1 00:00:11,550 --> 00:00:13,593 - Good afternoon, everyone. 2 00:00:15,120 --> 00:00:16,370 I am Sarah Schultz, 3 00:00:16,370 --> 00:00:19,400 the Executive Director of the American Craft Council. 4 00:00:19,400 --> 00:00:22,590 And I am happy to see you all 5 00:00:22,590 --> 00:00:26,530 or welcome you all to our first American Craft Forum 6 00:00:26,530 --> 00:00:29,360 in association with our newly redesigned 7 00:00:29,360 --> 00:00:33,230 and relaunched American Craft Magazine. 8 00:00:33,230 --> 00:00:34,950 I'm speaking to you today 9 00:00:34,950 --> 00:00:37,510 from the offices of the American Craft Council 10 00:00:37,510 --> 00:00:39,990 which are located in the traditional ancestral 11 00:00:39,990 --> 00:00:44,140 and contemporary lands of the Dakota and Ojibwe people. 12 00:00:44,140 --> 00:00:47,970 This place carries a complicated and layered history 13 00:00:47,970 --> 00:00:49,695 in the thousands of years the Dakota people 14 00:00:49,695 --> 00:00:53,110 have been in relationship and kinship with the land here 15 00:00:53,110 --> 00:00:55,440 and in the several hundred years 16 00:00:55,440 --> 00:00:58,130 since European settlers colonized the land 17 00:00:58,130 --> 00:01:01,410 that the State of Minnesota now occupies. 18 00:01:01,410 --> 00:01:04,450 The United States land seizure was a project of destruction 19 00:01:04,450 --> 00:01:08,100 that denied the Dakota free and unhindered access 20 00:01:08,100 --> 00:01:10,300 to the land that fundamentally shapes 21 00:01:10,300 --> 00:01:12,560 their identity and lives. 22 00:01:12,560 --> 00:01:15,090 We pay tribute to the Dakota and Ojibwe 23 00:01:15,090 --> 00:01:17,300 and invite you all to consider the land 24 00:01:17,300 --> 00:01:20,720 on which you live and the confluence of legacies 25 00:01:20,720 --> 00:01:22,760 that bring you to stand where you are 26 00:01:22,760 --> 00:01:24,900 particularly through critical reflection 27 00:01:24,900 --> 00:01:27,563 and conversation with your own community. 28 00:01:28,520 --> 00:01:31,350 Fostering conversation in the community is at the heart 29 00:01:31,350 --> 00:01:34,950 of ACC's mission and American Craft serves as one 30 00:01:34,950 --> 00:01:38,620 of the most vital contributions in service to this mission 31 00:01:38,620 --> 00:01:43,240 and hopefully to the field of craft and American culture. 32 00:01:43,240 --> 00:01:46,150 Culture is not static and neither are magazines, 33 00:01:46,150 --> 00:01:48,930 and while the work of re-imagining American craft both 34 00:01:48,930 --> 00:01:51,360 is print and digital imprint this year, 35 00:01:51,360 --> 00:01:53,210 began prior to COVID. 36 00:01:53,210 --> 00:01:56,880 The deep challenges upheavals and loss as we've experienced 37 00:01:56,880 --> 00:01:59,250 over the last year have influenced 38 00:01:59,250 --> 00:02:01,710 the tenor of the new magazine. 39 00:02:01,710 --> 00:02:03,650 Over the course of its 80 year history, 40 00:02:03,650 --> 00:02:05,880 American Craft has been at its best 41 00:02:05,880 --> 00:02:07,690 when rooted in the present moment, 42 00:02:07,690 --> 00:02:10,510 shining a light on the diversity and the resilience, 43 00:02:10,510 --> 00:02:14,660 the beauty and impact of American Craft and its makers. 44 00:02:14,660 --> 00:02:17,910 And so this year American Craft is refocusing 45 00:02:17,910 --> 00:02:19,930 on the ways the craft is guiding us 46 00:02:19,930 --> 00:02:22,130 through this extraordinary time, 47 00:02:22,130 --> 00:02:24,170 through the themes of nourish, 48 00:02:24,170 --> 00:02:27,730 flourish, kinship, and wonder. 