Trenton ReynoldsIt is Saturday, March 9th, 2019.
Sabrina Ward HarrisonThis is Room in the Trees, a podcast about creative living and making and how we find liberation through limitations. Room in the Trees is brought to you by Trent Reynolds and me, Sabrina Ward-Harrison.
Trenton ReynoldsShow notes can be found at roominthetrees.com.
Sabrina Ward HarrisonIf you would like to be a patron, we would love to have you join us. And that's at patreon.com/room.
Trenton ReynoldsOh, and please share the podcast with your friends.
Sabrina Ward HarrisonI was thinking one of the things we could talk about today would be like motivation and limitation.
Limitations.
Sabrina Ward HarrisonLike I was trying to think about when I make the book, like having a time limitation, like I'm not doing 87 revisions on something. You know, it's like, let's give ourselves like a window of time to just do it.
Thank you.
Sabrina Ward Harrisonbut we talk about that a lot.
Trenton ReynoldsWe do, but it'd be interesting to talk about in the context of what you're doing right now. So like, is there like a specific example that you're thinking of?
Sabrina Ward HarrisonWell, I'm thinking about the course and I'm thinking about the structure of it and how, like what I, what, what I, what I want to give people the most and that permission, that sense of permission to just do it, to just, experiment and have a sense of time limitation on it too, like for myself. That just is something that if I'd had seven years to make Spilling Open, it wouldn't be very interesting, I don't think. or be much, much different. So how's your week been? Should we check in?
Trenton ReynoldsYeah, let's check in a little bit first, I guess.
Sabrina Ward HarrisonYeah.
Trenton ReynoldsMy week, these past two weeks have just been so crazy. Like so many things going on. It's... It just feels like it's all coming at the same time. What kind of things? So it's been busy. Well, this week is Laura's birthday and I have an art show opening on Saturday that I'm supposed to help install in Long Beach. Awesome. And I have to finish work for that. And a coworker is coming back to, after maternity leave, she's going to be back this week. I have a bunch of videos that I'm trying to get done for work. Anyway, it's just like responsibilities, church responsibilities for teaching and stuff like that. But I would like to share a little aging stress that I've had recently.
Yes. Yes.
Trenton Reynoldshashtag aging stress aging stress aging moment Laura looked over at my the side of my face one day recently she was sitting next to me looks over the side of my face and she said wow your ear holes are really big And I had never really thought of my ear holes one way or the other. Yeah. But that bothered me in a pretty significant way that I would have big ear holes. And I think, you know, you've got – as you age, your ears continue to grow, right? Yeah. Yeah. It was just one of those reminders that, you know, maybe I've passed the midpoint and I'm starting to get to the point where now my head is entering disproportion.
You know what I'm saying?
Trenton ReynoldsYeah. And it's whatever. It's no big deal. But it's just like one of those reminders that, you know, time is continuing. And then I thought to myself... Well, in the last year, it's just been in the last year that instead of using one Q-tip to dry my ears, I now use two. Oh, boy. Is this too much personal information? No. It might be too much personal information. No. But it's one of those things that just creeps up on you. You know, all of a sudden, my wife is telling me I got big ear holes.
Yeah.
Trenton Reynoldsand I don't know how I feel about that. I wasn't ready for that.
Sabrina Ward HarrisonI guess do women's ears get bigger too?
Trenton ReynoldsYeah, but I imagine they're more petite to begin with, or maybe, you know, maybe men's ears just grow faster. Maybe testosterone is responsible for, you know, ear growth. I don't know. I don't know, but it makes me feel like I'm not in control of my destiny, right? Oh, my God. And I don't feel like I hear better because I've got bigger ear holes. And it made me think that maybe I wear earbuds too much, and maybe that's kind of hastening the onset of male pattern ear expansion. I don't know what that is.
Yeah.
Sabrina Ward HarrisonI wrestle with the, if I have a stressful week, I will get white eyebrow appearances. Oh, have we talked about the white eyebrow? We talked about this in California. Yeah. I haven't gotten them in my, I haven't gotten any gray hairs yet, which is bizarre.
Trenton ReynoldsAs we, I think we talked about when you were here in California, those white eyebrow hairs are, they're horrible. And as are gray hair, because gray hair is not, it has a different consistency. Oh. Oh, it does? Yeah, yeah. So it's more kind of wiry and thick and not as – like it doesn't lay down as flat. So you'll have a nicely coiffed do going on, and you'll just have like two or three little scraggly-looking gray hairs poking up out of the bunch. On your eyebrow? No, this is on the top of your head. The eyebrow is especially problematic.
