WEBVTT 00:00:00.000 --> 00:00:16.480 This is Room in the Trees, a podcast about living a creative life. Room in the Trees is hosted by Sabrina Ward-Harrison and me, Trent Reynolds. 00:00:16.800 --> 00:00:24.000 Show notes including pictures, links, video, and more for every episode can be found at roominthetrees.com. 00:00:24.000 --> 00:00:32.940 If you like this podcast, please consider showing your support. You can become a subscribing patron at patreon.com forward slash room. 00:00:33.160 --> 00:00:35.400 And now here's this week's episode. 00:00:36.660 --> 00:00:37.540 How's it going? 00:00:37.920 --> 00:01:11.420 Good. It's been a journey of sorts. The arrival of all my... my archive of work and so much my belongings um like they they they're the pieces and elements that have made up a lot of my work over the years like the journals and then the dresses that were probably in a lot of my photographs the clothing that's mourning them um like the books that really influenced me and all the pages from all my books and my life. 00:01:11.420 --> 00:01:15.700 So this, this is all stuff that's been sent to you that was in storage. 00:01:15.900 --> 00:01:23.580 Yeah. Yeah. So I, I really haven't seen in years, like over seven years. 00:01:24.080 --> 00:01:24.580 Yeah. 00:01:24.200 --> 00:01:36.080 Wow. And when I moved from Portland out here, I just kind of brought my dogs in a suitcase and that was it. And I did go back and get everything that was all there. It would be so expensive to move it all out here. 00:01:36.840 --> 00:01:37.340 Right. 00:01:37.240 --> 00:01:39.280 And so it's this kind of time capsule. 00:01:40.020 --> 00:01:42.040 So did you drive it back or did you? 00:01:42.040 --> 00:02:07.400 No, I got it packed and shipped. Wow. Which is just a huge investment to do because it's a lot of heavy things. Yeah. But I went for it, so it was four big pallets full of stuff. Wow. And it arrived safely and made it here. And this is amazing to revisit, especially old journals, is to pick one up and open it 00:02:07.400 --> 00:02:08.400 and read. 00:02:08.400 --> 00:02:24.000 I've opened to something this morning, this little orange journal, and it said, "I'm September 16, 2008. I'm ready for slowness and bright blue water, such deep, warm, true water. Tubs before dinner and on back porches. 00:02:27.580 --> 00:03:59.120 I'm ready for my keepsake. I'm ready for my secret discovery, earth, land, to love and grow well. I'm ready for knowing forever and dark blue night out on a porch. I'm ready for last night. late night guitars leaning against the kitchen walls. I'm ready for such blushing cheeks, laughter, gratefulness. I'm ready to rock and I'm ready to make out loud in a quiet and soft wind, piano filled fields. I'm ready to invent it out. I'm ready to just do it. I'm ready to just... Do not do other things. I'm ready to not know and ask how. I'm ready to thank you for each sloshing yes moment of gratitude and gladness. Gratitude and gladness turning gold glance. I'm ready for my mother's colors and the smell of the backyard sheets. I'm ready for weeping willows in my mornings and ready to lay the quilt down with that grass. I'm ready to just let my skirt flap up in the wind all around me and I'm ready to just make it the way it becomes, the way it happens. I'm ready for myth and symbol. I'm ready to be tried forever. I'm ready to cross the bridge. I'm ready to tell you why. I'm ready to not keep it together, but build it true. I'm ready to shake it like I've never done before. I'm ready to get out of the car and off the plane and into the field. 00:04:01.300 --> 00:04:01.800 Wow. 00:04:02.300 --> 00:04:26.500 That's amazing to read. I just read a little bit of it this morning, but that was just really sweet to read. Because it really feels like what the life is that I've created here has become so much of that. And at the time, I had to go through so much growing pains that happened in between when that was written and now. 00:04:26.500 --> 00:04:41.440 Yeah, so interesting to think in retrospect about what that moment pointed to, right? Right. There's no way you could have possibly envisioned what ended up happening. And I'm sure in many ways it's even better than what could have been imagined, right? 00:04:41.700 --> 00:04:54.600 Right, right, right. We just have to trust the way. It's so strange how the moments, it's made up of so many little moments and the small and the bigger, the big decisions, right? 00:04:54.600 --> 00:04:56.140 along the way. 00:04:57.660 --> 00:05:11.020 And we think we're not doing anything. I'm not doing the things I need to be doing and I'm not getting anything out there that I need to get out there. It's all... It is happening under the surface, though. 