Rose Wildsmith Sabrina Ward HarrisonThis 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.
Trenton ReynoldsShow notes including pictures, links, video, and more for every episode can be found at roominthetrees.com.
Sabrina Ward HarrisonYou can follow us on Instagram at Sabrina Ward Harrison and at Trent Reynolds Art. And now, here's this week's episode.
Rose WildsmithWell, welcome, Rose.
Thank you.
Sabrina Ward HarrisonThis is so exciting. Yeah. So, Rose is in Liberate 2021. create the book you must want to find.
Rose WildsmithI am indeed. It feels a bit funny to not be able to see you because I'm so used to doing Zoom calls. Yes, I
Sabrina Ward Harrisonknow. It's such a relief though when you don't have to do a Zoom call. I'm like, oh, you want to just do it? We can just do a phone call? Amazing. Yeah. It feels quite old school, doesn't it? I'm like, I could just be looking crazy on the other end of the line.
Trenton ReynoldsYeah. That is one of the beauties of this format is like there's no self-consciousness that you're or staring in a weird way or whatever.
Sabrina Ward Harrison- Yeah, that's what I think about these Zoom things and like Zoom meetings and stuff. I think it adds this extra element of self-consciousness that you don't have when you're just in the room with people like you're in, when you're in a meeting or something with people, you're not looking at a mirror that's right beside you the whole time. - Yeah. - So true. - Yeah. Do you want to share anything, anything to serve introducing yourself? Oh, it's always, it feels like such a hard question. Like who are you?
Rose WildsmithYeah. And that's kind of, um, why I'm so interested in this book making process to liberate is kind of a bit of a journey of self discovery. Like what is my story and where do I come from? Who am I?
Yeah.
Sabrina Ward HarrisonWhat drew you to, yeah, I'm sorry, jumble here. I was going to say one way you can introduce yourself maybe is by kind of what drew you in, what led you down the path to creating a book or joining Liberate?
Rose WildsmithYeah, so, well, I was just saying before we started recording to Trent that when I was little, people said, what do you want to do? do when you grow up you know what do you want to be when you grow up um i would always say i want to be a bookmaker and um and my dad would always say oh so you want to take bets and be a bookie oh and i would just so it would always i'd always end up getting like annoyed yeah like no i want to make books and yeah because we didn't have a TV growing up my parents were kind of you know didn't want to have a TV in the house so books were everything and I just love love love books still to this day and And, but it just never felt like a realistic thing as you, you know, you grow up and people kind of put you off being an artist or making books because, you know, it doesn't seem like a sensible option.
Yeah.
Rose WildsmithAnd so I ended up having a career in the charity sector. And I just got to a point where I had a massive burnout and mental breakdown basically. And I had to kind of really reevaluate my life, like what I was doing. And one of the things that really helped when I was really, really ill, 'cause I couldn't work anymore. I had to move back in with my mum. But one of the things I did was I took up crochet. and just felt like something that was just so doable. Like even if you just do one stitch, you know, you're making progress towards making something bigger. And I really feel like that creativity saved me, saved my life. And so I got really into crochet. And then I started taking a course on patchwork and I started I started getting really into that and I made my patchwork wedding dress.
Sabrina Ward HarrisonI know you've got to see a picture of this. It's incredible.
Rose WildsmithIncredible. Yeah. Cause I, I really loved that. The spirit of patchwork and you know, the history of it and how people used to particularly women would sit around and groups, you know, using up old scraps of fabric and turning it into something that,
Trenton ReynoldsIs this something that I can see online or is it on Instagram or something? Where would people go to see this?
Rose WildsmithIt is on my Instagram account, yeah. It may be a little ways down, but I can repost it if you like. She has shared about it in Liberate, so that's why I know about it.
Trenton ReynoldsRose, what's your Instagram account?
Rose WildsmithIt's at Rose Wildsmith.
Trenton ReynoldsOh, wait, wait, wait, wait, wait. Oh, I think I found it. This is you and your, your husband, I assume the look at that. And he's got the is that he's got a vest.
