, was that it is an issue.

Ann Shapiro

The water's rising, the water goes underground, comes out about… 30… drive time 30 minutes later, or 20 minutes later, as a flood in the… in the lower line as you're driving, from east to west. So this was a… an early… it's also interesting my new… I did show this, and it's, 42 by 50… I can't read my own writing. It looks like I made a mistake. I think it's supposed to be 45… 42 by 55. And. I think it was this piece. My guts… all my piece… yeah, this piece, you know, talks about… I wanted to give a historical perspective, and, just felt the need to paint. Obviously, painted before I framed it.

Ann Shapiro

These… it's each 8… sorry. 8… each album is on 8.5x11 paper. It's, individually framed, and it's… The, obviously, the painting is under the glass. It's on… it's on the, work itself. If anybody's got questions, let's shoot them out.

Ann, are you saying that these are digitally created, and then you put paint on them, physical paint?

Yeah.

Oh, okay, alright.

Go… okay. This is a Vietnam piece. The paint… I want to show it more because of the size. There's not a lot of… painting on. It's mostly down in here and, in a few areas up in this, in this area. I… I kind of loved this piece. It was, it got a little out of hand, but, I did another pe… another one. A number of these pieces I've, re… re… I don't know if it's… it's a… they're new pieces that I worked on based on the… The work done here, and reduce the size to 18 by 24 inches.

Ann Shapiro

And several of them are now in the, collection of the,. Hello Museum in Manhattan, and The, Racine Museum of Art in Wisconsin, so… That's kind of fun. Okay, this is, painting with, digital. The painting with… With digital… digitized work put on it. See, some of you will remember the first horrible heat wave. In Paris. Where so many people were killed. And… from the… from the heat. And, this was my… my response to it. And so, it's… it's… it's a painting with, worked… I don't know, is it technically fidgetal?

Ann Shapiro

I don't know, because it's… these are copies that I pasted on. It's two… it's two ways, in any case. Yeah. I do tend to go New England on, on, on my work. And the heat has… has maintained itself. This was, again, this was a digital piece, usual thing, use of my photography, as some of the work, and then I collaged… and Drew… On the piece. I see, I need to fix that up. Okay. I am. No, I… Another New Hampshire piece with… this is… and I'm gonna skim over that one.

Ann Shapiro

This technically meets the definition, but it's awkward. The original piece was, a painting. Which I digitized, two paintings, which I digitized both paintings and recreated a new piece from it. I call it fidgetal. All right, that's my… that's… that's it, folks. And I'm gonna stop the shear and see what happens.

Ann Shapiro

Any, any questions? I'm happy to… I'm happy to respond.

I have a question.

Yeah.

But I think other people do, too. Nagain has a question. She can go first. Do you want to talk first, Negin? Oh, I don't know. Looked like she had a question, maybe not. You know, the large tile-looking piece that… I can't remember the name of it, where it went around the corner, and you were standing in front of it?

No.

Is it possible?

Go ahead.

That was so impressive. Is that… when you work on those, is it a tile piece of a large vision that you have, or is it small little individual things, pieces, and then do you move them around? To make… make them, tell the… the story that you want them to. I mean, it's… it's kind of curious, I'm just… if you can understand that question.

I… I…. I kind… for two reasons, I kind of stopped doing the ones that… I did some pieces that were 13 by 19, because I could print them in my… my printer, and those were 8.5x11, and I framed them individually. It took two people who knew what they were doing all day. To put that Vietnamese peace up. And I was at, I don't… I have not done that recently. I have a lot that way in most… many of the ones you saw. I was at an opening at the Hello Museum one day, and the rumor came around that… There was gonna be a traveling show. Climate change work.

Ann Shapiro

I know, I think it was… yeah, it was a climate change show, that's what… I heard that, and I thought. I want to go… I want to try to get into this show. And I immediately had… it came in a flash. How to change the… I have changed the piece to redo the piece as 18 inches by 24 inches on canvas. And I did. And the work… so much of my digital work on climate change that I've shown… if I'm showing it, I tend to show it now at 18 by 24 inches.

And is that 18x24 composed of all those smaller images, or…

Did the work. I redid the work, and oops, if I can… see if I can find it quickly, or…

I guess my question was, do you… when you have all those different images up, which it looks like they're all individually framed, do they go in a certain way that you…

Yeah, there was… it followed the narrative that I had put.

Bye.

It didn't juxtapose.

There's a story there, you can feel it, yeah.

It might be interesting, I never tried it. It might be interesting to, to… to… to see it, that… to see it. If we… if we have a chance, I'll look to show… look up a couple of the… those pieces, especially the Vietnam piece, and how I changed it. The change is dramat… is dramatic. But it would take me a few minutes to find it.

I want to do all the questions during the presentation, Colin. We usually do it at the end. What do you want to do? Do you have any.

Yeah, why don't we… why don't we hold them to the end, just so we can sort of, I'll move through…

Okay.

Or at least, you know, through the people that sort of have volunteered to present initially, and then, you know, we can open it up for, other sharing if people feel so inclined. So, I think, Roz, you are the next step.

Great, okay, yeah. Sorry, and I kind of let us into that, but then I was… Yeah, we can continue later.

Yeah, bad Zoom. So, Roz, you want to take it away?