00:05:11.320 --> 00:05:42.400 That's interesting to think of, like, this pace, right? In a moment... Like, right now, I feel the same way. It's like I'm moving through sludge. Like, everything is so... colossally slow. Yeah. You know, but then, you know, I look in retrospect and I remember, you know, I just see how much has happened since, you know, any choose any day in my life when I felt the same way. Right. Like it feels slow in the moment, but really a lot is happening around us, you know? 00:05:42.400 --> 00:05:48.080 Right. I think being gentle with ourselves out of this phase of the past year and a half, 00:05:48.240 --> 00:05:48.740 um, 00:05:48.400 --> 00:06:04.600 There's a strange sludge-like movement that feels like you can't pick up the speed, but you also don't really want to go up the speed previously before, and you almost physically can't. 00:06:04.600 --> 00:07:11.280 Right. Yeah, you know, it seems like this is an especially good time to realize that we cannot return to what was ever in our life, right? Yeah. There are so many times I feel like, you know, whether you go through a really tough time. period and you want it to be like it used to be, but there's just an impossibility there. It's never going to be what it used to be and that's a good thing. It points to the possibility that we always have to make things better and to change and to grow. But that's hard because we understand and are comfortable with what used to be. There's a lot of stability and things that we know that must be that must be i was just gonna say it must be a trip to get to have all of those really important objects you know that represent such pivotal moments in your life just to pull them out and have them in front of you now right yeah yeah and to just and to 00:07:11.280 --> 00:08:25.700 really thoughtfully other times you know just kind of had everything shoved in a storage space and or into a place I'm living in this time I intentionally you know rented a space written to the storage space large enough that I could really categorize it organize it archive it nice document at all and it doesn't have to be in my house so working with a great girl named Kate who's helping me just get things unboxed slowly and she would have a chair for me to sit in and I'd look through stuff and keep the process moving forward because I really feel for myself like I want to get my work done. I mean I have all the originals of every page of each one of my books and that's a lot of original artwork. I also just really want to let it be living in other people's homes. I want it to be able to be collected now and not be all archived away. So just sort of thinking about how to mold that process to make the pieces into something where they can travel outside of my sphere. 00:08:25.700 --> 00:08:31.840 That sounds like a big project. Wow. Yeah, I know. Exciting, exciting, but also very daunting, I imagine. 00:08:32.720 --> 00:08:37.500 Yeah, like I don't know where to begin with which ones I sell first and make available. 00:08:38.260 --> 00:09:00.600 And I would also, I'm sure you're already aware of this, but it was advice given me a long time ago. And that is like, make sure you always keep... one example or one sample from each series or time period of your art making for yourself, for your own collection. Put it up on a wall and let it, you know, live in your own memory. 00:09:01.140 --> 00:09:29.000 Right. You know. I know. I know. It's also just, yeah, it's a trip to look at the going, oh, I made a lot of artwork. I made a lot of artwork. And the shape of where it's shifted down so much more to teaching and wanting to help other people get free and liberate and make more, you know, express more and bigger and looser and all the things. Yeah. 00:09:29.000 --> 00:09:30.000 Right. 00:09:30.000 --> 00:10:03.200 I feel more excited to share with my students, like, "This is the process. This is how this was made. This is what... This is the variations I did on this." And there's four books that I also made that I haven't released yet that I made in 2008. And I just today said, I ordered, it was probably the two living projects. I did one for each season. They're only about 70 pages. And there's one book that holds a whole collection of all. So it's all four seasons in one book. 00:10:03.200 --> 00:10:04.460 Oh, I love that. 00:10:04.620 --> 00:10:23.120 Called Follow the Adventure. So I just ordered one of each of the copies of the books today. It's a whole thing to get the login in, but I've never made them available. But I thought, I think I'm going to release each of these. They're just kind of collection books. They're just like a box set to have. 00:10:24.020 --> 00:10:24.520 Right. 