WEBVTT 00:00:00.000 --> 00:00:40.200 Excuse the interruption. Before we get into this episode, I just wanted to take a moment to acknowledge that there's a lot going on right now with the COVID virus that's going around and all the anxiety that surrounds that. And there is no mention of any of that in this episode because it was recorded before all of this has happened. And I wanted to take a moment to say that we sincerely hope everybody's well and enduring this really dramatic time well. And our hearts and prayers are with you. And here is the episode. ♪ 00:00:40.200 --> 00:00:51.880 This is Room in the Trees, a podcast about living a creative life. Room in the Trees is hosted by Trent Reynolds and me, Sabrina Ward-Harrison. 00:00:54.280 --> 00:01:01.240 Show notes including pictures, links, video, and more for every episode can be found at roominthetrees.com. 00:01:01.240 --> 00:01:09.100 You can follow us on Instagram at Sabrina Ward-Harrison and at Trent Reynolds Art. And now, here's this week's episode. 00:01:11.060 --> 00:01:59.460 Let me tell you something to be positive about. Actually, I just wanted to tell you. I don't know if it's something to be positive about. But Laura, my... Your wonderful wife. Wonderful wife and partner in crime and... um all of the above she and she's done this before but she took the kids to disneyland uh by herself and that's four kids that is four kids including a two-year-old at disneyland just herself so this is the second time she's she's done it i can't believe she did it the first time but anyway uh just wanted wanted to throw that out there uh laura dynamite gal yes not afraid 00:01:59.460 --> 00:02:11.840 no she's so badass what's her strategy what would be i mean i couldn't even all the complexities of what goes i mean i couldn't imagine like everyone wants different directions it stresses me out just 00:02:11.840 --> 00:02:38.200 saying you know saying going to disneyland with she takes a stroller that's very easy to fold so you can just pull up on a little lever and it collapses it so that when she gets on the tram uh not too much fuss with a stroller she's got two-year-old strapped to her back uh she's got the four-year-old four-year-old in the stroller and then live and eat in our just walk 00:02:38.200 --> 00:02:49.000 by themselves wow and then what i mean how do you make the strategy about who does where you go do you kind of have the game plan ahead of time i just i'm sure she does have some reason uh well 00:02:49.000 --> 00:03:24.820 i mean uh there are some rides that the lines don't tend to be very long like ariel's grotto for example is a good one for uh for lots of kids they can go pretty much usually there's no line at all you can just go straight on to that. So she'd probably start with something like that because they've been in the car for a long time and just to get them kind of primed. But my guess is that she won't try to do anything with a really long line or if she does, it'll just be like one big ride and then the rest is just like small things that don't take a lot of... time to get on to. 00:03:25.480 --> 00:03:27.340 Well, that's really impressive. 00:03:28.100 --> 00:03:30.740 Yep. Go Laura. Yep, go Laura. 00:03:30.740 --> 00:03:33.980 If I got to have a wife, I would pick her too. 00:03:35.020 --> 00:03:35.520 Hey. 00:03:37.020 --> 00:03:37.880 Good choice. 00:03:40.280 --> 00:03:49.800 I've made some good decisions in my life. Yes. one of them so what's uh what's uh what's a happy thing in your day um oh i'm looking at the 00:03:49.800 --> 00:04:02.720 beautiful snowy lake it's a beautiful snowy lake i took my first uh big walk on the lake yesterday in the snow it was just beautiful powdery soft snow i really miss lucy is there an announcement 00:04:02.720 --> 00:04:05.600 like when the lake is safe to walk on 00:04:05.600 --> 00:04:37.760 how do you know? I don't, maybe they do put some somewhere, but I've wondered that myself because living on it, I look at it every day and way before things got just to me that seemed frozen, people were out there. I'm thinking, especially because it's been such a mild winter, I'm like, it looks a little iffy. But now it's been long enough, it's been frozen and snowed on top of it. And now there's lots of people out doing things on the lake and riding their bikes on it. And building snowman's and chasing, running with their dogs. And so-- 00:04:37.760 --> 00:04:39.680 - But you're saying Lucy, did Lucy used to like-- 00:04:39.680 --> 00:05:08.680 - Lucy loved it. Lucy would run with me out on the lake and run out and she would roll in the snow and she'd burrow her nose in it. And just, she just loved it. Really, really brought back wonderful memories of her. and she, because she had a double coat, she was just like a little baby husky or something. Very sweet. It sounds like it's pretty cozy. It's so cozy, Trenton. I have to send you a picture of what it looks like. This is from my view. I'm recording from my bed. 00:05:10.520 --> 00:05:11.020 Okay. 00:05:10.900 --> 00:05:18.500 I got a hot water bottle. You got a hot water bottle? You're looking out on an expanse of snow? 00:05:19.420 --> 00:05:19.980 Yes. 00:05:20.320 --> 00:05:22.800 That is the definition of that. That sounds so cozy. 00:05:23.260 --> 00:05:24.100 So cozy. 00:05:24.520 --> 00:05:27.520 Man, you do such a good job of making a space. 00:05:28.740 --> 00:05:31.520 So into cozy. So into cozy, man. 00:05:31.520 --> 00:05:37.980 You're really hitting the cozy hard. and I got a lot of respect for that 00:05:37.980 --> 00:06:14.960 it feels so good to do it and then to delight in it my mom's the same way we always talk about this on the podcast but even with her downsizing into where she's living now it's been really sweet to watch her transform this tiny, not tiny but it's a one bedroom in an assisted living and just, it's like, just looks just like her home. It's just so, it looks like a Paris. She's like, it's like a Paris salon, you know, just paintings and textures and over stuff, not over stuff, just, oh, it's all one. It's just lovely. 00:06:15.480 --> 00:06:15.980 Right. 00:06:15.800 --> 00:06:54.940 So I imagine like when you or your mom move into a place for the first time it's like first order of business is, is like, is making it cozy. Whereas I think for a lot of us, you know, normal, non cozy people. it's like when you move in when you move into a space it's just like let's get all the boxes in here and then you know unpacked boxes stay there for the next three years right right and it's just uh it seems like that would be like a priority for somebody who is uh you know, who makes spaces like this. Well, it's really so simple. 00:06:55.540 --> 00:07:07.900 Yeah, there's these simple elements. Like there's two trunks I've kind of kept with me over the years. One's an old Indian bridal trunk and the other one's an old... 00:07:07.900 --> 00:07:29.160 an old Indian bridal trunk you say that as if that's just like something people have your storage your storage is cozy your storage is cozy 00:07:29.160 --> 00:07:31.900 oh my gosh 00:07:31.900 --> 00:07:38.540 an old Indian bridal trunk laughter What is that? 00:07:38.940 --> 00:07:40.700 I got it in Bonny Doon. 00:07:41.380 --> 00:07:43.440 Of course you did. It's like... 00:07:43.440 --> 00:08:37.700 I got it from a woman named Patricia who lived in a tiny cottage that I ended up renting by the river in Bonny Doon, by the Redwoods. And it's all hand-painted... tin that's decorative that covers the entire wooden box, wooden trunk that has, it's just beautiful. I've kind of trashed it over the years, but, and gotten in and kind of tried to redo the decorative elements with a paint pen, which was not... not a good choice in dim lighting but it's a yeah Indian bridal trunk is so that they I guess when the bride would be married she would fit all her belongings in the trunk and move off with her husband um 00:08:37.700 --> 00:08:39.480 I should look it up. 00:08:40.320 --> 00:08:40.940 Our examples. 00:08:41.520 --> 00:08:49.120 So this trunk is, that is your primary means of conveyance of your belongings? 00:08:49.240 --> 00:09:02.000 No, it's actually, I don't even, no. No, not with me. No, it's just more, you know what it is? It's a cozy stabilizer. Okay. 00:09:02.000 --> 00:09:06.860 Do you have that out on display? 00:09:07.780 --> 00:10:14.140 Yeah, it's where my little treasures kind of go on top of it. And so I have some candelabra and... just various little things. And then, uh, I have another trunk. Yeah. My dad shipped me 500 pounds of my stuff from Portland a couple of years ago. I think I probably did a podcast episode about it. Yeah. And it arrived. And so he sent these trunks and they were full of stuff. And then a bunch of other 480 pounds of other stuff. but bottom line is you just I love taking things that I've had with me over the years and just can make home cozy with a few just a few little elements that mean something to you and color wise work really lovely together I always find that a crimson color with a rich greeny teal and against wood and And it's a brown and red and blue turquoise. 