Sure. I'm just sort of ad-libbing here and bringing up different things and concepts. I always kind of liked, fidgetal, but not sure I understand the word, but it's always been about, Digital, going… I mean, physical, going to digital, and digital going to physical, mainly the latter for me, but I'm just going into a presentation because I want to talk about how, I got into these pieces I do called diamondscapes that are these multi-layered… what someone would call, I mean, augmented reality, maybe, in the virtual space. They're multi-layered on the web, but they're still paintings online, and I'm just going to… this is an older presentation, and I'm just showing a few things. Oh, I just thought it'd be kind of curious to look at this, Jasper Johns Painted Bronze. I stuck my Wacom pen in there.

Roz Dimon

Making my comment. Can everybody hear me? Everything cool? Okay, good. I just talked about, you know, my paintings. I actually started, with oil paintings, and I called them information paintings, because for 10 years, I just was getting more and more about painting math in New York City and stories in canvases. These canvases are about. 48 by 36 or so. And they're about transposition of time, and kind of instant, like, all the things coming at us in one moment, like June and December, you know, it's freezing in New York, but… you know, through TV and other channels, you can almost be in Flora… not Florida, but, like, you know, somewhere really… well, Florida is southern, but warm versus being freezing. And, the other ones on the left is called Bar Talk. Recent pieces, Millions of Colors, Touch has always been a big deal to me. But I wanted to get to this.

Roz Dimon

I want to talk about the fact that it's defined by this commercial, by the commercial enterprises, per Colin. I didn't realize Fidgetol had been around this long, but if it's about commerce, you know, what's funny is that I think, one of the powerful things that ignited my diamondscapes, or, was taking a course in iconography, which is… it's like the most uncommercial, physical thing you could ever see, even though people do sell icons, but… you know, you're not even supposed to sign your name to them, and they struck me so much after 9-11, that I went and actually, what you call, I wrote a few icons, and I'm talking about this because this is very physical, very non-commercial, almost like a prayer. It is like a prayer, and this is one of my icons, just showing how they get layered until the final icon. And this is, of course, a recent piece, that is I came back to my studio and made this piece, where it wasn't physical, it was… it was physical and digital. I mean, the way I make the diamondscapes, when I'm working in Photoshop, and I'm thinking about a story, and the storyboard's on the wall, and it's in my head, and… I'm making all these layers, and… and I also was thinking about the fact that, like an icon, I wanted people to be able to go deep inside this painting, into the Z space, because that's what an icon does. It's like, it invites people into a prayerful, kind of meaningful relationship with a multi-layered image. I'm only gonna just… well, this is just some of the images that go into Pale Mail, and the brushes, and the… everything you can do. But it's a duality for sure, because I love lately that at least digital's maturing to the point where we say things like fabricated as, you know, you have this piece, like Pale Mail that I'm showing you here, designed to go very large inside the screen, you know, at 300 DPI, with multi-layers, but also I worked in the web, in corporate, a lot as well, when I was doing all these fine art pieces. I've always kind of blended those things.

Roz Dimon

But the idea being that it was… it's on the web, it's the interactive story, but it's actually this piece coming to life before you, is the concept. I'm gonna just, Quit out of this, because I'm just kind of going around and showing different things. I wanted to show a piece that I haven't talked about too much that I did. I think a lot of you know about my diamondscapes, which are… I've been talking about that are physical and virtual. I did a piece during COVID called… La Vida on campus to COVID. This is the first time I've ever… I was working totally digitally, I mean, so totally digitally. I mean, this is when, I think.

Roz Dimon

We really started going here with Techspressionism, but I was working, with these kids, I'd gotten a grant to work with them to create our own Diamondscape the year before, and COVID hit, so boy, we were really doing the virtual thing. I had… the kids would be on screen. Here, this shows a picture of me on screen. You can see the kids, that I'm talking with them. I never used any tools that they didn't. We gave them all crayons. We did all of our conversation, because it was COVID, nobody could get together. It was like a 6-week course.

Roz Dimon

With two of the people from the Children's Museum of the East End, which is a fabulous museum in Bridgehampton, if any of you can go. This piece is actually, speaking of digital, it started virtually, which is where all of my digital work starts, nascent in the computer. But it goes out to whatever I decide, but usually these are backlit light boxes, like LEDs, you never… they just stay plugged in forever. And, they're usually about 48 inches by 36 inches, and it's physical, and, you know, they're less than an inch deep, and they look like a computer screen, and that's one reason I like going out to them that way. But, here, I'm just working with the kids, and with several teachers, from the school. We would meet every week and have a class, and I would talk about something, and then we'd sing something from Selena and have a great time. These kids were precious. And, just showing my process.

Roz Dimon

On the right-hand side of my studio here, you can see, on the top, not the glass of wine, please, ignore that, but above that are the… I'm putting together all of their imagery. It's the first time I made an image composed of other… other… People, in this case kids, from, like, 9 years old to 16, their images and their thoughts about COVID. I was also recording them. And it's very raw, because my sound guy, Peter Grossman, you know, I would get the sounds from the mothers of the children, they would send them over my phone, and then I would share them with Peter, so, it was just… it was a very exciting thing, and these kids were so inspiring. They would just put their little heads down, I'd say, okay, when we do a little lesson, we would look at someone like Diego Rivera, Frida Kahlo, and… and then I'd say, now look, we're gonna do a little lesson, let's draw with our own crayons, and what we… and we would give them a lesson to do.