49 00:02:27,730 --> 00:02:30,130 And with this inaugural issue of nourish 50 00:02:30,130 --> 00:02:32,740 we are looking to the question of care. 51 00:02:32,740 --> 00:02:35,670 But before I get to the heart of that topic, 52 00:02:35,670 --> 00:02:39,300 I wanna thank the team at American Craft magazine 53 00:02:39,300 --> 00:02:42,340 at the American Craft Council for all of their hard work, 54 00:02:42,340 --> 00:02:44,600 both on the relaunching of the magazine, 55 00:02:44,600 --> 00:02:48,550 Karen Olson, Roseanne Pereira, Rachel Mesrech 56 00:02:48,550 --> 00:02:52,140 and all the full team that was able to really produce 57 00:02:52,140 --> 00:02:55,160 a new magazine over the last months. 58 00:02:55,160 --> 00:02:58,310 And I'd also like to thank the Minnesota State Arts Board 59 00:02:58,310 --> 00:03:01,750 for their support culture in Minnesota and of the council, 60 00:03:01,750 --> 00:03:03,603 and making this program possible. 61 00:03:04,940 --> 00:03:08,810 As a technical reminder, please make sure your camera is off 62 00:03:08,810 --> 00:03:11,400 and your audio is muted for the conversation. 63 00:03:11,400 --> 00:03:13,460 But we encourage you to participate in the talk 64 00:03:13,460 --> 00:03:15,560 via the chat feature, which I'm sure 65 00:03:15,560 --> 00:03:18,040 all of you know quite well by now 66 00:03:18,040 --> 00:03:20,960 and drop any comments or questions there. 67 00:03:20,960 --> 00:03:23,300 During the Q and A portion of the event, 68 00:03:23,300 --> 00:03:26,660 we'll address as many of these questions as we possibly can 69 00:03:26,660 --> 00:03:28,570 and we'll be keeping the chat 70 00:03:28,570 --> 00:03:32,120 so that we can follow up post conversation. 71 00:03:32,120 --> 00:03:34,220 This program is being recorded 72 00:03:34,220 --> 00:03:36,433 and will be available for future viewing. 73 00:03:37,740 --> 00:03:40,860 So these last few months have marked one year 74 00:03:40,860 --> 00:03:44,000 of living under the shadow of a global pandemic 75 00:03:44,000 --> 00:03:47,410 that has caused all of us to know loss. 76 00:03:47,410 --> 00:03:50,020 We are also living under the ongoing shadow 77 00:03:50,020 --> 00:03:55,020 of acts of murderous violence, hate, crime, bias, disregard 78 00:03:56,320 --> 00:03:59,660 and here right now, in these weeks in Minneapolis 79 00:03:59,660 --> 00:04:01,840 the revisitation of the trauma 80 00:04:01,840 --> 00:04:04,370 with the trial of Derek Shovan for the murder 81 00:04:04,370 --> 00:04:07,290 and manslaughter of George Floyd. 82 00:04:07,290 --> 00:04:10,200 Our anger, our outrage, our fear, our exhaustion, 83 00:04:10,200 --> 00:04:12,400 and our losses are real. 84 00:04:12,400 --> 00:04:14,060 And the difficulties we have all grappled 85 00:04:14,060 --> 00:04:16,340 with this year have amplified fissures 86 00:04:16,340 --> 00:04:19,490 in our societies concepts of care. 87 00:04:19,490 --> 00:04:22,660 But we also know that as we are 88 00:04:22,660 --> 00:04:25,920 that we are creative communities and individuals 89 00:04:25,920 --> 00:04:30,920 and as such we know and live that there are other ways to be 90 00:04:31,010 --> 00:04:34,610 other ways to build and other ways to practice 91 00:04:34,610 --> 00:04:39,590 that move us from this crisis of care to a culture of care. 92 00:04:39,590 --> 00:04:41,800 Craft, we know makes care tangible 93 00:04:41,800 --> 00:04:44,340 through our physical relationship to materials, 94 00:04:44,340 --> 00:04:47,040 through the movements and gestures of making. 95 00:04:47,040 --> 00:04:50,500 Craft also requires that we are attentive 96 00:04:50,500 --> 00:04:53,830 and we are present and thus like care 97 00:04:53,830 --> 00:04:57,920 connects us to ourselves, the land, our shared humanity, 98 00:04:57,920 --> 00:05:02,410 and situates us to move towards the change we need. 99 00:05:02,410 --> 00:05:05,480 We have an incredible group of conversance today 100 00:05:05,480 --> 00:05:06,930 and I first would like to begin 101 00:05:06,930 --> 00:05:09,940 by introducing our moderator, Beth McLaughlin. 