Rose WildsmithHe's Yeah, he's got a waistcoat. And you have to share the story about how the friends. Yeah. So my inspiration was that I wanted it to be a collaborative project. And so I asked all my friends and family to send pieces of fabric that meant something to them. And, you know, that had a little story behind it. And even if it's just something that they liked that they saw in the shop, they're that I wanted it to be something that was special to them that I could incorporate into the dress. And then I chose some fabrics that I liked as well. And we made it out of little hexagons. that we hand sewed together. And I got people to actually help me with the sewing as well. So I'd like collected all the fabric in and like cut it up into little pieces and then sent it out again to friends and family. and said here you know here's how to do it little instructions and they sent me back a hexagon flower um and then i spent the next like few months sewing it all together into us into the dress and into the actually my husband did his uh waistcoat himself mostly um i taught him how to do the patchwork um so it sort of like felt like on the day we got married that we had love from everyone kind of like we were wearing everyone's love. I love that. Yeah. It was, it was really a special thing and I wanted it to go all the way to the floor and be like, and like have a train and stuff. And then I ran out of time. Yeah. So I was just like, I'm just going to, you know, I'll just cut it a bit shorter, but, but yeah, no, the, the, the idea was there. I got really into textile art after that and started making quilts and just learning about how to manipulate fabric like dye it and tie dye it and bleach it and you know do all these cool things and like screen print onto it and stuff and then I got really into the idea of designing fabric and so I started teaching myself how to use photoshop and
and things like that.
Rose WildsmithBut for some reason, I just didn't feel like I had permission to paint. I don't know why. Until I did, I came across Flora Bowley class. I don't know if you're both familiar with her.
Yeah.
Rose WildsmithYeah. And so I came across this idea of intuitive painting and I was just like, oh, wow, this is, incredible and I went to an in-person workshop it wasn't actually a flora bowley workshop but it was one of her students was teaching a similar sort of thing and it just sparked something in me and I just started painting and painting and painting So that's kind of how I became interested in art. And then I think it was New Year a couple of years ago. It must have been last year because it was during the pandemic. I did this visualization online. And it was this thing of like going into the future and like coming up with a gift that you would bring back to like the current cohort of humans that are alive on the earth. And I just got this really strong message that the gift that I needed to bring back was a book, like a visual book. And so when I saw the Liberate course, I was just like, this is just perfect for me. And so I just, I've always, you know, and it goes back to that childhood dream of wanting to be a bookmaker. And then sort of like comes full circle, like, oh, okay, like, this is what I have to do. I've really got this sort of feeling like that I was being guided by the universe or whatever you want to call it.
Yeah.
Rose Wildsmithso yeah so that's how I've ended up in Liberate and um it's just been amazing like I feel like uh Sabrina I really understand now why it's called Liberate because um I And I was thinking, because you said you wanted to talk about creative breakthroughs. I was like, oh, the biggest creative breakthroughs I've had have all been around the idea of just having permission to do these things. Like having permission to just like get a huge roll of paper and roll it out and like cover it in paint. Yeah. Yeah.
Yeah.
Trenton ReynoldsI think that's such an interesting, I hadn't really ever thought of it this way, but the tie between the word liberate and permission, you know? Yes. That it really is often a decision away, right? And that permission ultimately is the permission you give yourself, but somebody else can help inspire that or help. I don't know. I guess I'm still chewing on that thought, but the permission and freedom or permission and liberation. So, Rose, earlier you and I were talking a little bit before we started recording, and you mentioned that you didn't feel like things had quite resolved or that nothing had resolved yet. I can't remember exactly what you said, but I'm curious about that word resolved. And what is it that you came into the class with? wanting to resolve? Was there something concrete that you expected would become clear through the process of bookmaking? Or I imagine there's some vision there or something that you want to happen but I know from experience that sometimes it can be kind of hard to... you don't know what it is yet because you haven't made it yet. But can you describe what it is that hasn't resolved yet?
Rose WildsmithYeah that's interesting. I think I suppose I don't know exactly what the book is going to be yet. And yeah, I felt like I... Because it's sort of so tied up with wanting to investigate my own story. It's like, okay, so... You know, when people say, oh, tell me about yourself. You know, can you introduce yourself? It's like I want to be able to have this clear sense of, like, what is my story and where I come from. And I suppose... that's part of this bookmaking process. But also I kind of keep circling around different ideas of like, you know, should it be about my story or should it be something else? Or, and I suppose I, I just feel like I'm very much still in this, like middle zone of investigating different ideas and well so do you feel like like the process of
Trenton Reynoldscreating a book and when you're when you are done with the book will it have have been a process of self-discovery and self-definition like this this book will be an accurate embodiment and um representation of you? Are you trying to resolve yourself, I guess, is the question.