Roz Dimon

I mean, at least a subject, you know, so, it was just a really fun, fun thing, and I took all of their images very selectively, and made this diamondscape, so now we're going out to physical. And here's a little kid in front of this diamondscape called La Vida on Tempost de COVID. It's got a bronze frame with a QR code. And the idea in my pieces, with the physical digital realm, is that I'm not, doing these magnificent, you know, Rafiq Anadol kind of things where you immerse in video. People always say, oh, Roz, you work in video. Not really. I'm working in a still image, and my interest, going way back to the icons.

Roz Dimon

To bring people into that space, and to go inside that still painting. So if the internet's not working, this piece still has to have some real love and beauty to it. But these are all their images that I made into this impressionistic piece. James, my husband, you can see him on his phone, he's just clicked on the QR code, and when he goes inside this piece, he has an experience, and I'm going to show you a little bit of that experience real quick here.

Roz Dimon

Oh, I guess I'll try to go into full screen.

Roz Dimon

Hope I get back to sanity, but… Hope you can hear this a little bit. I draw the American flag because it's where I live.

Roz Dimon

I'm not gonna show this whole thing, but the idea… I work with a young programmer, totally virtually, he's in Illinois, I've never met him, we've worked for 5 years together. And, I originally did websites and coding in all of my early diamondscapes, but coding's gotten much more… you know, complex, and, John Mark Beatty, I work with him, and I tell him what we're trying to do, and even though it's still got an analog format, you can see we're taking from… I mean, it goes across the screen, but we're going deep inside this painting of all these kids' images, and that's what you… when you click on it. Now, also, we have a… I love my dad and my mom equally.

Roz Dimon

You can turn the sound off and on, because if a bunch of people are looking in front of the physical piece, and, you know, sound is a real problem. In exhibits, all of them, there's a little thing right here on your screen where you can turn the sound off and on, but you can listen to each of them talking about their… I love my dad and her mom equally, but I love my brother more. They're really cute little things. But I'm just gonna quickly kind of zoom through it, and you can go in and out, you know, of this piece, but again, it's a… The best way to see these is to be in front of the piece and have the experience. I credit everybody, the final… I think that's the final image. Take a little look there. And it just gets into a new kind of visualization, but again, this is on the wall. I want, I want people to experience these pieces. So also there's an information window that sources everything, and Yeah, that's a very real important aspect of these works. I'm gonna go to Command-Shift-F and get out of here.

Roz Dimon

Wait, Command-CTRL-F. Okay, and just wanted to show you a few other things, jumping around here, but these diamondscapes are like novels to me. I work on them sometimes for either 3 to 6 months to a year, depending on the time, and the money, and the grants. And it's really sad that there really aren't many grants anymore. I know I've got a layering… a lot of layering going on here. But I wanted to just share, before I leave, like, lately, I've been doing these Lincoln portraits, and I'm real excited to share with all of you that… 12 of these portraits are going to the Abraham Lincoln Presidential Library and Museum for 4 months, and I'm real excited about that. And these were all drawn during 2020-21.

Roz Dimon

When I was pretty upset about what was going on in this country, you know, I haven't been reticent to take a crown and throw it off my head in this group with these people I love so much, or Techspressionism. Really do appreciate this group. I just wanted to show you, in terms of Digital, the Lincolns that are going to the library, and the original 19 ones I did, some are digital, some are mixed media on paper, and like Anne said, I have a 13x19 printer.

Roz Dimon

And I wanted to make these accessible to people, but honestly, when I was drawing these in the computer, at least the digital ones, they go big. I mean, they can go up 6 feet, and it was really interesting because last year, I want to show you this. A guy in a law office, this is not he, but this is just someone in the office. One of his partners, or someone who works there, he commissioned two of these. He's in the Woolworth building. These are huge!

Roz Dimon

I mean, they're 6 feet high. When he said, can you do an addition of these 6 feet high? These are APs, and… and I said, yeah, I mean, actually, I haven't thought about them going that big. But, it's just so exciting to see these pieces this big, and they do not lose a single thing. I mean, they don't lose a single iota of resolution, so talk about digital. And the ones that I did that are one-of-a-kind, they're one of a kind, but… I can't do that with the one-of-a-kinds, you know? It's impossible. So, the whole digital, going physical and back is… is an exciting thing, and, I've got so many layers up, I don't even know if I can find my stop share. But, I think I will stop sharing, and I'm sorry I was a little bit dislocated, this whole talk, but I enjoyed this topic. Thank you.

All right, thanks so much, Roz. Really interesting body of work that you put together, and definitely, vigil. So… yeah, I'm going to share a little bit about my work. Initially, I was thinking, well, a lot of my work, my, current work involves, painting and digital printmaking, the combination of those two things, like the piece back behind me is a painting, started as a painting, and then I printed, an image of clouds that I took, actually, with my cell phone.

Colin Goldberg

Enlarged it with, a bunch of AI upscaling tools. And so, like, you know, I was thinking fidgetol along those lines. And then, when I read the definition, it made me realize, like, that I have a body of work called metagraphs that really seems to fit the bill more closely, which are pieces that started out as digital drawings, back in the late 90s, early 2000s, and then evolved into animations. Around maybe 2011, I started animating them. 10 years after that, I started really diving into the animation aspect and minting them as NFTs, and most recently, they've evolved into, augmented reality work. So, I'm gonna just share a little bit about this series, called Metagraphs.

Colin Goldberg

And they're all, drawings, digital drawings that were done, between 1999 and 2004. Actually, this, this set of them, there's 23 of them that I kind of, curated into a collection. So, the majority of them were done in either 1999 or 2004, and I've compiled them into a book. It kind of started out as, an NFT project, in conjunction with this, group called Niftorius, which they were running an NFT workshop for a little while, and, took a bunch of us through the process of minting a collection, and that's sort of where the… it took this project into another phase. So… but they started out as, vector-based digital drawings.