00:10:25.760 --> 00:10:40.360 Hey, that's exciting. Yeah. I didn't know you had a... books that were in the archive were deep buried revealed that's exciting yeah it 00:10:40.360 --> 00:10:56.900 is there's a really big really big creative time so it's fun to found a lot of the notes that I kept along the book is filled with a lot of the notes 00:10:56.900 --> 00:11:23.060 Well, I wonder, are you planning on kind of like what you've already done? I don't know, like reading pages from your book. I could also see like having video looking at the actual pages, the artwork itself and talking through the history of how it was produced and where all these pieces came from and how they were combined into. Are you thinking of doing production like that? 00:11:23.060 --> 00:12:41.020 I think that would be a great idea to do. Yeah, someone made a really lovely comment today, and I thought it was, I mean it was Keisha, and I thought it was very complimentary, but I think it captured really, it is what my combination of words and images is. She said, I would love to know, Keisha Celeste, I would love to know all about your artistic process. I love the way you transform and transmit snapshots into mega-deep windows of soul, masterful, beautiful, frozen, and preserved moments of life. And when you were asking me last week about, you know, the materials I use now the same photography and you're saying well, I don't really primarily think of you as a photographer but that that medium for me the combination of photography of something that peeks into something combining that with some of the writing and the reflection of why like why those words go with the kind of this very maybe a mundane detail creates a spark of something. Those two coming together, those words coming with that image come together to make something bigger than itself that is my favorite thing to do. 00:12:41.820 --> 00:12:56.580 Would you say that's even more so than combining words and painted imagery? Yes. There's something about the photograph. Yeah. How would you characterize that? What is it about a photograph that has that I don't know, extra kind of power for you. 00:12:56.820 --> 00:14:04.940 I think it's light. I think it's the way light hits something. It's getting, capturing that. I mean, if I was like a realistic painter, that'd be one thing, but it's the kind of, I'm thinking of this one, she's referring to this one image that is, well, there's two. There's a lot of them, but there's, In the post on Instagram, there's a couple pictures. One is this yellow rocking chair with this dress draped over it. And it's a photograph down at ground level of this dress hanging off the side of this rocking chair. And it's a dress that's used in the photographs of collaboration one and two of this girl running through a field with this... like 1880s kind of petticoat white dress on and so the meaning and then in this other image of This brown paper bag and you can see inside of it There's a bunch of apples that were collected in orchard apples and then a couple hard Sorry, a couple brown brown eggs and then like a thing 00:14:05.860 --> 00:14:07.000 a 00:14:07.000 --> 00:14:43.700 ink with my ink brush in it, my sumi ink brush in it, and it's all in this in this brown paper bag. And you can just tell some adventure, like, okay, she went somewhere and she stopped at someone's farm and she got some apples and some of their, you know, the eggs that were laid by the hens there. And then she, like, had her ink like adventure had happened in the words make believe. And it's just something about that make believe combined with that image is evoking that discovery and exploration has happened, that it's... 00:15:09.600 --> 00:17:32.900 I wonder a lot about photography and just how psychologically we have a different connection with it as opposed to things that are rendered by human beings, right? Like, there is something, and one of the things that I think is so compelling about seeing your handwriting, which is so... human. It does not look like a typewriter. It doesn't look like a mechanized process. There is definitely a human being making those marks. I think photography is more like an impartial observer, like it doesn't have an opinion. And it captures just a tremendous amount of detail. Like you don't get the feeling like you, you get much interpretation from the actual medium itself. Whereas if it were the exact same image of your sumi brushes and all these objects, and if that were painted in oil paint on a canvas, it would be, Like there would be the sense of interpretation, you know, or things that were left out, details that were left out, all that. Anyway, so