Rose WildsmithYeah, I think what's surprising about the process is that so I thought that it would be one thing and I thought it would be like... I love it. Yeah, I thought it would be like a memoir of like, you know, this is what happened to me and that's why I am like I am. And I think that through the process I've realized that I have carried a lot of shame over the years of life. you know, feeling like I'm really weird and a bit of an outsider and feeling like a bit ashamed about that. And actually coming to realise that, I suppose just to have a bit... of confidence in like, this is who I am. And it's hard to explain. Like I've had this feeling like I have to kind of be what other people want me to be a lot through my life. And sort of become a, almost like a mirror of like, you know, what does that person want me to be? So I'll just like manipulate myself into that space. like shape shift into that um and through this process i'm really and and then sort of like feeling a bit apologetic like you know oh all these things that i do that you might think are weird like oh there's a reason for that like let me explain and actually through this process i'm kind of coming to realize that Maybe I don't need to explain, like, maybe I just need to be messy and weird.
Sabrina Ward HarrisonYes, yes, yes, yeah. And ashamedly. Yeah. Oh, that's such a lesson for everybody.
Trenton ReynoldsAnd that's the ultimate liberation, right? Is permission to be you.
Yeah.
Rose WildsmithYeah. Yes. Yes, exactly. But I think the trouble is in the past when people have said, oh, just be yourself. And I've heard that and I've gone, but I don't really know what that means because I don't know who myself is.
Mm-hmm.
Rose WildsmithI didn't have to be myself.
Sabrina Ward HarrisonI think in this process has been beautiful sort of watch that unfolding because I remember at first you didn't even want to be on camera to do it, you know, really introduce yourself very much. And this beautiful journey to watch you, you know, really be a leader in the community of students sharing your process and then making these big, you know, and then not wanting to get your hands in the paint at all. And then being the one kind of leading the way with doing these big exercises and Activation, creative activation exercises and then, you know, getting a studio space and sort of stepping into yourself in a beautiful way.
Trenton ReynoldsDescribe something that you've done that's been dramatic, that's been big and messy. It sounds like something's happened. Yeah. Oh, you mean in my life? No, like in this course. It sounds like you've done something big and messy. I'd be curious to hear what that is.
Yeah. Creative activation.
Trenton ReynoldsI don't know the terminology. Oh, okay. Yeah.
Rose WildsmithI don't know the terminology. Okay. Well, Sabrina led us through this amazing, you know, gave us this amazing invitation to get a big roll of paper, you know, like 10 meters by like one and a half meters. And just like roll it out and then get your paint and just like splop the paint all over and like get your hands in and. Well, that's the funny thing is that, um, uh, yeah, so previous to doing Liberate, I was, um, working on panels that like, um, 30 centimeter square, like 12 inch square, um, and just being quite tight with it, like working it and working it and working it, and still using that intuitive feeling, but I just felt like my body was being quite sort of restricted by the small size, and I had these dreams that I wanted to work big. I had it on my desire board, on my vision board. I want to work big, but just feeling like I couldn't see... that I just couldn't see how I could do that. It just felt like something, again, like something that someone needed to give me permission, like that you're good enough, you're worthy enough to use up that much canvas or that much paper, you know? And, you know, and it reminds me of going to an exhibition at the Tate Modern a few years ago. And I saw these huge canvases by Gerhard Richter and the colour fields by Mark Rothko. And they're like on these enormous canvases. And I remember like the biggest thing I was thinking was, wow, they really had... the audacity to go i'm gonna do this like enormous canvas i'm gonna take up this much space and materials um to do this thing that i want to do yeah um and i think maybe it's something um to do with the environmental movement you know uh that's happening at the moment with climate change and everything and you know being zero waste and you know being like recycling everything and just feeling like there's this preciousness around resources and materials and so I just But yeah, I just really felt like, oh, you have to be really good and it has to be really worthwhile to be able to use a big canvas. And so I felt like I had to work up to it and sort of like prove myself before I could get there. And so, yeah, like it was a revelation to go, oh, okay, you could just get, you know, a roll of newsprint, it doesn't have to be like really good quality paper. And in the end I got some newsprint and I got some like medium quality paper. thickness paper and then I got some like nice mixed media paper as well and I so I started on the less um good quality um and just did like the size of like a tabletop um and I got my daughter involved because I thought well at least then there's like an educational aspect to it And I was really worried about getting paint on my hands because I just have sensory issues about things being on my skin. But I use this special cream that you can put on your hands called Art Guard that means that the paint washes off really easily afterwards. And so yeah, and we just like smushed the paint around and we just had a really good time and it just opened this door of like, oh, okay. How like I'll try next time with the slightly better paper. And then I, you know, got more and more confident to the point where I thought, yeah, why don't I feel like I can work big? You know, how about if I get a roll of canvas and do the same thing, you know, like, because I'd always thought that you had to buy canvases pre-stretched, you know, and they're all quite expensive. And then it's like, well, what would I do with it? Like, it's going to be this enormous canvas. I don't have space to like store it in my house. So I thought, oh, if I have it on a roll and I work on it loose, then I can roll it up again. And this makes it easier to store. But then I just kind of thought, like, I am an artist and like, you know, I'm doing this. And so why not get an artist studio?