Colin Goldberg

Which pretty much means that instead of a grid of pixels, like in a Photoshop image, they're defined mathematically. And that's kind of what vector art means, is they were drawn in a program called Adobe Illustrator, also with a Wacom tablet and stylus. So… like, this is one of the original drawings from 1999. It was a format called EPS, which stands for Encapsulated Postscript. So, EPS was a predecessor to the PDF format, and it was one of the early vector-based digital file formats.

Colin Goldberg

And you can see, it allows you to zoom all the way in with no loss of resolution whatsoever. Basically, it's called resolution-independent graphics. So, pretty much all of the corporate logos that you see and typesetting and everything else like that is done with vector-based graphics, as opposed to bitmap graphics, which are integrated pixels. So this is one of the early pieces from 99 called Urbanite, and one thing that I noticed that I thought was interesting was that with this EPS format, it actually allows you to open up the file and look at it, which I thought was very interesting.

Colin Goldberg

So, like, if I take the actual EPS file, you can open it up in a text editor and see the code, and you can actually see the creation date, 5-10-99, and then, essentially. Code. So encapsulated ProScript is a programming language, essentially, that tells the output device, the printer, or whatever it is, how to draw that drawing. And every… every line, every color, everything is in this document as plain text. Which I thought was really interesting, when I learned a little bit about the difference between vector graphics and bitmap graphics. And back then, in 1999, I also realized that this aspect of resolution independence would become more and more important down the road when large format printing became accessible, essentially, and even back then, there were no large-format pigment printers. There was an extremely expensive printer called an Iris that was a dye-based printer back in the 90s. A lot of artists working digitally at that time, created iris prints at great expense, which were collected by museums, and then they started to fade about 5 minutes… about 5 years later, because they were not pigment-based, prints, they were dye-based prints.

Colin Goldberg

And then down the road, commercial pigment-based printing became a thing, and so the cool thing about working in a vector-based format is they could really be, fabricated to any scale that's commercially, available. So… Around 2013, I produced a bunch of these, as pigment prints. By that point. Pigment printing was something that was, you know, available to people, essentially large format inkjet printing, and I exhibited them the spotty work. A selection of them as 3x4 foot, canvas prints at Southampton Town Hall, which is in Southampton, New York, where we had our first group exhibition.

Colin Goldberg

And, you know, that was the first time that I actually had produced this work physically at a large scale. And then shortly thereafter, in, well, actually, it was a little bit before that. I started playing around with animating the work, and I did a collaboration with a German drum and bass artist, an electronic musician. Who, created a soundtrack specific to the work, and I ended up producing this collaborative work as a 7-minute piece. Which was kind of, like, the first…. So, you can see, he created, like, a long electronic music piece to go along with the animation, and we ended up producing it as a limited edition DVD, which was, you know, self-produced and then signed and numbered. And down the road, I revisited the animation aspect of it and minted the work as NFTs, and that was, back in… say 2021, I started minting the work as NFTs, so they're all, minted on a platform called Foundation, and you can see, where these… where these pieces ended up as animations, as NFTs, so a number of them were collected. I know Roz actually owns this one, Transcape.

Colin Goldberg

And there's a few that were, collected by this Art on Internet Foundation. This one was in particular interesting because it was, my first, secondary market sale, so you could see the activity, of the NFT. Which was… it was purchased by this one collector, who I believe is actually, like, one of the CryptoPunk holders, although he sold… he sold it. And then it became, part of the AOI collection back in… shortly thereafter. So one nice thing about NFTs is that, it allows for Royalties to happen automatically for the artists if it changes hands down the road, which is pretty cool.

Colin Goldberg

So one piece in particular, I think, is, kind of importance out of this out of this body of work, which is a piece called Kneeling Icon, and that's this black and white piece here. It actually was the first one that I produced as an augmented reality piece. So, after minting a bunch of the work. I used a platform called Artivive to link the animations to the still image, so when you're viewing the still image with a mobile app called Artivive, it actually… it recognizes the image and switches it with The… the animation, or the video, or what have you. So, this was an experiment. It was sort of a proof of concept that, that I did, as a part of a pitch, to come up with something that would be a larger scale version, and that ended up being a piece that.

Colin Goldberg

Was exhibited in Southampton at the, Southampton, Techspressionism Digital and Beyond show, and then it was, selected as a piece that was included in a show called Art Now, which was at Hearst Tower, and subsequently purchased by Hearst. So you could see it installed there, that's in Hearst Tower. This guy's the, CEO of Hearst. And then there's some images from the exhibition, so you could sort of see scale of the piece, and the piece actually did, you know, it animates on the wall, so you could see what it does when you're looking at it with the Artivive app.

Colin Goldberg

It was also pretty neat that, right across from the piece was this Tree sculpture by AI Waiwei, which I didn't even realize that he was… he was, his work was installed there. But then I checked out the… the little nameplate next to the piece, and I thought that was… that was pretty cool, but it was an amazing, opportunity, and just, like, a beautiful space to… to show my work in. And then this piece was used, it was eventually, installed permanently, in Hearst Tower, so you could sort of see I made a little reel, I don't know if we can… there's audio, but basically, I went back there this past summer to check out where it had been permanently installed, which was in one of their conference rooms, and the building itself is pretty unbelievable.