photography has this kind of impartial or this removed psychology to it or like... presence. Yeah. You know and then the level of detail makes it feel like it's almost real but it's a representation right it's a it's captured a captured moment it's not like what's actually happening right here in this moment but then so contrast that something so impartial so something objective quote unquote you know more objective than maybe a the way a person would render something. next to your work, which is very interpretive, which is very emotional, very idiosyncratic, very opinionated, you know, it's like, it's you, right? I don't know. I think it's, for me, there's just a beautiful contrast between those two things. Right, right. And a wonderful tension and synergy, if I can use that word, between those two different kinds of energy that the different modes of representation offer. Does that make sense? I feel like I'm saying a lot of nothing. But for me, there is, in my own work, I include a lot of photography for some of those same reasons. 00:17:33.400 --> 00:17:33.900 Yeah. 00:17:34.100 --> 00:17:50.760 Like, I love how photography... pushes against the feeling that you get from human-made marks. You know, there's this balance or attention and also a way that they inform each other in kind of a beautiful way. 00:17:51.320 --> 00:18:21.000 I love kind of photographing things that have happened on top of art. So there's still art that's there. Maybe the background's on the ground and nature's happening on top of that. I think it's amazing. fallen on it, it's rained on top of it. There's then other objects of it, like the combination of the realism of the photograph, but it's kind of a painterly, textural... experiences, sort of dances with light. 00:18:21.680 --> 00:20:03.520 An example of that, or I'm going to ask you if this is something that resonates with you. When I was an undergrad, I did this series where I used liquid light, which is a liquid that an emulsion that has silver nitrate in it it's basically and you can paint it on any surface and it turns it into a photo paper so then you can just expose it using you know the normal enlarger in a in a dark room run it through the chemicals and it's a photograph so what i did is i painted the liquid light on two big canvases they were like you know two by three feet, something like that, you know, for the good size canvases. And then I had to, the enlarger, I had to point at a wall to get it big enough that it would cover the whole canvas. But I would paint the liquid light on in a really sloppy way with one of those cheap, like hardware store brushes that made it kind of scratchy. So you could see the painted texture. and then they'd be photographs of me or my family. So you get this photographic image, but it was broken up in a way with these kind of paint strokes and scratchy brush marks and stuff like that. Does that make sense? Yeah. And there was something of that, you know, that tension. Again, it's like the photograph is mechanical. It's like... it's captured by, again, it's like this impartial eye, this thing that's just there documenting without any kind of, you know, emotion behind it, but then juxtaposed with these, you know, brush marks and more aggressive emotive types of interpretive mark making. I don't know, something about that tension that was wonderful, which I think is also present in a lot of your work. Does that resonate in any way? 00:20:03.540 --> 00:20:08.960 Yeah, that makes me want to go out right now and get a look with... Liquid light, is that what you call it? Is it called liquid light? 00:20:08.960 --> 00:20:59.200 - Yeah, I don't even know if that product is available anymore, but I'm sure something else, if not liquid light, something like it is around. But yeah, no, it's awesome. You have to have a dark room, which is not as common anymore. more. But wouldn't that be awesome? I'd love to put together. So for one of them, when I first was teaching myself how to use this stuff, I exposed it with an old slide projector. So I had a negative made into a slide. and then you had to knock down the amount of light coming out of the slide projector because it just blasts light out, and an enlarger doesn't have that strong of light coming out of it. Anyway, and it turned out really cool because the slide projector totally blew out some of the photographic detail, and it was really contrasty in a good way. Yeah. 00:20:59.200 --> 00:21:01.880 Oh, I miss making like that. 00:21:02.080 --> 00:22:00.580 I know, I know. Well, and I have this vivid memory of our, in undergrad, all of our art studios were in this old house that was on the north side of campus. And in the studio place