00:10:15.180 --> 00:10:16.560 How's your week started off? 00:10:17.480 --> 00:10:35.860 Yesterday, not going to lie to you, a little bit rough. A little bit rough for Monday. Had to give out a couple of detentions, which I don't like doing. Yeah. today ended on a really high note. It's amazing to me how little appreciation I need to feel awesome. 00:10:36.580 --> 00:10:37.280 You know what I mean? Yeah. 00:10:37.720 --> 00:11:31.920 I taught a lesson to my middle school kids about shutter speed. We did a project where we stopped motion. And on the way out, one of the kids that sometimes is a little bit more difficult, he just said, thanks for the lesson today. And rarely do I get any kind of gratitude for the instructional portion of my being a teacher. Yeah. And it was just, even now, I feel so much lighter. Yeah. you know, in my heart. Yeah. Because of that one little thanks, you know? Yeah. And it felt, it was delivered in a sincere way, not just like something you pass off like, thanks, Mr. Reynolds, bye. Right, right. He was intentional about being grateful. So that kind of- 00:11:31.920 --> 00:11:33.140 That's really great, yeah. 00:11:33.180 --> 00:11:38.340 Yeah, yeah. It made my day in a small way, so. 00:11:39.020 --> 00:11:40.500 Yeah. Yep. 00:11:40.500 --> 00:11:43.500 You should get that a lot. 00:11:43.500 --> 00:11:47.500 Yeah. 00:11:47.500 --> 00:11:49.500 The teenagers aren't the best at that. 00:11:49.500 --> 00:11:52.500 Teenagers, that's not their strength. 00:11:52.500 --> 00:11:54.500 Strong point. Yeah. 00:11:54.500 --> 00:12:34.140 So you brought up a topic idea that I thought was really interesting. And we've probably touched on something similar in past conversations, but I think it might be something worth revisiting because of the kind of a situation I find myself in my own artwork at the moment. Oh, yeah. So the topic that you brought up was cohesiveness. Yeah. So you are thinking of it in terms of like a book having a certain type of cohesion be – between all the different pages and between I'm imagining the text that's being included in images, etc. Something like that. 00:12:34.400 --> 00:13:14.400 My thought was to talk a little bit about cohesiveness. And when I'm thinking about it, one thing I talk a lot about with students is about the cohesiveness within when we're making a book and how we're not just looking at it as a single piece of, beside another single piece, beside another single piece, but we're looking at for the whole experience, which I like to use a metaphor of it as a film. We're looking at the experience of the film. We're not like looking at just this shot by this shot. Sometimes we'll say that's a fantastic scene. That was a fantastic shot, but overall we want to come away with a feeling about the whole film. So that's the way I like to think about a book, an experience of a book. 00:13:14.400 --> 00:13:14.900 Right. 00:13:15.220 --> 00:13:24.860 And then the other side of it is thinking about painting or doing a collection of work. Right. 00:13:25.120 --> 00:14:42.600 I think there's a very, very direct analog there in painting where you would work in a series of And that series would have some kind of through line, you know, or some kind of uniting features or uniting ideas or principles that kind of guided you along. And there's value in that cohesion. It gives you a chance to learn in ways that you wouldn't if you were just making one-off pieces all the time, right? And it kind of reinforces a larger concept by having multiple iterations or multiple perspectives on this one kind of underlying theme or underlying direction. as it were. So like if you were to create a body of work, and that I think that's what you would call it if in the context of like studio art, you would call it a body of work. And you could have multiple bodies of work, but a body of work would be some multiple pieces that somehow all tie together. And then you'd put it up in a gallery and hopefully, you know, the presentation of all that work together would be greater than any of the individual pieces by itself. You know, there would be some larger gestalt, right, or some larger effect there. 