Colin Goldberg

But you could see it there, which is in, in one of their conference rooms, and then it will, you know, animate when viewed with the phone. So, and this piece got its name, Kneeling Icon, from, the fact that when I first created it, it didn't have a name, and more than one person actually said to me, that it reminded them of the Virgin Mary, like a Pieta, and I thought that was really interesting, that it was such a specific interpretation, that was not anything that was intentional, so that title, Kneeling Icon, came from that idea of, sort of, like, a religious icon.

Colin Goldberg

Which relates a little bit to what Roz was talking about, just before. So… and that piece was used, as a cover, for a book that I created around this body of work. Which is also called, metagraphs. So you can see in the book itself, the work will animate when viewed through the Art of Ive app. And the book itself was also part of a learning project that, I used a platform called Kindle Direct Publishing, KDP, to produce the book, where it's a very nice platform.

Colin Goldberg

If you lay the book out or lay a document out using InDesign or another design program, it's a print-on-demand, type of setup. So, that is something where if you design it and upload it through KDP, it becomes available, on Amazon in a print-on-demand format. So, was able to publish this on Amazon, and it has a forward by DJ Spooky. Paul Miller, who did… was involved in a couple projects with, with this group. So, that piece has kind of become, like, you know, a little bit of a poster child for the project. Same with, I used it for an AR postcard for a presentation that I did at Bennington College.

Colin Goldberg

Recently about Techspressionism. And, there's been another piece that I did at that same scale, is the Hearst piece called Circuit, which I showed at the, exhibition in Brooklyn, Kingsborough Art Museum exhibition. This is a little video of the piece. Which is also, like the kneeling icon piece, fabricated as a 6x8 foot digital monoprint on vinyl. So that term digital monoprint, would basically refer to the idea that it is a one-of-one and produced at that scale only once, and you can see what it looks like animating on the wall of the gallery that I'm with here in Vermont.

Colin Goldberg

So… so that's pretty much it. You know, this past year, I launched a site, metagraphs.art. Where I have the body of work, basically available as, prints on metal, paper, and this was, like, a huge… Undertaking of, you know, building out an e-commerce site, creating sort of these, like, mock-up animations and mock-ups and other stuff like that, where you could see what each piece looks like. And I worked with a vendor, in California called Lumaprints that actually does all the fulfillment, and they're a really great, company to work with if you're interested in learning more about, that kind of, that kind of process, where it would be sort of a print-on-demand. So that's, that's pretty much… it… for me, yeah, it was a series, so… Yeah.

Colin Goldberg

And… I don't know, I guess, you know, we can open it up, to questions for any of the artists that presented, or, if anyone else would like to present, maybe we could open it up first. Is there anyone else that would like to just share some work of theirs? Doesn't need to be anything. Okay, looks like we have our first victim. Michael Pierre Price has his hand up, so, yeah, go ahead, Michael.

All right, cool. Actually, I'm gonna probably have a few things that sort of dovetail into what you were just showing, so I think maybe… that'll be a fun thing to do. So, this'll be pretty quick, hopefully,.

Michael Pierre Price

So this, this… This was a piece I did, for an exhibition in,

I don't know if I'm… I don't… I'm not seeing your shared screen, I guess. Seeing it.

Oh, really? Okay, hold on.

I see it.

Oh, you see it?

Oh, okay. Alright, let me go back again. Alright.

Why? Oh, now I see it. Er…

No.

So…

Be it.

This is a piece I did, for a show…

P.

For a show in Flagstaff, they're, they're one of the, few, night… night cities across the country, because the darkness is so… so deep there. And so there's, there's an observatory there, and there was a show, dealing with, astronomy, and… this is a piece, titled Anodomini 1054. It's, Dedicated to, an event that happened in the year 1054, a supernova that's now known as the Crab Nebula. And, so this, this is a piece there's… there's a couple, artist mannequins, or actually three in this piece, that I actually used, my… my artist mannequin to, incorporate with this, but the rest of it was done, digitally. So, Colin, just to kind of follow up on what you were talking about with, being able to use vector graphics.

Michael Pierre Price

Using fractals, also is a very similar thing, because that's all mathematically based, and basically there's a programming language, it's a text, text-based, that you can save out, and it's very, very minimal, and it's only when you actually decide how large you want to print that it becomes a bitmap. And so, this is mathematical, and I incorporated, some physical Gestures to go along with the fractal. Same thing here, another mathematically-based image.

Michael Pierre Price

Where I incorporated, some hand gestures to make it look like it was more, art-based. Here's one that I had in a show in 2020. The QR codes that are in here actually, work. They still work. And in the center here. There's a framed piece of art. And one of the QR codes, gave clues to the title of this art piece, and as part of the show, I had this print available, and the person who guessed what the title of the art… the first person who guessed what the title of the art, was won the piece. So that was kind of a fun way to bring in physical with digital.

Michael Pierre Price

This was… this one was in the, Southampton show. This was also an AR animated piece, and I have to give my thanks to Lucy Boyd-Wilson Wilson for doing the animation for me, working with me. We worked quite a number of months together to animate, several of the pieces that I had in my show in Phoenix, but this one was in the Southampton show as well. Same for this, another fractal piece that got animated, and it's an AR component. And this last one is very interesting. This is also another fractal image. I call this, pushpin abstract, and what I did was I actually took a photograph of a small pushpin.

Michael Pierre Price

And I used the Fractal program to locate all these… all these images of the pushpin all over the place, so it looked kind of like an abstract expressionist painting. And I still have the pushpin that I used to… to create this piece from. So, anyway, that's…. That's what I quickly wanted to share, so thank you. Oh, and here… here's my… Here's my.