where, and so each of us had a little room in this old, like, really, like. really, really old house, right? And each of us had our own room. So it was like we were a little family. But in the basement of this house or at the, you know, there's a sub ground level. There was this old storage room. It was just like a cement block, right? and it had like, it was totally dirty. Nobody had opened the door in years. And that's where I had enough dark to be able to project using the slide projector. - Oh, neat. - Anyway, so I have just, and I was so stoked. I was so excited about figuring this thing out and it worked and it was just like blowing my mind. Anyway, I've got this really strong memory of that process. 00:22:00.580 --> 00:22:04.320 - Oh, but just those memories of spaces we created in. 00:22:07.380 --> 00:24:09.980 - So along those same lines, I got a question for you. - Yeah. - In a recent series of work, I had these panels made. They're three feet by four feet, so pretty big panels. And what I've been doing is I went out and I took a bunch of photographs in alleyways around my building. There's something I love about alleyways, especially in a big city. like it's almost it's like a portal you know like like everything else is so busy and so refined and landlocked and you know and then you get in these alleyways and it's all kind of you know nobody wants to pay for the pavement to be redone it's the back side of houses so they're all kind of not in good repair and fences are being broken down and people leave furniture out you know and Anyway, there's something that I feel is kind of the unseen side of a city in life. Evidence that human beings are living life. I don't know, something I love about that. So I go and I'm taking these pictures just on my iPhone, and then I have them printed out on a blueprint printer, which is a really low quality, like you see the striping. and breaks up the image. But you can get these huge printouts that are three by four feet. And then what I do is on my big board, I pour resin. And then I put this big photograph onto the resin and it absorbs in the photograph from the backside of the paper. So wet resin, then photograph goes on top of that, and the resin absorbs in from the back of the paper and turns all the white of the paper transparent. Oh, neat. Anyway, yeah, it is kind of cool. I'm really excited about it, actually. And what I've been doing is I've been painting on the board before I put the resin on so when the image goes transparent, you can see these layers. And I'm digging it. It's a lot of good things happening. But, and this is the question. I'm getting to the question. So I've got these three by four foot photographs that I love. 00:24:10.540 --> 00:24:11.440 I love them. 00:24:12.000 --> 00:25:15.820 Yeah. But I know they're not done. And it was never my intention just to leave them alone. I was going to build up into them and gouge out of them. I love, you know, the physicality of resin and the opportunity to kind of just push through the surface into the surface and then build up the surface. Like I like that three-dimensional possibility. But I'm totally, I am totally frozen. Yeah. With fear? With fear. I get these photographs down, and they're pristine, and they're perfect, and they're cool looking, and I can't touch them. And I know you've done the same thing. You've done big photographs. I saw a post that you did recently, I think, on Instagram of a big canvas with a photograph on it. So I was going to ask you, and I've counseled and I've coached other artists, students, and fellow artists. through this same situation, but at the same time, it's like when you're in it, it's really hard to see how to get out. What do I do, Sabrina? Help me. 00:25:15.820 --> 00:25:20.740 - So what, is it to get to mount the photograph to the panel? 00:25:21.860 --> 00:25:23.640 - No, the photograph's on the panel, 00:25:23.640 --> 00:25:26.140 and they look, I love 'em. - Okay. 00:25:26.140 --> 00:25:53.140 - But I just am like paralyzed by not wanting to screw them up. And when I've been trying to do stuff to 'em, it's like it's weak sauce. I don't go far enough because I'm trying to protect them. It's the preciousness. I got into a precious trap and I'm not, and they've been up on the wall for like, a couple of weeks and I just look at them and I cannot figure out how just to. 00:25:53.140 --> 00:25:56.500 - They don't feel finished on their own as they are? 00:25:56.500 --> 00:26:09.160 I suppose they could be, but no, I wanted, I wanted them to be more, I wanted them, you know, the photograph was meant to be just the starting point, you know, the thing to respond to. 00:26:09.900 --> 00:26:18.340 I think it's so interesting on its own, it seems like it's almost, what about going with like colored pencils and more mark making things and paint? 