Yeah.
Trenton ReynoldsBecause it'll just be one like sticking straight out the front of your head. And because the rest of your eyebrows are dark, you've got this contrast of like one white hair just like pointing forward. And it's very distracting. So you feel like you got to do something about it. You got to get rid of it. But then, you know, enough of them start happening that then you get anxious that, well, maybe I was just not going to have eyebrows anymore. No, you're going to thin them out so much that...
Sabrina Ward HarrisonNo, I think that with men also, they get bigger and bigger, those eyebrows. You know, they get really... Oh, there's nothing... I mean, there's things worse than that, but men need to trim their eyebrows more.
Trenton ReynoldsYou just reminded me of another aging incident I had recently. First time. Maybe the ear holes comment was like just another nudge. Before the ear holes incident was I went to get my hair cut. and never have I been asked if I want my eyebrows trimmed. Oh, snap! Never, never. It's never happened, because I've got fairly tame eyebrows naturally. This time, first time, this was just like three or four weeks ago. She asked me if she could trim her eyebrows.
And what did you say?
Trenton ReynoldsWell, I figure she knows what she's doing. She's a trained professional.
So I said, go ahead. Okay.
Trenton ReynoldsIt's been, you know, and these things happen when life is more stressful. Yeah, that's what's crazy. Gravity's dragging my ear lobes. Stretching my ears right out.
Don't like it.
Trenton ReynoldsSo what's going on with you?
Sabrina Ward HarrisonI just did a great running class today. I'm on my learning to run. I'm kind of a year and a half in maybe. Love my running class. Love my running class. The psychological benefit of running is so different than any other exercise. I've ever done. Is this CrossFit or this is something different? No, it's just running at the gym. There's a running treadmill class and I've always been, oh, screw treadmills. Oh, screw jogging. I'm not that kind of person. But I took it upon myself to start learning. There's a coach trainer at the gym named Troy who's our age and he just teaches it in a way that he's like 20 second, you know, increments. And before you know it, you've run three and a half miles and you feel great. Like there's enough little breaks and you feel like this mental clarity that comes after that. I just I feel like my decision-making and my ideas are so sharp after I finish a class. So it's very, very interesting. Um, and I mean, I know I can't do it forever and I'm sure it's not great on my knees, but I haven't, I, I'm just very, I really love it. So I've made that a top priority. I'm loving the new studio.
Trenton ReynoldsAre you settled? Do you feel like you're all?
Sabrina Ward HarrisonI'm somewhat settled. I think because I'm only renting it through the end of the summer, there's that kind of push and pull, like how much do I bring all over there?
Trenton ReynoldsAnd also I'm using it so much right now for the course creation and filming.
Sabrina Ward HarrisonI want to get in there and just make, you know, have a full day of painting is what I plan to do this weekend.
Trenton ReynoldsSo you don't want to spend the time, like, just getting situated. You want it's like go time.
Sabrina Ward HarrisonIt's kind of as, yeah, it's go time. It's for sure. But just opening into the room and it just has such bright sunlight, like facing south and. It's really, it has a good, really good energy to it. And it's a great location. And more will be revealed about what happens after that. But I am incredibly grateful for this space. And so all summer long, I'm going to be teaching. The course will begin in beginning of May and run for probably eight to 10 weeks. but I'm going to be teaching it live, the whole course live. So it's like, I'm going to be live twice a week. So I'm going to be filming in there. It's going to be pretty full on. And I'm, when I go back to Portland in a few weeks, I'm going to grab a bunch of original pages of spilling open and bring them back with me so I can kind of walk people through.
Trenton ReynoldsSo this is the course that you're working on right now, the book course, right?
Sabrina Ward HarrisonI don't have a name for it yet. I don't have the name. It feels like naming a child. Like the first one, Untethered, just came straight to me.
Trenton ReynoldsPretty sure the name is Troy. It has been revealed to me.
This baby.
Trenton ReynoldsThis baby. This book's name is Troy.
Sabrina Ward HarrisonThat'd be so funny if I just named the book, named of course, Troy. Or like Steven.
Trenton ReynoldsCome to my course, Steve.
Sabrina Ward HarrisonThat's so random. Oh my gosh. Yeah, that's...
Trenton ReynoldsSo are you going to, you're going to be actually, when you, when you broadcast, when you do this thing live, you're going to have somebody there shooting you doing demo or?