00:14:42.600 --> 00:16:49.120 was right experience so for me one of the things is the feeling of like thinking about it like music too where you want to have um an element of there's a rhythm that's happening through through it but you want to also have a sense of surprise and um variation um So it's not about making something them all sort of be the same kind of theme and like they're all kind of in the similar color but you want to have the actually more the interesting thing is to have this pop of color pop of black coming through or You want to have? I was just talking to the student today who I'm mentoring about, you know, just I how you want to have that surprising element happen of where there's maybe there's spaciousness for resting after a certain amount of text you've read. You want to let the whole experience of how your eyes move across a page change. turn the page upside down to read something, you know, the pacing of the eyes experience across a spread and then the experience of the next spread after that and what you want to have that experience to be. You don't necessarily, even if you're working with something in an emotional, you know, emotional text, you don't necessarily have to have that experience to be you want to be mindful of like, okay, after that, do you want to have another spread right after that of emotional text? Maybe it's really more effective to have a spread that's just two beautiful images that have no text at all on them. That's what I'm working with. Um, Emily Luman, who's working on her book and just the way she's incorporating photography is really beautiful juxtaposition against the collage work and the spaciousness she leaves in throughout the pacing of the book gives it an overall cohesion because there's there's continuity but also excitement as you experience it as you go through it so that's that's one thing else say it's a little abstract, but I'm talking with my eyes closed and my hands moving. 00:16:50.780 --> 00:19:16.620 No, I think what you're describing is being cognizant of the experience of actually reading the book, right? Yeah. Of not just the visual information or the text that's in there, but the journey of over time. I was experiencing those things in a, in a, you know, in a sequence and over a duration of time. A couple of things that come to mind when you said that is that I think when you put up a body of work in a gallery, um, or just in your studio to look at it on the wall, it's often the case where a painting will demand a certain amount of space around it. Like if you put two paintings that are too strong close together, there's this like repulsion that happens. You just feel that painting needing more space to breathe because it's maybe too busy or too just dynamic to be able to have lots of them close together. Whereas another painting that's maybe more subdued or doesn't attack you quite as much visually could very comfortably sit much closer to another piece. Does that make sense? Yes. So being aware of not just of how your viewer is going to be able to interact with the work and putting enough space around it so that they can – interact with it without being overloaded or given enough breathing room, I guess, to appreciate it, I think is also an important thing. It's interesting to me to think you were talking about how, you know, being conscious of how... maybe one layout is spread out from another just so you don't put two right next to each other that are how like in a gallery you don't have that spatially you don't have that control over your how your viewer enters in and moves from painting to painting so there's not that same control of you're gonna go from this page to the next page like there's an obvious sequence there whereas in I guess it depends on the gallery space, but there perhaps is not as much of control over that. So it therefore is probably just not as much a part of your thought process as you're creating the work. I don't know. Well, yeah, I would first. 00:19:16.780 --> 00:19:46.300 Yeah, my first thought is to say yes. And then the other part is like, well, wait, there's always the hell. Most people don't open a book from start to finish. They flip through it and they open anywhere. So there's that house of surprise there. And so a curator would lay out a gallery space in a way that they'd hope that the people would walk through and experience the space. But there's always people that are going to go backwards through it or go right into the middle and miss the first three. 00:19:46.300 --> 00:19:56.240 I guess unlike a book, or a book you could open up to the middle physically, whereas a gallery space you're going to have to go in by the door more likely. the knot, right? 