Art mannequin. Awesome.

Banks.

Awesome, thanks, Michael. I see also in the, in the chat, Lucy Boyd-Wilson, wants to share, so, go ahead, Lucy.

Great, thank you. Over the years, I've enjoyed, creating some pieces using a connect motion tracking system, which is basically a camera with, depth sensing. So I can incorporate the motion of whoever's standing in front of the camera with, my animations. So, just to give an idea, this is, that is a Kinect, device. And what you see on the screen is an animation that I, well, an interactive experience that I call Memories of Rain, and… this is, a recording of… of an interaction. So as I'm moving in front of the camera, I'm… I'm isolating the… in my software, I'm isolating the silhouette of the body and, real time… got some graphics effects over the top of it.

Lucy Boyd-Wilson

His… Here's another example.

Lucy Boyd-Wilson

This one's got some music, but I forgot to share the sound, so you might not be hearing anything.

Lucy Boyd-Wilson

But I'm also… I'm able to identify the location of hands and feet and knees and joints and head and use those moving locations. In this case, I've got particle sources at those points. Oh, I'm just using hands for this one. And I've done other exploration using, other locations of the body for generating graphics. And… This one… Cool Flow Portrait.

Lucy Boyd-Wilson

So this was using also the Kinect, but I just, used a single frame with… with the depth, the, the depth information that came with the image.

Lucy Boyd-Wilson

And then I have an animated camera, animated particles, and… So on?

Lucy Boyd-Wilson

So, I figured this… you know, using a device like Connect, it incorporates the physicality of, whoever's moving in front of the camera, and, you know, generating graphics real-time.

Lucy Boyd-Wilson

And… that's it! Thank you, everybody.

Great. Thanks so much, Lucy. That's really interesting how you incorporated the connect into the process, for sure. So, let's see, I see that, Sahar, said she'd like to present in the chat, so, go ahead.

I also said…

Boop. And Susan as well.

Yeah, I… up above her, yeah.

Gotcha. Okay.

I'll go… I'll go after Sahar, that'd be great.

You can go that smooth.

What?

Susan Detroy

What did she say to go?

Susan, you go first.

Oh, okay, alright, will do. Thank you. So I, ironically, I am involved in two, in two projects, one that is analog, that I just finished installing, two days ago, a hundred, 100 Art Week artwork piece at a local gallery of a traveling exhibit, and I'll just show that briefly, but At the same time, not the same day, but the very next day, I got a notification that all three of my films that I submitted for MENA in Australia will be showing. It's the first time that's ever happened to me. All three of my films.

Susan Detroy

Are gonna show at MENA. So, I am thrilled. I'm thrilled about both of these projects, and they are… A testament to… The connections I've made that started during COVID, where I connected to international groups. This group, the Expressionism group, and the International Online Art Collective, both of those groups have changed my art world into something I had never imagined. I mean, I know people say that, but I never imagined that I would be doing what I'm doing now.

Susan Detroy

And, so I'm gonna screen share and just show briefly a couple photos from the installation, that was completed, we don't have signage up yet, and then I'll pick one of the films, to share. Okay, so I'm going to share my screen, start broadcasting.

Susan Detroy

Okay… It's coming, it's coming. Optimize her video… Alright, do you see my photo? Catalog. Yes? Okay. So, this is the installation Of the work. I'm just… I'm gonna show this video. These are pieces that were generated by 14 artists from 8 countries. During COVID, over a two and a half year period, we did a chain reaction where we only saw the work by, the person ahead of us. And we ended up with a traveling exhibit. It travels in this beautiful cabinet.

Susan Detroy

And it has shown in Washington, D.C, Jamestown, New York, and also in Miami, Florida. It's now installed at a gallery called The Hybrid. In my neighborhood, in the Whitaker neighborhood of Eugene, Oregon. This show is installed, in a very particular way. It has these, I'll just show this briefly. Find a video, okay, well, here. You can see, we installed all these frames that these pieces are magnetized to, individually. And then there are also magnet pieces that connect From behind, the… the 100 pieces usually hang from a track with, wire and hardware, but this gallery didn't have that option, so Greta and I installed all those pieces of hardware over 6 hours a couple days ago.

Susan Detroy

Soap. Super excited to see all these pieces, and the 7 pieces that I generated. For the, for the project that I haven't seen for a couple years. And secondly, I will show… I just feel like… okay. So, MENA 2025, I submitted 3 pieces, that I've, made over the past year, or… yeah, past year. And I will pick the one… I'm gonna pick, this one that uses AI. Generating, these cosmic women characters. Who are based on my own face, and also, I believe this one… these were done with Adobe. And it's a series called, Planetary Sisters.

Susan Detroy

Slash warriors, and this is the one that, is gonna show.

Susan Detroy

Okay, so, I… I don't… know if there's enough time, but I'm just gonna briefly show The beginning clip of the other two. This one is, more based on my Portrait of a Woman series that uses my face, and also combines analog and, digital work. It's called Untangled. I'm gonna stop, and then the third film. Is this. It's much longer, but I'll just show the beginning. It's a… Homage to a place that is, has a colonized name, Skinner Butte, but it is actually Yapoa, which is the original name of this, area. It means high place, it's a butte.