Sabrina Ward HarrisonSome of it, but also I'm going to be using, I'm going to rig up this overhead camera so they can be filming down on me. I want, I just want the course to just feel really different than anything. Just like Untethered was, I want this to feel. Like if I'm somewhere on a Tuesday and I'm finding something and I have an idea, I wanna just film it and add it in. You know, just keep like collecting ideas and things I wanna share. I just wanna be completely transparent with everything I know and just everything I can think of to share and teach and... and they'll have chances to ask questions prior each week before the live calls so I can gather all the questions about that section and address everything. So there'll be a lot of active participation opportunities.
Trenton ReynoldsSo I'm really, I'm really interested in this idea of, and we've talked about it in the past, like choreographing the process. And it, one of the things that I thought was interesting talking to you in Austin is was that relationship between what he was doing and what you were doing, like how he was capturing that and representing it, right? Yeah. There's a lot of aesthetic decisions that go into that when it's not just like a stationary camera pointing from one angle, right?
Right.
Trenton ReynoldsI thought he did a really good job of that, right? Oh, I was just thinking that I would be interested in maybe sometime in the future when you were here in town, experimenting with different setups for live broadcast of, you know, art making. It's something that I've worked a lot with because back before I was, I took the current job. I was trying to come up with ways of doing that, you know, that worked well. And so working with multiple cameras and switching between them and, you know, I really like the idea of being able to – having something be live puts a different dynamic on the artist. And it also gives the audience that's watching live a feeling like they're of connection, right? That you don't get the same way. It's like going to a play, right? There's a different dynamic when you feel like the actor is there with you in the room making decisions. So I like the idea of doing live instruction or demonstration sessions. And figuring out how to make it not too boring. You know, representing it in a way that feels authentic to the actual experience of making rather than just documentary.
Sabrina Ward HarrisonExactly. And have it be something where I feel the permission. I think kind of what I learned from making, doing Untethered was like, let it all just, maybe this is more specific to what I do. definitely my method of teaching and my, what I want to, what I feel people really enjoy is like, just let it all be there. Like let it be random and, um, completely real because you want, I want to evoke that. So. Right. For them to do too. What sort of setups have you thought about for,
Trenton Reynoldsfor that? Well, I think, I think just being able to, I mean, there's only a certain number of options, but I've tried with like super up close. So you can actually see the texture of the materials and experimenting with different kinds of lighting to highlight different types of, uh, sheen like shininess or texture, um, having handheld versus stabilized versus still, you know, on a tripod, uh, having over the head or over the shoulder or point of view type of camera situations using using like action cam I try to go pro for a while I don't know we're still in it I still think that like educators especially are stuck in the notion of the format of teacher in front of student so there's yeah it's just like put the camera in front of your face rather than seeing the camera itself as an opportunity to for instruction Right. And the way it moves, the way it, the angles, the, you know, all the different ways that you can communicate certain types of information, experiential types of information with a camera that you can't necessarily just with an actor or somebody in front of the camera. like I've seen, I shouldn't use football as a metaphor, but because I don't really watch football, but when people draw on the screen, right? Right, right, right. And I don't think that's necessarily a good example, but I think there are a lot of ways that that might even come into play somehow in how information is transmitted. So adding some kind of real-time collaboration with somebody doing something with the image itself. Anyway, I don't know. This is kind of... I've thought a lot about it, so I've kind of got some far-fetched ideas.
Sabrina Ward HarrisonAnd you can have multiple cameras streaming at one time?
Trenton ReynoldsTypically, you only have one connection from your computer to a service that is broadcasting. So you only have one signal. So to get multiple cameras, you have to have what's called a switcher. And that's either a hardware thing like a box that can switch between different cameras. Or you have a software switcher, which is a computer program that essentially does the same thing. But somehow you've got to have the ability to switch between different input sources.
Right.
Trenton ReynoldsSo I set that up with three different cameras, and then I also had my computer screen as a source. So I could jump to my computer screen if I wanted to show something on web or something like that. But you could feasibly have a stylus as a video input source. Like say you had in your hand two location sensors. and had those as input sources. So as you moved, that affected a camera angle or that affected maybe you could actually see the movement of the artist doing something. Oh, that's really cool. Anyway, you get what I'm saying? Like if you can somehow translate that location information to, and there are software out there that can do this, but then stream that information to the artist. Anyway, I'm talking in such broad terms, I'm worried that it's just kind of going over people's head. I wish I had an example of what I'm thinking. But there's so many cool things. Well, it just feels like it's so close to being the future.
Sabrina Ward HarrisonIt feels so close to being the future.