102 00:05:09,940 --> 00:05:12,410 Beth is the Artistic Director and Chief Curator 103 00:05:12,410 --> 00:05:15,860 at the Fuller Craft Museum in Brockton, Massachusetts, 104 00:05:15,860 --> 00:05:20,860 and also the recipient of ACC 2020 Award of Distinction. 105 00:05:20,920 --> 00:05:23,740 She has a very impressive resume 106 00:05:23,740 --> 00:05:25,613 that I will not read off to you, 107 00:05:27,800 --> 00:05:29,830 I will introduce her just by saying, 108 00:05:29,830 --> 00:05:33,220 I know Beth and I know how passionate she is 109 00:05:33,220 --> 00:05:36,000 about expanding the awareness of the craft field, 110 00:05:36,000 --> 00:05:38,940 promoting makers, and really truly committed 111 00:05:38,940 --> 00:05:42,340 to the transformative power of hand objects. 112 00:05:42,340 --> 00:05:43,800 So without further ado, 113 00:05:43,800 --> 00:05:46,733 I turn the program over to Beth McLaughlin, thank you. 114 00:05:48,520 --> 00:05:50,460 - Thank you so much, Sarah. 115 00:05:50,460 --> 00:05:52,410 Can everybody hear me okay? 116 00:05:52,410 --> 00:05:53,533 Yes, I hope. 117 00:05:54,800 --> 00:05:56,960 Thank you, Sarah, for that warm introduction 118 00:05:56,960 --> 00:06:00,180 and a big thanks to the American Craft Council 119 00:06:00,180 --> 00:06:03,820 for asking me to be part of this important conversation. 120 00:06:03,820 --> 00:06:05,520 I'd like to extend a warm welcome 121 00:06:05,520 --> 00:06:07,240 to everyone here in the room. 122 00:06:07,240 --> 00:06:09,190 I am honored to be here with you all 123 00:06:09,190 --> 00:06:12,490 as we discuss how craft can be a pathway 124 00:06:12,490 --> 00:06:15,960 towards better care for ourselves, for others, 125 00:06:15,960 --> 00:06:18,073 and of course, for the world around us. 126 00:06:19,300 --> 00:06:20,630 The role of craft objects 127 00:06:20,630 --> 00:06:23,240 and providing comfort and care is nothing new. 128 00:06:23,240 --> 00:06:26,580 And we know this from the quilts on our beds, 129 00:06:26,580 --> 00:06:29,590 to the handmade mugs that hold our morning coffee, 130 00:06:29,590 --> 00:06:31,710 to the chairs that support our bodies 131 00:06:31,710 --> 00:06:34,303 even as we are here on this program today. 132 00:06:35,170 --> 00:06:38,620 But in these times it is worth taking a fresh look 133 00:06:38,620 --> 00:06:41,630 at how craft and craft practices can offer 134 00:06:41,630 --> 00:06:43,660 new methods of care. 135 00:06:43,660 --> 00:06:46,660 And I think it's particularly critical in these times 136 00:06:46,660 --> 00:06:49,170 as we emerged from the darkest days 137 00:06:49,170 --> 00:06:51,350 of the pandemic and begin to attend 138 00:06:51,350 --> 00:06:53,963 to our trauma from the past year. 139 00:06:55,030 --> 00:06:57,840 As Sarah mentioned, we've all suffered losses 140 00:06:57,840 --> 00:06:59,720 due to COVID-19. 141 00:06:59,720 --> 00:07:04,060 We've experienced destabilizing civil unrest 142 00:07:04,060 --> 00:07:06,910 and we continue to witness repeated brutal acts 143 00:07:06,910 --> 00:07:09,440 of violence against people of color. 144 00:07:09,440 --> 00:07:11,550 So I'm sure we can all agree 145 00:07:11,550 --> 00:07:15,290 that care and healing is needed now more than ever before. 146 00:07:15,290 --> 00:07:17,973 And so this conversation is an important one. 147 00:07:18,940 --> 00:07:21,210 I'm honored to be here with two artists 148 00:07:21,210 --> 00:07:23,580 that center care in their practices, 149 00:07:23,580 --> 00:07:25,573 Indira Allegra and Shanai Matteson. 150 00:07:26,480 --> 00:07:29,700 We'll be hearing from each artist about their work today, 151 00:07:29,700 --> 00:07:31,860 and then we'll move into a larger discussion 152 00:07:31,860 --> 00:07:34,350 about how craft can serve 153 00:07:34,350 --> 00:07:37,323 as the foundation for an emergent culture of care. 154 00:07:38,640 --> 00:07:40,420 Please put any questions in the Q and A 155 00:07:40,420 --> 00:07:44,370 and we'll be sure to attend to those later in the program. 