Yeah.
Rose WildsmithAgain, I don't know, it just felt like another permission that I needed to kind of prove to myself that I was worthy of having an artist studio before I could actually apply for one. But doing this Liberate course, it felt like. Actually, no, that's kind of the wrong way round. You kind of have to go for it first sometimes, and then you kind of grow into it. So I applied for a studio, and the way that it works here in Amsterdam is that often you have to give a project proposal before you apply for your studio space. and then they look at your project and then they say yes or no based on that. So I had this idea in the back of my mind that I'd kind of been working on a little bit, and it's all about the axis of time and space, which is something I'm really interested in because it feels like... take clues about the location and the materials and everything and date it and say, well, that was definitely made in this period. So I just feel like, OK, so that's my role in the world as an artist is to, you know, to make a mark that. kind of represents this time and like I suppose being an expat living in Amsterdam I'm also really interested in the place as well. Like you don't realize how much you're shaped by your environment until you go to a different environment and you look back and you and you go like oh right so that's so for example I lived in Oxfordshire which is an like West Oxfordshire where I went to school and grew up for like since I was nine, they, it's like one of the most conservative areas of the country, and it's very white. And but that was just like my, my norm. And you only realize like how conservative and white it is until you, you know, when you go somewhere else, and you look back, and you go like, Oh, okay, so I grew up in that sort of environment. So that must have impacted me. So yeah, so I'm doing this project at the moment, which is about like marking Amsterdam in my paintings, and also like this particular moment in history as well. So I'm incorporating newspaper and like things from the local area like leaflets that I've picked up and receipts and just all sorts of things that are like the everyday ephemera that you kind of don't really notice. So I'm using that as collage and burying it in the layers of the painting. and I'm also using the visual language of Amsterdam and so I'm using a restricted palette of red white and black because that's the Amsterdam city logo is three crosses so I'm also using like the crosses as like a a visual motif. So anyway, so I wrote this project plan and I applied and I got offered a studio space in this creative incubator. And it just feels like, and today I went there and they're doing an open studio event on Sunday. So I went there and I hung up loads of my paintings. They're all kind of like pre this Amsterdam project project. So they're the ones from like last year and stuff. But I, yeah, went and hung them all up on the wall and got myself ready for this open studio event on Sunday. And I just look back to like where I was before I did Liberate and it's like, oh my gosh, I could never have dreamed of doing, you know, of this being my reality. That's so wonderful.
Trenton ReynoldsIt really is. What a great story.
Sabrina Ward HarrisonAnd then the beautiful thing is in the book will so naturally comes from the process of that, that from what you've done through this, the book's gonna, the pages and the unfolding area is gonna happen so much more naturally. And with an ease and a confidence, I think that will be really different than like, I think when people get caught with thinking, okay, I'm doing this and I'm going to start doing the pages and I'm just going to, you know, this and then this and I'll just make them all the small size and be the same size as the book. And it's like the process of working big and loose leads to kind of this generating of content that's book ready in a much more natural way.
Hmm.
Sabrina Ward HarrisonYeah, definitely. I, yeah, like I still feel like I'm in the middle phase of the book.
Rose WildsmithYeah. And I feel like Liberate has, you know, liberated me in my artistic life, and in my life in general I suppose as well, in ways that I couldn't have imagined really. But, yeah, And that, yeah, I don't feel, I feel like the book is still like germinating.
Sabrina Ward HarrisonYeah, yeah. Because what's interesting and seems to happen quite often for people is they come in thinking it's going to be about this aspect of their life. And then through the process, like what you're talking about, the uncovering and the uncovering. to then a different sort of heart center that then needs to be explored even further and giving spaciousness for that process, for that curiosity and that like, oh, so it's going to be a little bit more about how I feel, as you so beautifully put, talking about your fitting in the world and not feeling like you fit in or Yeah. You know, being in your uniqueness and thriving in that place. Yes.
Rose WildsmithYeah, exactly.