Trenton ReynoldsOh, it's out of control. There are so many things just right on the cusp right now with VR and AR and different kinds of sensors and your iPhone can has spatial awareness and all sorts of cool stuff that's still techie enough and hard to get to enough that it's hard to combine lots of these things together in a way that you'd need to. but exciting to think of the possibilities for sure. Someday, someday something you were saying earlier of talking about limitations. And we have talked a lot about limitations, but I, I was going to bring up, and this might be something else we've also talked about, but, The relationship between quality and quantity in learning how to make art or in the process of creativity, right? I was reminded of this show that I went to of Andrew Wyeth paintings. Oh, I love his paintings, yeah. It was down in Balboa Island, I think, at the Museum of Art down there. Anyway, they had they had posted a bunch of I don't know if it was hundreds, but it was certainly like 10 or 20 different sketches that they had retrieved from his studio floor, and you could actually see footprints on them. And corners were crumpled and stuff like that. And they were just like partially finished drawings and ideas that he had tried and tossed off. And then he has these paintings that obviously take hours and hours and hours. It's egg tempra, which is a very tedious medium to work with. So, you know, he spent just ridiculous amounts of time and care in making these final paintings. But what I'm trying to get at is I think there's an important relationship, and this is something that I talk with students a lot about, between quantity and quality. And when you're learning, when you're new to something, especially quantity is just as important, I think, as quality, meaning that just producing a ton of stuff. is just important as trying to produce something that is really good. You know, does that...
Sabrina Ward HarrisonYeah, I feel like it's almost more important. It's like you can't produce something really good until you've done a lot of it.
Trenton ReynoldsSo, yeah, so there's that notion that, you know, you need to practice a lot before you can perfect something. And that is... You speed that up by just cranking out a bunch of stuff. So you get the... you start getting some of those things into muscle memory and, and, you know, just getting acclimatized to different kinds of movement and materials and understanding. But I think there's also another psychological element to it where, um, this idea of preciousness and attachment.
Yeah.
Trenton ReynoldsYeah. Right. With quantity, when you're just thinking about quantity, when you give yourself permission not to get attached to it being good or bad, not making that kind of value judgment of its importance or its value, right? You're thinking like, "This is my only chance," or, "This is a special thing that I just made that I need to preserve somehow." because there's something that is destroys momentum the moment you start feeling that attachment or start moments you start feeling that you have something to protect right right so I think one way to get to quantity is are these what you were just talking about earlier with your book is time limitations, right? So people say, well, it's just not the style I work in, or that's just not my personality. It's not who I am. But a lot of getting better at something is doing things that are contrary to your natural way of doing things, right? Yes. So sometimes you have to create unnatural or unnatural to you limits, and And one of the most productive limits, I think, I found that you can put on yourself creatively, man, struggling on that word, are time limits. Right. Yeah. Saying like, I've got 15 seconds to make this drawing or I've got this. I'm going to finish this in one sitting and then I'm done with it and I can't go back. Right. And I'm going to do that 16 days in a row where I just sit down for an hour. I make one drawing and then I'm done with it. Or, you know, there's there's a million different ways of going about it. But there are so many little ways that that helps you overcome your bad habits and also push you outside of comfort zones, keep you from getting attached to things.
Sabrina Ward HarrisonNo, absolutely. Absolutely. It makes me want to give people assignments right now. Even just paying attention to details. I feel like saying, take your phone and find... I'm looking at this bit of tapestry on my wall and thinking, go find... You know, 45 things that are in the tone of yellow. And get really close to them. And so the whole frame is mostly yellow.
Right.
Sabrina Ward HarrisonAnd go through your whole house and just zero in. So basically it will be an abstract frame. swath of yellow.
Mm-hmm.
Sabrina Ward HarrisonBut that type of just looking closely and... But limiting, not like, I'm going to put together 45 over the next three years. Right, right. Or 10 months or, you know, five days.
Um...