00:19:56.700 --> 00:20:20.720 But yeah, so you would still maybe sometimes like me, I would just walk straight into the middle of the space. I wouldn't remember to like necessarily start gently on the left and start working way around the room and be like, oh, that painting looks cool over there through the second room, you know? As you're talking about a complex piece and having space for it, it's interesting that there's more space needed for how complex the piece is in a way. 00:20:20.860 --> 00:20:21.900 For sure. For sure. 00:20:21.900 --> 00:21:17.780 For sure. Like it doesn't necessarily have to do with how much like how busy the visual information is, because I'm thinking of like a Mark Rothko that is very simple, like rectangles. Right. But somehow that kind of requires, well, physically, they're large paintings, but they also more than that, they require like more breathing room. whereas you could have a also have a much smaller piece like a tiny piece that could require just as much room or you know or vice versa I don't know like I'm not sure if there's there's an obvious thing to point at that where one piece would require or why one piece would require more more space than another but it does have to do with just how strong the piece is like strong, I don't know is it an emotional impact? the strength of that? 00:21:18.020 --> 00:21:18.520 yeah 00:21:18.220 --> 00:21:24.900 and then do you think that for you when you think about how do you guys find cohesion as a group of 00:21:24.900 --> 00:24:42.000 That's a good question. And I think you just like, you know, when you create a book, there's probably a lot of there's an intuition you've developed over years of how to unite a whole you know, body of pages, a whole series of pages or layouts or spreads. But I think to a certain degree, and that's what's kind of interesting to me about where I'm at right now. So I've got two, I've got, I guess, three paintings that are all kind of based on this, you know, resin and laser and collage type of, abstraction, right? So there's a similarity. There's something that unites them in terms of the size and dimension of the work, in terms of the materials, and in terms of the application and techniques that I'm using, right? So there's... That's what they're... you know, what unites them or that's maybe a cohesive element. But I'm feeling like they're all too much the same, right? So it's, I think, and I'm sure with you as well in books, you don't want, you want them to have a cohesion. You want them to belong together somehow. But if they're too much the same, it can get, stifling or it can get uninteresting or they can't, they stop having an individual identity, which I think is just as important as having a group identity or a, you know, a cohesion. Does that make sense? Yeah. Like you want, you want the pieces to be different enough that there's a tension and there's a conversation between the pieces and you want enough sameness or similarity or cohesion. I don't know, you know, what the right word is there, but you want it to, to be similar enough that they somehow read as a group, you know, and you don't want to have that one piece that is, you know, really different than all the others and just, you know, is an anomaly and sticks out and creates this unwanted tension, you know? So there's a couple things that I'm trying to kind of isolate some things to learn from in what has been said. But it seems to me that, and something that's kind of a new thought for me listening to you, is maybe one of the ways that we can think of cohesion in terms of a book or a body of paintings or artwork is to consider... the narrative of a viewer interacting with the work. So if you're walking into a gallery space, encountering this painting, and what do I want them to experience with that work, or what feeling do I want to evoke, and how is that going to lead them into the next thing they experience, or how is that going to play off of this other painting that's on the other side of the room that they will encounter, And so thinking in terms of a narrative that you're creating for, or an experience you're creating for a potential viewer, I think that could be a very powerful way to create cohesion, to create some kind of continuity throughout a body of work. 00:24:42.000 --> 00:25:09.280 Yeah, absolutely. Beautifully said. It's also that pull what you