Sabrina Ward HarrisonMy dad would always say to me, the deeper you go, the more universal you become. So the more we can connect right there to that kind of, that's something we can all resonate with. And that said, those are the deep universal feelings.
Trenton ReynoldsYes. Yep. Rose, are you going to or do you have any compulsion to continue working with fabrics and with crochet? I just had this vision of, was it Betty Sauer that would paint on blankets or things that she had sewn so she could roll them up and send them to galleries? I can't remember anyway um or i'm thinking like rouschenberg painting on the that blanket you know like that contrast of of uh the fabric pattern and the pattern created by just sewing pieces of cloth together next to the the more gestural kind of mark making you get with paint i don't know i think that is a beautiful combination yeah
Rose WildsmithYeah, definitely. Actually, one of the things that made me think it would be great to work on loose canvas was that you could sew into it. And I love the idea of like, building up layers and layers. And so sewing things in. Yeah, I think that's a great idea. And I've also got these ideas of making pigments from things that you find in the local environment. And yeah, I feel like I have my fingers in lots of different pies at the moment. Like I've really got into cyanotype recently. Love it.
Trenton ReynoldsYeah.
Rose WildsmithAnd so I was thinking like, because tulips are a big thing that Amsterdam's famous for. So I was thinking, oh, you could do some amazing cyanotype prints of tulips and yeah, and then like make pigments from things that you foraged for in the local environment. So that's like embedding the local aspect into your paintings. I think there's so many ways this could go. It feels like quite exciting to have kind of landed on this, like this time and space thing. It feels like that could, you know, sustain my creativity for quite a long time.
Trenton ReynoldsRight. There's a product, I don't know if it's around anymore, it was a new company back when I bought some of their stuff, but the product's called IncoDye and it's like cyanotype except for it's a fabric dye. So it's good for textiles for clothing and stuff like that to do basically a cyanotype on fabric and then you've got a photograph or a silhouette or whatever on your clothing or pillow or whatever.
Yes.
Rose WildsmithYeah, I did actually do some like this kind of thing when I was in my textile art phase. And I actually I was doing a course where, you know, we went through lots of different techniques very quickly, a bit like the Art Foundation. I don't know if it's the same in the US, but in the UK, often people before they go and do an art, school degree will do an art foundation for a year and you just you know you do ceramics and you do textiles and painting and drawing and all sorts just to kind of give you an overview of all the different things you could possibly study and this was kind of like a textile arts version of that. And yeah, there's some, I think it's called Solar Fast or something. And it's a similar thing where you can do like cyanotype printing, but they have it in lots of different colors. So it's not just blue. I feel like I'm not very coherent.
Sabrina Ward HarrisonOh, you're very coherent. Yeah, absolutely. But have you been working on this week, Trent? Have you been working on any... How have the pieces been going with the photographs on the wood panels?
Trenton ReynoldsWell, they have taken a little bit of a backseat because the laser came.
Sabrina Ward HarrisonOh.
Trenton ReynoldsLaser cutter.
Sabrina Ward HarrisonYes. My precious.
Trenton ReynoldsYeah, it finally arrived. We ordered it like four months ago, and because of COVID and shipping right now, it's just took forever to get here and so so yeah that's kind of occupied a lot of my attention this past week is just getting that set up and working and it's pretty cool i'll i'll send you some pictures of what i've been what i've been working on i actually had some ideas for you Well, right now it's mostly just like doing tests on, you know, speeds and power settings, you know, but what the goal is, is to get back to using it with my artwork. So cutting through the surface of panels and etching into the, you know, resin paintings. All sorts of stuff. Lasers. I was talking to a friend on the phone last night about it, and it must have been like 30 minutes of me gushing about how much I love lasers. There's such an empowering, wonderful tool. Anyway, when I have more to give visual examples of what I'm talking about, I will. It's kind of hard to explain without actually. seeing it but the first time I saw a laser working I it was just like blew my blew my mind away like he's like there's so much you could do with this thing anyway that's very very abstract but that's what I've been working on
Rose WildsmithYeah, we thought about getting a laser cutter because my husband's really into it. He's a techie, that computer guy. And so we've got a 3D printer at home.
Nice, yeah.
Rose WildsmithAnd I really wanted to get one of these... like die cutting machines where you can like cut stencils really easily. And he was like, Oh, but why wouldn't you just get a laser cutter? And I was like, okay. So we looked into it. And it's like, okay, it's like quite a bit more expensive than getting a die cutting machine. And he was like, Yeah, so what we could do is there are laser cutting services where you know, you send them your file, and they'll send you back whatever it is that you want laser cut. And so I've been trying it out and I've got really into the process of it. So I'll take a photo of something in Amsterdam. Like the Amsterdam houses are quite like the shape of them is quite iconic, I suppose.