Sabrina Ward Harrisonbecause I like when I look at like I'm going back to this book thing again but when I look back and I'm because I'm thinking about what how what I'm saying about each of these pages I made I think there's some kind of random story about how each is I think about each page I'm like well I remember how this one was made and I remember it was because I found this thing that I needed to cover over it so I tore off a bit of this paper bag and I put that over the thing or I had this out of focus picture that I took accidentally and then that looked that kind of was interesting and so I used that as a background for this and it's never been like, I'm, I want this page to have, you know, a field. And then I want there to be some, like a woman on a red horse riding through it. And I need to figure out how to go find a field and, you know, get someone to get a red horse and read some red Cape or,
Trenton Reynoldsbut it's interesting that like when you teach a class or when you have people come up to you wanting to be empowered to make work themselves, they ask, how do you do that? Right. And what they think they want you to tell them is that thing that you just said is like, well, first I, put together, you know, these pieces of paper. And then I took the paper and I tore it and I put it over here, but that's missing the point entirely. Missing the point entirely. Right. It's not. And that's the problem with teaching creativity in general. And one of the biggest frustrations I have teaching art at high school is is that it cannot be taught that way. And to a certain extent, I think, kind of what I'm thinking out loud here, but it seems like teaching often comes in the form of assigning people different kinds of limitations to help them view something in a different way.
Sabrina Ward HarrisonOr another word. Or do something in a different way. Adventures.
Trenton ReynoldsSo in that case, I mean, the lesson is not to learn, like, first you tear the paper, then you put the paper down, and then you move it over here, and then you take it into the kitchen. You know, it's like, what you do is you say, give yourself 15 minutes. and you look around and see what's in the room, and you say, I'm only going to use stuff that's in this room, or stuff that I've already made, and you see what you can do with it, and you've got,
Sabrina Ward Harrisonyou know, ready, go. Because that engages the synapses. I don't know if you think, you know, that engages the brain into that creative thinking. What we're wanting to do is get to creative thinking and creative problem solving, and That to me, that point is where the euphoria happens of creativity and the soul of creativity and why people, why people, why we need to create in the first place is self-expression. And that's a soul kind of thing. and it's an invention kind of experience where you are kind of inventing what's coming forth is sort of invented through you.
Trenton ReynoldsWould it be fair to say, or would it be accurate to say, that limitations we think of as being restrictive, but I don't think there is creativity without limitations, right? Right? Right. And sometimes the more limited you are, the more forced you are to be creative. The more tight the limitation, the more you're forced to creative thinking, meaning seeing things or acting in ways or moving in ways that you have never done before in an attempt to solve a problem because you have such strict limitations. Am I saying obvious things?
Yeah.
Trenton ReynoldsI can't tell. No, it's – well, I just think like when people come to an art class or they go to a painting class or whatever and they want to be freed, right? Like free me. I want to feel like I can just do anything, you know? Sign up for Untether.
to create.
Trenton ReynoldsDoes that make, does it make sense? I don't know. I'm trying to kind of wrap my mind around how to communicate that idea that limitations aren't a bad thing. And in fact, create, I don't think you can be creative without limitation.
Sabrina Ward HarrisonSo how, yeah. So how does, how is it our teacher in a high school, the challenge of saying, you know, they will have a supply list and there's like, they, they have all the right paints. They have all the right, you know, nicest brand. They've got the special brushes. They've got the, and how do you provoke about freedom of expression within that context of where they kind of have they do have some unlimited resources well you've got
Trenton Reynoldsbuilt in to the format of high school you've got time limitations built into that but the structure of high school especially this this is kind of pointed out where there are so many incentives to tie it down yeah To codify it, to make it a set of instructions. Maybe that's a distinction that should be made is the difference between instructions and limitations. Right? See, I'm struggling with this because this is... And it's the same thing when you think about your morals. Like take the Ten Commandments, for example. I think those are – I'm trying to stay away from anything too overtly religious. But those are limitations that you put on your behavior. Right. And I think a lot of people, religious people – I'm part of a religious culture that I know – people start to see those limitations as something that's restrictive when I think how they are ideally meant is to be enabling. I just am trying to reconcile these two ideas that we seek freedom, and oftentimes that feels to us like no rules, but in reality, freedom is in those rules.
Sabrina Ward HarrisonAbsolutely. Yep. Absolutely.
Trenton ReynoldsSo how do you reconcile that? How do you communicate that? What are the rules and what is the – how would you describe the freedom that's enabled by those rules? Well – Or is rules – rules is probably the wrong word with the wrong connotations, right?