pull out, you know, it's like you, you have this many, say this many pages, like to make something cohesive also is about removing what's not absolutely necessary. Mm hmm. 00:25:09.300 --> 00:25:18.600 Man, that is such a, how do you teach that though? How do you tell somebody how to do that? Because it's, something's belonging or not. I don't know. 00:25:19.240 --> 00:25:29.800 I think you, I just, I teach it pretty well. I'm sure. I do. No, I really feel, I feel proud of what I've seen, what's happened. Yeah. 00:25:29.800 --> 00:25:53.840 But I mean, I guess you have the work in front of you and you can maybe just through comparison and looking at things side by side, be able to deal with it one on one. But is there a larger, more general principle there that you could distill and teach people about like? How do you know if something belongs in this overall piece? 00:25:54.600 --> 00:26:34.900 When I'm looking at people's spreads, I'm at the stage right now where I'm working with people. Was there in their stages of getting the pages and spreads finished so that they can be finished? you know, put into the formats to be printed. What is really important and what I think is to say, okay, so has this been said already in a different way that's stronger? Has this been evoked in another way stronger than how it's being evoked here? Is there something that's more, is there another more exciting way this has been said? captured, then there doesn't need to be more of it. There doesn't need to be more of it. 00:26:35.100 --> 00:26:35.620 Got it. 00:26:35.980 --> 00:26:45.660 Yeah, it's the editorial process, which is just such a beautiful art in itself. It's just editing down something so it's just sharp and clean. 00:26:45.980 --> 00:28:04.360 To apply that idea to where I'm at right now with these paintings, I might be able to look at these three paintings side by side and say, I'm already accomplishing that in this painting in a much more interesting way. So perhaps I'd get rid of that in this other painting and use that, or maybe I just remove that painting from the series and try to push in a different direction or try to say something different with an entirely different painting. But I think maybe there's a kind of editorializing that can happen there or an editing process that can happen there. Yeah, absolutely. I can imagine, yeah, putting them, if there's a repeated pattern or if there's a repeated... color relationship, maybe even just covering it up with a blank piece of paper and seeing how I feel about it with its absence. You know, does that make sense? Yep. Yep. Just keeping the part of the composition or part of the painting that does feel fresh and like it's saying something different than the other paintings, keeping that visible, but, you know, covering everything else up. I don't know. I can see how that could be really helpful. 00:28:04.660 --> 00:28:36.200 Yeah. I like to think about it like when... The typical self-published book, the reason it looks self-published is because it's just not absolutely solid and sharp. And it's usually there's sort of too much and too much repetition and just not bold and clear. And all the elements are just there and confident and strong. And that's where you have to take the book to that level. So in order to do that, you have to be very confident in the editing process. 00:28:36.200 --> 00:29:05.620 Well, yeah, that's so hard to do though, especially when you're so close to the work, because you see all the subtle differences between, "I set it this way, better over here, but I'm making a nuanced point over here, so I need to keep that in." Really just simplifying is the better route to go. So hard to do that if you can't get some kind of... psychological or emotional distance from the work. 00:29:06.180 --> 00:29:06.680 Right. 00:29:07.080 --> 00:29:14.920 Can you do that for your own work or do you need an editor to, to help you, you know, sort out what needs to go and what needs to stay? 00:29:15.380 --> 00:29:16.500 I didn't. 00:29:16.660 --> 00:29:18.840 I'm sure you got good at it over time. Yeah, I did. 00:29:18.920 --> 00:29:44.220 I love my editing process. I always talk about with Bennett, Becky Beninati, who helped, who edited spilling open. I love that collaborative process of, it's always helpful to get other people's eyes on it, but I'm working within the limited limitations of, of a certain amount of pages that say can be in the book or a certain amount of pieces that can be in the show. I definitely, again, coming back to restraint creating restraint. 