Susan Detroy

It's a urban… sanctuary, and I made a…. Film honoring the place, I captured Clips over, different seasons. And did on-site, recordings of birds and…. Leaves and that kind of thing. Flora fauna. So, I think I should probably stop, because I don't want to take all the time. And I'm gonna stop broadcasting and come back. To the… come back, come back, come back. Here I am, okay? So, it's a very full… time for me in my life right now. I have big things happening, and that show locally will have a grand opening next Friday with a community paint.

Susan Detroy

And a panel. I'm producing all of that. And I also want to say a shout… a big, like, shout out to the co-working group. Where, that film, beginning along with the other film, the Yapoa film. Showed in Korea. All because I was in the co-working group and got asked, along with Renata and Karen LaFleur. And, the support that I've had in that group has helped me produce the work I'm producing in film. It's… it's really… A big part of the… keeping me alive and current and supported in… in the digital work that I do. So, thanks.

Awesome. Thanks so much, for sharing that, work.

You're welcome.

Congratulations on all the stuff you have going on. So… Thank you. Without further ado, Sahar, would you like to share some more?

Yes, I will try.

Sahar Moussavi

Sioux.

Sahar Moussavi

Screaming?

It's trying to share it, but I'm not seeing anything yet. You might want to pause your video on your cam, maybe. That might give it more bandwidth for the screen share.

Colin Goldberg

I'm not seeing anything yet.

Can you see my screen now?

I'm still not seeing anything, no. I see that you're trying to share, but nothing is coming through. Yet, so maybe it's just the connection's very slow there.

Colin Goldberg

Yeah, I don't think… Massars.

If you can put your images on Google Drive, or Dropbox, or even email a few to me, I'd be happy to show them for you.

Dumb. Okay, well, it looks like Sahar's… Yeah, maybe on a slow connection there. I do see Malavica in the chat, if you'd like to try sharing Malavica, you can go ahead, we still have some time.

Hi, thank you.

Malavika Mandal Andrew

Is it… Visible?

Yup.

Okay.

Malavika Mandal Andrew

So, my works are always related with, different photographies, drawings, and, always the expression or the feeling of five elements are always there in my work. So, more of technical side, I'll be talking because we are talking about the fidgetal. So, here, what I have tried, the red area is basically, photographed I've taken and then got engraved on a paper. And that I have mixed up with the… what is there on the right-hand side, the off-white area, which is having a pen and ink drawing, along with the embroidery, beads.

Malavika Mandal Andrew

And, little bit of, cut works also is there. So, I always enjoy this mixing of the elements and, overlapping of the different, different mediums. I always enjoy that. This I have showed earlier also, but how I have worked on this, more further on that, I wanted to show. Basically, this, drawing, which is there on the top, I call it V because there are 3 different papers element are there, which during the pandemic I was having at home, and on that, I have drawn.

Malavika Mandal Andrew

And, later on, I have combined these three together, and this form has happened. And in this paper, both the sides, the drawings are there. So, basically, these are the three, different stage shape of the papers, and both. And if you see on the left side, you can see the front and back. And on the opposite of the sunlight, you can see the shadow is visible on the work. So, I have scanned this, and later on, I have started… created this different creatures on Adobe by using different tools.

Malavika Mandal Andrew

So, with the pull factors and all, this has come, which, even in Moa's exhibition was also displayed. Not this work, the other work. On this, later on, I have started adding different type of colors or texture. Like, in this particular, I've used glitters. And in the next one, this one, I have used different stitches also. I will show you some of the close-ups. So… so how… for me, both the digital and the hand are important. It… it cannot, replace each other. Each one has taken its own place.

Malavika Mandal Andrew

So this is just, to show the comparative. I mean, this also looks good, that also looks good. It's the elements I'm just… adding, and that addition is happening, in a due course of time, not like just, I felt in the starting all, like, I will do this. It is, while working on the images, I felt like adding the colors, adding the different, stitches, textures.

Malavika Mandal Andrew

These are a little bit of closure. So that maybe you'll get an idea.

Malavika Mandal Andrew

Again, this work is also inspired from the same drawing. But again, this… I have given the, same name, what I have used. The tool is invert. The left side image is pure digital. I mean, after doing the hand drawing scanning, then it is digital. The right side one, I have added, again, different elements, like embroidery, natural fiber, which is very light, beads. So, the element which I've added is, like, the top one, which is a little bit of curvy in nature, is a female, and the down one on the right side it's just a little geometrical lines, which I have used, lines because I wanted to show a male.

Malavika Mandal Andrew

Character. So, these are the, close-up of that.

Malavika Mandal Andrew

This is,.

Malavika Mandal Andrew

So, when the breeze is there, the existence of the breeze, you can feel from the movement of the fiber. And, the shadow gives the, the feel, okay, the light's presence is there. The beads I am use… you have used is all the colors of five elements. So, basically, the feel I have tried to create, which is possible only when I am adding hand elements. At the same time, the image depth, the layers, it was possible only because of the digital.

Malavika Mandal Andrew

This is, again, another work. With the different, hand-drawing images. The comparative I've given is actually the color got changed because of the photography, otherwise both of them are same colors. And these are, again, you can see the detailing, how, I added, metallic yarn, then, again, natural yarns.

Malavika Mandal Andrew

Yeah, thank you.