00:26:18.340 --> 00:26:18.900 Yeah. 00:26:18.900 --> 00:26:22.380 - Like pencils and graphite and... 00:26:22.380 --> 00:26:24.240 - Instead of paint? 00:26:24.240 --> 00:26:27.860 - That might be easier to just start in something that's a bit drier. 00:26:29.100 --> 00:26:34.900 - That's true, I wonder how well, I don't know if I could do colored pencils, I'm not sure how well that would stick, 00:26:34.900 --> 00:26:37.780 I think it's just they're interesting as they are. 00:26:38.620 --> 00:26:55.100 So I saw that image come by on your Instagram feed. I'm like, oh, I should ask Sabrina because you have lots of experience combining photographs. And do you ever get afraid of messing up the perfection of a photograph or do you get kind of daunted by it? 00:26:55.100 --> 00:27:24.100 by that or yeah yeah I do when I collage and work into something that's a photographic that's a larger piece that usually works well if the paper is um mapped And it feels, it's more inviting to kind of feel like, if I feel like I can write into it with pencil, it somehow feels less intimidating than it is if it's too finished on the surface. 00:27:25.000 --> 00:27:25.720 Got it. 00:27:26.200 --> 00:27:32.900 So I usually print on enhanced matte paper and then I would have that mounted onto masonite or... 00:27:32.900 --> 00:28:40.620 Got it. So if you're, if you are planning on doing more collage where you're combining multiple things with the photograph, you would use a surface that was easier to manipulate that wasn't as pristine and hard to... I can't do anything to that because it's like, you know, this barrier almost. I think so, yeah. So, yeah, anyway, so that's interesting. So instead of using a shiny photograph, you would use a matte photograph because that would let you... just kind of not destroy but manipulate the surface better you could draw on it with a pencil or something like that or tear it I imagine right right right because you do that a lot and to wonderful effect you do combine photographic imagery with paint and you know, collage and stuff. 00:28:41.100 --> 00:29:06.800 And that's where I like to print stuff out like that in tiles. Cause then again, it's giving it that permission element of, I'm just, you know, just a little bit less precious with it. And I've tied the image onto the thing that's a little crooked. It has this little gap stand that kind of invites collaging. So I start having like, well, you know, I'm going to fill in this somehow and, 00:29:23.900 --> 00:30:00.500 Yeah, I mean part of me just, this is, this is something that is not new to me I, I often in my past have have struggled with not getting letting things get too precious but with a painting what the solution that I always come back to is just using sandpaper and scrubbing over that breaks the spell for me for some reason. But with this particular technique, it's a fairly new thing I haven't found that way to kind of break the spell of that. pristine surface. So maybe I just need to take a router and just gouge it up real good. 00:30:02.040 --> 00:30:02.600 Yeah. 00:30:03.320 --> 00:30:13.060 You know, you can't let it get too precious or it just never shines. I don't know we haven't really talked too much about what's been going on recently but 00:30:13.060 --> 00:30:21.480 well that's the wedding at a wedding oh there's oh there's that there's that i'm getting married 00:30:21.480 --> 00:30:32.400 um i didn't want to ask too much about it because i respect your privacy but what what would you like to say about that what would you 00:30:32.400 --> 00:31:16.580 like to share? Well, it's just so easy to fall into a stereotypical, like, oh my god, I'm planning a wedding, but there are a lot of details, even if it's just a small wedding. There's a lot of elements, and I'm doing it in, we are doing a show in the Redwoods in Portland in the fall, and it's going to be beautiful there, but there's... That's so cool. Yeah, there are elements to getting all the things, so all the things to get it for it. But it feels, he's getting a beautiful custom suit made, which he's really, really excited about. Yeah, and I would say that hopefully you and Laura will be able to come. 00:31:17.240 --> 00:31:18.760 Oh, for sure. We wouldn't miss it. 00:31:19.420 --> 00:31:39.360 It's on a Tuesday, which I just love. People are like, are you sure? It's on a, yeah, Tuesday's for the win. It's so much better because then you have so much more, you know, you don't have people's, most people's schedules are pretty busy. Right. I mean, it's kind of, it's random, but it's just nice. You won't be busy in the Redwoods at that time. 00:31:39.800 --> 00:31:40.300 Yeah. 00:31:40.200 --> 00:31:50.720 Right, like weekends always have that frantic energy of like, "Oh, this is a weekend. We got to make use." And like, Tuesday is definitely going to have more of a chill, slow pace. I think that's awesome. 