00:29:45.040 --> 00:31:15.300 So having, I think that brings up a good point is maybe having an editing process built into your, built into the system, right? So if you know that you're going to have a show where you're going to be putting five paintings up, plan on making 15 paintings so that there's a built-in process where you're going to necessarily have to edit out some, right? Does that make sense? And if it's a book, making a lot more pages than you actually need, just the parameters or the limitations of your process of your project force you to be an editor, force you to refine. Yes. Yeah. Yeah. I mean, a lot of us, a lot of us, I don't think have those built-in editing or limitations where, you know, we can, we have, we have YouTube, we have social media, we can just post everything online. we create, right? And there's a lot of different avenues in life where there aren't those editing or limitations that require us to edit to accommodate. I think it's important. I think you bring up a really good point. I mean, so much of this ties into, I think, a lot of hangups like getting too precious about your work, right? Being unwilling to edit because you don't want to let go of what the work needs you to let go of. It ties into fear. It ties into all sorts of things. I don't know. I think this is a great topic. 00:31:15.460 --> 00:31:16.980 Great combo. Well done. 00:31:17.260 --> 00:31:18.340 What's coming up for you? 00:31:18.720 --> 00:31:22.100 Life is coming up. Coming fast and furious. 00:31:22.800 --> 00:31:25.320 And you're doing a great job, Mr. Reynolds, teaching. 00:31:25.480 --> 00:31:26.500 Hey, thanks. 00:31:26.900 --> 00:31:28.000 Yeah. Thanks. 00:31:28.000 --> 00:31:44.400 I don't think anything particular is on the horizon. I've got some 3D printing stuff that I've been dabbling with and digital sculpting. Can you post some of it on Instagram? I will see if I can. 00:31:44.400 --> 00:31:45.400 Yeah. 00:31:45.400 --> 00:31:56.900 And I've been working on these laser paintings that I was talking about earlier that feel like you get – I'm at kind of a rut. I'm not quite sure where to go next with them. 00:31:56.900 --> 00:32:06.020 Well, send some pictures of them or if you want any feedback, I'd like the idea of covering some up with white and just pull the parts that you really love what's happening. 00:32:06.020 --> 00:32:15.880 I'm going to give that a try. Yeah, I'll see if it gets you some images. What about yourself? What's going on? What's up this week? Besides recovery and lots of tea. 00:32:16.660 --> 00:32:32.480 Lots of tea and hot water bottles and filming and just excited about, I've got some things that are going to be coming out. I'm going to do some demos. I'm holding myself accountable to doing, to do some demos on Facebook, I think. Awesome. 00:32:33.160 --> 00:32:33.660 Yeah. 00:32:33.600 --> 00:33:00.120 And, yeah, I'm gearing up for March, mid to late March. The break is going to open for a week for registration, where you can obviously be anywhere in the world to take. But it is a small, limited group. Not totally small, but it's... it will be open until it fills up. But last year, that was a week, which, yeah, it won't be more than a week. 00:33:00.660 --> 00:33:01.600 Get ready. 00:33:02.420 --> 00:33:03.420 Get ready. 00:33:06.220 --> 00:33:19.100 Yicky ready. Yeah, I'm just excited. I'm excited just to be... I'm really glad to be feeling better. And I hope to everyone out there who is... has sick kids or they're feeling sick is just getting the cold over and over again 00:33:19.100 --> 00:33:27.600 the flu love and cozy to you all right well i wishing wishing you and uh and everyone out there 00:33:27.600 --> 00:33:46.300 a cozy cozy week make it yes yes absolutely all right talk to you soon Thanks for listening. We'll be back next week. In the meantime, you can follow us on Instagram at Sabrina Ward Harrison and at Trent Reynolds Art. And check out the show notes at roominthetrees.com 00:33:46.300 --> 00:33:51.300 where you can also get in touch if you have any ideas you'd like to share. If you like this podcast, 00:33:51.300 --> 00:33:57.140 please consider showing your support. You can become a subscribing patron at patreon.com forward slash room. 00:33:57.460 --> 00:34:11.760 Please help us grow our audience by rating us or writing a review on iTunes. 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