Mm-hmm.
Rose WildsmithAnd so I take a photo and then on my iPad, like draw over the shape and then turn that into a file to be laser cut and then like send it off and they send back like this Mylar image foil with it all cut out. Like, it was just kind of cool that you can take a photo and then get it turned into a stencil.
Trenton ReynoldsTotally. Yeah. But I'm also going to, I think your husband and I would get along really well. It sounds like it. But I would also suggest that I've got a Cricut machine, like it's kind of die cutting, you similar and I love that too. So it's, you know, they're different beasts. Okay. Like being able to cut, you know, like vinyl stencils.
Yes.
Trenton ReynoldsAnd you can cut fabrics and stuff like that on the die cutter. It's just, it. That's so cool. I love that too. So. Anyway, all the things, all the toys. - That's called a Cricut machine, I have to ask. - Yeah, Cricut. C-R-I-C-U-T. And it's a lot less expensive than a laser cutter, but they're really capable machines. I love it.
Sabrina Ward HarrisonI saw someone having a 3D figurines of their couple that went on top of their wedding cake that was like totally like them.
Trenton ReynoldsYeah, 3D printing. Is that 3D printed? Yeah.
Rose WildsmithIs that totally different?
Trenton ReynoldsYeah, it's a different machine, but it's…
Rose Wildsmithit's still cool. Yeah, like sort of drawers, but like squirts out, like hot plastic at the same time, but like drawers, like layers, and then like goes up a layer and like, so it sort
Trenton Reynoldsof like builds up. It's like a tiny little glue gun that squirts squirts out plastic in layers. Rose, do you and your husband do any work together? It sounds like you guys made the clothing for your wedding together. Do you guys do any other art projects together?
Rose WildsmithNo, we don't actually at the moment. I've been trying because he's trying to encourage me to make use of the 3D printer. And I think that it could be really cool for artwork. And so actually how this started was I was like, okay, I'll try the 3D printer for like printing out stencils and he was like, yeah, but it's, anyway, we tried it and it just, it didn't work very well. And he was like, "Oh, what you really need for that is a laser cutter." And this is more of a 3D thing. So I think if I wanted to do sculptures or something, it would be brilliant because you could 3D print yourself like a form and then add stuff on. And I think, yeah, maybe that's something in the future.
Trenton Reynolds- Are you familiar with, one thing that I had wanted to try with 3D printer is it can squirt out like a basic line drawing. And because it's a raised plastic ridge, you could put it underneath paper and then rub on top of the paper and get a transfer of that line. Does that make sense? - Ah, that's cool, yeah. So you could do a fairly complex pattern or something or line drawing just with a 3D printed line and then it's called frottage when you rub the crayon or whatever on top of the paper. And you could do that on fabric too. You could do a transfer drawing onto the fabric. Anyway, something. I've been meaning to try.
Rose WildsmithYeah, my problem is that I end up having so many ideas of things I want to try and then trying to focus is the hard thing. Me too.
Trenton ReynoldsYeah.
Sabrina Ward HarrisonWell, thank you so much, Rose, for being on the podcast.
Rose WildsmithThank you guys so much for inviting me. It feels like I've just been chatting to some friends. You are. It's really cool. You are. You are.
Yeah.
Trenton ReynoldsAnd I've really loved hearing your story, Rose, and look forward to seeing your book and look forward to seeing all the projects that you're working on. Everything you've told us about sounds so interesting.
Yeah.
Rose WildsmithYeah, it's cool. It's like realizing that all these... things that make me a bit weird are actually like things that could make me kind of interesting to some people yes absolutely amen to that so where can people find you my website is rosewildsmith.net and i'm on instagram at rose wildsmith and i'm on facebook at rose wildsmith art i think and um twitter as well at rose wildsmith perfect
Sabrina Ward HarrisonWell, thank you so much. And thank you, Trent, for making it happen today.
Trenton ReynoldsAbsolutely. My pleasure.
Sabrina Ward HarrisonThanks for listening. If you like this podcast, please consider showing your support. You can become a subscribing patron at patreon.com forward slash room. In the meantime, you can follow us on Instagram at Sabrina Ward Harrison and at Trent Reynolds Art.
Trenton ReynoldsAnd 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. 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 in any phone or computer internet browser.