156 00:07:44,370 --> 00:07:48,860 And first I would like to call Indira Allegra 157 00:07:48,860 --> 00:07:51,030 up to the virtual podium. 158 00:07:51,030 --> 00:07:54,300 Indira Allegra explores memorial as a genre 159 00:07:54,300 --> 00:07:57,220 and vital part of the human experience. 160 00:07:57,220 --> 00:07:59,810 Deeply informed by the ritual, relational 161 00:07:59,810 --> 00:08:02,320 and performative aspects of weaving, 162 00:08:02,320 --> 00:08:05,350 Allegra explores the repetitive crossing of forces 163 00:08:05,350 --> 00:08:10,350 held under tension, be they material, social or emotional. 164 00:08:10,700 --> 00:08:12,880 A leader in the performative craft movement, 165 00:08:12,880 --> 00:08:17,150 Allegra was winner of the 2019-2020 Burke Prize. 166 00:08:17,150 --> 00:08:22,150 They are a YBCA 100 honoree, Fleishhacker Eureka Fellowship, 167 00:08:22,330 --> 00:08:24,130 Lucas Artists Fellow, 168 00:08:24,130 --> 00:08:27,660 and part of ARTFORUM International's "Best of 2020." 169 00:08:27,660 --> 00:08:30,720 It is such a joy and a pleasure to be in conversation 170 00:08:30,720 --> 00:08:33,663 with you here today and welcome to the program. 171 00:08:35,060 --> 00:08:38,450 - Hi everyone, good morning, good afternoon, good evening, 172 00:08:38,450 --> 00:08:39,793 wherever you are. 173 00:08:40,890 --> 00:08:43,810 My name is Indira Allegra, I use they, them pronouns 174 00:08:43,810 --> 00:08:47,150 and I am calling in from unceded 175 00:08:47,150 --> 00:08:48,913 Chachinia Algonquin territory, 176 00:08:50,150 --> 00:08:51,850 also known as Oakland, California. 177 00:08:54,640 --> 00:08:57,350 All right, so I was asked just to give a brief introduction 178 00:08:57,350 --> 00:09:02,253 to my work for those of you who may be new. 179 00:09:03,460 --> 00:09:05,430 Memorial is really important to me. 180 00:09:05,430 --> 00:09:10,430 So the way in which I think about the use of weaving 181 00:09:15,090 --> 00:09:17,540 is a way to kind of work with tension 182 00:09:17,540 --> 00:09:19,340 which exists in a world off the loom. 183 00:09:19,340 --> 00:09:23,090 So I think about tension both in a material sense 184 00:09:23,090 --> 00:09:25,980 I think about tension in an emotional sense, 185 00:09:25,980 --> 00:09:29,950 a political sense and in historical sense. 186 00:09:29,950 --> 00:09:33,990 And so what does it mean for me as a weaver to be able to 187 00:09:33,990 --> 00:09:37,430 work with interlocking tensions out in the world? 188 00:09:37,430 --> 00:09:39,270 This particular piece that you see here 189 00:09:39,270 --> 00:09:40,550 is called a Mortal Word. 190 00:09:40,550 --> 00:09:45,550 And that's a Jakarta woven book cloth, with 18 karat gold 191 00:09:47,460 --> 00:09:52,460 and inside of the book box are cards of 192 00:09:54,550 --> 00:09:58,310 which are printed onto organza of 52 folks 193 00:10:00,650 --> 00:10:03,620 who lost their lives as a result of 194 00:10:05,300 --> 00:10:07,750 work that they were doing politically, 195 00:10:07,750 --> 00:10:10,220 acts of self-determination. 196 00:10:10,220 --> 00:10:13,150 So that could include folks like Annie 197 00:10:16,688 --> 00:10:19,910 who wanted a divorce during the Salem Witch Trials 198 00:10:19,910 --> 00:10:21,710 and was actually burned at the stake 199 00:10:23,460 --> 00:10:24,993 for wanting that for herself. 200 00:10:26,450 --> 00:10:29,740 Folks like Mahatma Gandhi, 201 00:10:29,740 --> 00:10:34,090 folks like Martin Luther King, so on and so forth. 202 00:10:34,090 --> 00:10:35,640 If you could advance the slide. 