All right, great. Thanks for sharing that work, Melavika. It's really interesting. The way that you combine the physical media, with… with digital work, and, you know, another… I just keep seeing all different examples within the group of work that really just does not fit into the bin of digital art. And, you know, I would say that, as time goes on, you know, it's gonna be harder and harder for that term to be applicable to many different types of work as technology sort of… Embeds itself, you know, more deeply into our society, and just… what's being made. So, I see that, Anne wanted to just share one more piece, from her work, and then Erin has an announcement as well before we close, so…

Okay, try to make this quick. This is, for those who saw the, how many… how many feet, the big Vietnamese piece. Then I… when I had an opportunity, I reduced it to…. Well, not tagged and take it off. Sorry about that. Can you see the one with just the big map?

Yep.

Yes.

Well, you did see it until I got… I didn't realize this stuff was still up, I'm very sorry. I just wanted to show you the,. I keep… Well, you now have seen the… Okay, just wanted to show you, because those of you who saw the piece that was, 55, whatever it was, 12 by 60, whatever the feet was. And this is what… how I reduced it to put it into an 18 by 24 inch format. That's it. Thank you All right, now I stop the share, right? Got it. Thank you.

All right. Awesome. Thanks, Sam. Okay, so I saw that Erin Ko has a, announcement about an open call she wanted to share, so, take it away, Erin.

Hello, everyone. Nice to see lots of you who I haven't seen for weeks and weeks. I kind of dropped out of the co-working group, got really busy, be back there soon. So, but very nice work, everyone. I wanted to announce that, submissions are now open. We have an open call for the Every Woman Biennial. Of which I'm an organizer and one of the curators, and for the first time, they are actually doing, what I'm calling new media, because of exactly what you just said, Colin, like, it's not digital media, but, for sure, we have a section for artists who are very specifically using technology as a core part of their practice.

Erin Ko

I personally feel like that is far more interesting as someone who has always worked in layers than just an on-screen art. Having said that, we will have screen art, but… this show is awesome. I participated as an artist in 2024. I'm gonna put the link to apply in the chat. The theme this year is… the title is Spectalia, and the idea is spectacle, and that 100 years ago, when we look back, we saw the rise of fascism and, like, all these art movements that addressed what was happening across planet Earth.

Erin Ko

And we're really asking the question of, like, what we as artists are doing, how we're reacting, what we're making. And overall, we want it to be joyful and activist in nature, because we have enough pessimistic media, we have enough spectacle that's manipulating, we're asking how artists can make things that are absurd and funny and… continue to encourage people to live and feel empowered rather than disempowered. The Biennial was formed… in 2014, just a little bit ahead of… or maybe it was 2013, and they held it 2014, but just a little bit ahead of the Me Too movement, because they looked at the Whitney Biennial, and they realized there was not one woman in the entire biennial that year. So they made… it was very snarky, very rock and roll. It was the Whitney Houston biennial, I'm Every Woman. It has been an incredible success. Like I said, I would participate last year. They're amazing.

Erin Ko

Since then, it's become the largest festival for female-identifying and non-binary artists. Having said that, I know you're recording this session, but I want to say, officially, unofficially, I think at this point, also, we want anybody who… is an ally, maybe you're collaborating with a female-identifying artist, or you're making some work that is very relevant to the theme, I don't want to isolate people, but and what else can I say about it? It's being held at Pen and Brush Gallery from March through April. Pen and Brush Gallery is an incredible space, it's two floors, it's a gorgeous gallery, very legitimate, very… very nice legacy. It's been around New York, for 130 years, with the mission to, highlight women artists and underrepresented groups. So, again.

Erin Ko

Joyful activism… joyful activism, kind of, like, weird and wonderful, and… you know. Dictators want you to stop laughing, and we want to offer respite and empowerment to people, and put on a really awesome show that inspires. And I, as the person sort of heading up the technology, am really looking for people who are doing wonderful experimental work, which is definitely this group. So, please apply, please tell your friends. Please spread the word, please come, we're gonna have performances every weekend, it runs for 6 weeks. I'm gonna put the link to the… Biennial, and the link to the gallery, so you can check it out in the chat now. And thank you for your time, and I'll probably be in the co-working group next Tuesday, so if you want to hit me with questions then, I'll be around, or you can email me. So, yep, thank you.

Great.

All right. Awesome, Aaron. And I assume if, okay, so it's everywomanbiennial.com for the people watching and recording, who can't see the chat, that's how you get there. So… that being said, I think we're at time 1.35, so we usually start 5 minutes late and end 5 minutes late, which means we really don't have time to open it up for further questions. But that's okay. I'm glad we got a bunch of additional presenters who weren't on the slate. You know, I had a feeling that we would, and that's awesome. So, Without further ado, I'm going to close down our recording, but, anyone who would like to, stay… I saw another link there, penandbrush.org.

Colin Goldberg

Is the URL for the gallery, so if anyone on YouTube watching this wants to check that out, it's penandbrush.org, and everywomanBiennial.com is where the open call is located. So thanks, Erin, again, for sharing that. And, anyone that wants to hang out for the after party, you're more than welcome. Generally, there's one order of business, which is to come up with a topic for the next salon. Whoever comes up with the topic is going to have to moderate it this time, strictly enforced. And it will be salon number 99, so pretty, pretty incredible that we're, you know, at this place, and, you know.

Colin Goldberg

Just starting off in the pandemic, you know, and it's definitely been quite a journey so far, and I see it's just, you know, progressing, so I want to thank all you guys. Who've been participants. There's definitely a couple people in here that have been involved with the group since the very beginning, so, it's… it's really cool to see you know, that there's sort of, like, a core group of artists that is really responsible for making Techspressionism what it is, so… Without further ado, I am going to stop our recording.

Colin Goldberg

In 3, 2, 1, and cut.