00:31:50.720 --> 00:32:21.480 Yeah. It's going to be a small wedding and we're just really close friends and family and not everyone can be out there on the West Coast. We're going to, we're not sure whether to have it here in Madison or over on the West Coast, but it's a little bit easier for my parents. And because my dad's in Portland, it's kind of supportive having parents help a little bit with the organization of all the elements. It's helpful being close to them. 00:32:21.480 --> 00:32:23.600 Right, for sure. 00:32:23.600 --> 00:32:29.580 Oh, it's not just the quantity of stuff and details that you have to attend to. It's like you want them to be great. 00:32:29.840 --> 00:32:31.440 Yes, you want them to be great. 00:32:31.660 --> 00:32:32.160 Right. 00:32:32.700 --> 00:32:51.900 That's happening. And I'm just excited to have this window to offer full-color light. People are wanting it. I taught that once last year, and so I'm offering it again for people, like an immersive month-long experience with me to just help them break through and break free creatively. 00:32:54.000 --> 00:32:57.900 So remind me, so it's a month-long and... 00:32:57.900 --> 00:33:31.980 It's a month-long interactive course experience with me, really about claiming and finding and bringing forth your authentic voice through your work and exploring different materials and size and scale and getting free, getting yourselves, getting clear with your voices. It's a combination of writing and art. It's just a deep, immersive experience. I'm going to be offering it. It'll be run middle of July to middle of August. 00:33:31.980 --> 00:33:38.700 Middle of July to middle of August. Coming up soon, when are people going to be able to sign up for it? 00:33:38.700 --> 00:33:45.700 People should be, I should be able to have the doors open in the next week to two weeks. 00:33:45.700 --> 00:34:13.700 week to two weeks. Okay. So by the time this is published, probably pretty soon after. So definitely be, be paying attention for, for registration to open, right? Yeah. Yep. Yep. Yep. Oh, cool. So this is, this is round two. Are you excited to, to kind of refine and, and can you, do you have any ideas or concrete things that you're thinking about? things that you'd like to refine or push forward based on what you learned the last time? 00:34:13.760 --> 00:34:37.360 Yeah, people really love the writing that we did and also just the combining imagery and sort of collaging. A lot of people really love the photography and collaging with mixed media. So a little bit like what we talked about today. and exploring that. And so it's about really creating a lot of new content material using my processes. 00:34:38.140 --> 00:34:54.860 Cool. Full Color Life coming up very, very soon. Keep an eye out for that. And for more information, I imagine, is that website or the – the trailer for that ready yet or is that yes the trailer is ready so I should probably just 00:34:54.860 --> 00:35:02.540 put it up put it up now is the time right now is the time so I should do that 00:35:02.540 --> 00:35:17.600 well cool and you have got so much exciting stuff going on right now and yeah really excited for you and especially getting ready to get married to a wonderful man. 00:35:17.960 --> 00:35:20.360 Yeah, it really is. 00:35:20.660 --> 00:35:24.780 Should we give a little send-off for the week? 00:35:25.460 --> 00:35:25.960 Yes. 00:35:26.860 --> 00:35:29.380 Just sending out people permission to enjoy their life. 00:35:29.700 --> 00:35:30.200 Good. 00:35:30.640 --> 00:35:32.040 Permission to enjoy. 00:35:32.560 --> 00:35:37.640 Enjoy your life. Enjoy the smallest little detail you can find today. 00:35:37.640 --> 00:35:49.560 Yep. Go out and find something small to appreciate. Thanks for listening. You can follow us on Instagram at Sabrina Ward Harrison and at Trent Reynolds Art. 00:35:49.900 --> 00:36:04.820 Please help us grow our audience by rating us or writing a review on iTunes. To do that, you can use the link roominthetrees.com forward slash iTunes. And check out the show notes at roominthetrees.com where you can also get in touch if you have any ideas you'd like to share. 00:36:05.120 --> 00:36:08.880 Rate us on iTunes and share Room in the Trees with a friend. 00:36:09.200 --> 00:36:09.880 With a friend. 00:36:09.880 --> 00:36:11.800 With a friend. 00:36:11.800 --> 00:36:14.800 ♪ ♪