Sabrina Ward HarrisonWell, I think, yeah, I think there's learning how to use the tools. Like I remember my dad always saying, when you're in school, really learn about how to – Learn the technical part of... And that's what... Really understanding how paint works. I don't know. There's the instruction. There are elements of instruction, like learning about value and learning about adhesives and learning about things that are really important that aid you in then when you go out to create... you're sort of saddled up with options to better express with. I mean, but then again, it's weird because I didn't, I didn't do, I didn't pay attention to all those things very much. So I had this thing I wasn't taking. I was, I was, I wasn't taking all the design, um, you know, using Quark and Illustrator and Photoshop to the level that, you know, was required in school. And so I had all these sort of jerry-rigged ways. I was turning in assignments and using my handwriting and color copiers. And I just was like, well, shoot, I got to. And so it resulted with a very different looking class. work that if I'd had all the tools and I was just sitting there in front of the computer, again, it wouldn't be what it was. So you were working with a different set of limitations
Trenton Reynoldsthan your peers. Yeah. And that is partly, I wouldn't say, I mean, obviously something internal and innate in you was responsible for that creativity. But I think in part, your aesthetic was born of those limitations. And part of the difference of that aesthetic was a result of those unusual limitations. And I think along the same lines, I think along the same logic is that some, sometimes we are most expanded and learn the most when we put ourselves into or, or, or adopt limitations that are unusual to our experience thus far. So in art classes, you'll get a teacher that says like, make a drawing but you have to use a twig or a string. That forces you, To use a familiar material, but given a new limitation and that expands your awareness or sense of what's possible with that material.
Yeah.
Trenton ReynoldsSo I think one of the many things that I feel like you're especially good at is recognizing an ability to generate information. interesting and productive limitations. Is that an okay thing to say? Yeah, I would say that. I think, like, I'm thinking of your prompts and I'm thinking of the way...
Sabrina Ward HarrisonI thought you said, I thought you were going to say your prom dress.
Trenton ReynoldsI was just thinking of your prom dress. Cannot forget about it. Such a beautiful imitation.
Sabrina Ward HarrisonOh, good. Okay, you said my prompts.
Trenton ReynoldsYeah, those are, like, those are kinds of limitations. It's forcing your brain into a scenario or into a line of thought that... focuses it on in a in a different mode than uh than what you would normally do yeah like for
Sabrina Ward Harrisonexample i think of the prompt on my walls on my walls i would write i love giving that prompt on my walls i would write so that the limitation of that is is making you think okay what would i write big and dramatically on my walls is not like what would i write on this piece of paper it takes us into this other realm of like, what do I want to frigging say as leave a room and have it on my walls and, you know, walk away, like, you know, drop the mic. That just kind of comes to mind as a sort of prompt limitation. right? That's one. Yeah. Yeah. What's the kitchen floor one that you would give? Oh yeah. Five kitchen floors I remember. Five kitchen floors I remember. What's the first one that
Trenton Reynoldscomes to mind for you? The first one that came to mind was the my kitchen floor when I was in college. It was this vinyl that was this kind of marbled forest green. Mm-hmm. Kind of looked like a bowling ball. And it wasn't cut flush to the base of the wall. It kind of curved up the wall to make it easier, I guess, to clean or something like that. So there are no baseboards. It was just this nasty vinyl that crept up the wall about four inches. And so I think my feelings toward it are warm. Right, right. And happy. I know. Even if it's just, you know, this, I can think of the smell of that floor, even in the walking on it and bare feet. Oh, crumbs. And it. And hitting crumbs or like hitting a spot that's just a little bit stickier than the rest of the floor, right? And then you step on the carpet and that spot on your foot kind of grabs the carpet a little bit.
Sabrina Ward HarrisonTotally. Oh, my God.
Trenton ReynoldsYou know what I'm talking about? Yeah.
Sabrina Ward HarrisonBut like it's so strange how little do we know at that time you'd be talking about that floor. Or like that moment, there was a moment that something was sticky and you did that walk and little did you know, it was registered in your brain, in your being. And then one day when you thought of kitchen floor, that would be it.
Trenton ReynoldsWhat kind of minor tint that memory puts on my experience every day when I see things that are that color, you know? Right, right. You know, somehow that one little moment influences or informs how I perceive the world, you know? Well, I feel like I've been on a rant today. I feel like I was thinking out loud and not really resolved in many of my thoughts. They were great.
Sabrina Ward HarrisonI love that. We hit some great stuff. Love the deep dive. We'll be back again next week for more Room in the Trees conversation.
Thanks for joining us.
Sabrina Ward HarrisonGo take a look at your kitchen floor.
No.
Trenton ReynoldsNo. That should be the after.
Sabrina Ward HarrisonPlease leave us a review and rate us on iTunes. And if you want to be a supporter, please go to patreon.com forward slash room. And tell your friends. Yes. And you can find us on Instagram. I'm at Sabrina Ward Harrison. And Trent, you are at Trent Reynolds Art. Is that right? Yep. ♪