203 00:10:40,330 --> 00:10:43,220 So from each of their last words, 204 00:10:43,220 --> 00:10:48,220 and I spent about three months researching their last words 205 00:10:48,260 --> 00:10:53,260 I created a new text from that, another poem. 206 00:10:55,630 --> 00:10:57,590 Thank you, so this particular... 207 00:10:57,590 --> 00:11:02,100 Oh, here we go (laughs), thank you. 208 00:11:02,100 --> 00:11:04,800 So this work here is 209 00:11:06,970 --> 00:11:09,360 installed in the Bill's College Art Museum 210 00:11:09,360 --> 00:11:10,783 here in Oakland, California. 211 00:11:13,260 --> 00:11:16,860 Yes, and actually if we could go back to the... 212 00:11:21,630 --> 00:11:23,250 - [Jason] Indira if you give me just a moment 213 00:11:23,250 --> 00:11:25,067 I'm going to set it to not auto advance. 214 00:11:25,067 --> 00:11:26,657 - Oh, okay, thank you. 215 00:11:31,110 --> 00:11:33,410 I'm a fast talker, but not that fast (laughs). 216 00:11:36,410 --> 00:11:39,050 Awesome, so this is Open Casket Nine. 217 00:11:39,050 --> 00:11:41,410 And what you see on the floor here 218 00:11:42,280 --> 00:11:47,280 is over 2000 pounds of hand shoveled granite, 219 00:11:48,850 --> 00:11:52,680 marble, dolomite, and concrete. 220 00:11:52,680 --> 00:11:55,160 And embedded in this ring is a 221 00:11:55,160 --> 00:11:57,650 three channel sound installation 222 00:11:57,650 --> 00:12:01,063 of families who have lost loved ones to police violence. 223 00:12:03,080 --> 00:12:03,913 Thank you. 224 00:12:05,520 --> 00:12:09,000 In the upper third of the room what you see is a 225 00:12:09,000 --> 00:12:11,680 representation of a weaver's drawdown. 226 00:12:11,680 --> 00:12:14,710 So for the uninitiated, a drawdown is a way in which 227 00:12:14,710 --> 00:12:17,870 weavers map out the structure of cloth 228 00:12:17,870 --> 00:12:20,680 to see which threads are on top, 229 00:12:20,680 --> 00:12:23,450 or which threads are hidden and to get a sense of 230 00:12:23,450 --> 00:12:26,373 the density and the pattern and the texture of the cloth. 231 00:12:27,850 --> 00:12:31,980 And so what I've done with that grid making practice 232 00:12:31,980 --> 00:12:36,490 is to actually use video instead. 233 00:12:36,490 --> 00:12:40,740 And so in the video are families who have loved loss ones 234 00:12:40,740 --> 00:12:45,740 to police violence, and you hear their interviews interwoven 235 00:12:46,180 --> 00:12:49,293 into the three channel sound installation below. 236 00:12:51,504 --> 00:12:53,054 If you could advance the slide. 237 00:12:54,410 --> 00:12:57,750 Thank you, so here's a detail of the video 238 00:12:57,750 --> 00:13:02,550 and this is all sourced from the internet. 239 00:13:02,550 --> 00:13:05,853 So just I'm an avid news watcher. 240 00:13:07,402 --> 00:13:10,810 And in many times, or many of these cases, 241 00:13:10,810 --> 00:13:13,620 camera crews have arrived sometimes 242 00:13:16,508 --> 00:13:20,380 an hour or so after the murder has taken place. 243 00:13:23,460 --> 00:13:27,380 So it's a practice of being able to 244 00:13:30,220 --> 00:13:35,220 stay with grief as it is being expressed 245 00:13:35,930 --> 00:13:40,930 and to create memorials which more closely mirror 246 00:13:41,030 --> 00:13:44,590 the nature I feel, of a grieving process, 247 00:13:44,590 --> 00:13:45,773 which is non-linear. 248 00:13:48,370 --> 00:13:50,320 If you could advance in the next slide. 249 00:13:53,530 --> 00:13:55,560 This is documenting disabilities. 250 00:13:55,560 --> 00:13:57,410 So another way in which I think about 251 00:13:58,840 --> 00:14:03,350 using the act of weaving, and I do think of weaving 252 00:14:03,350 --> 00:14:05,860 as being primarily performative 253 00:14:05,860 --> 00:14:09,800 if it wasn't for the durational performance of the weaver 254 00:14:09,800 --> 00:14:10,920 sitting at the loom 255 00:14:13,410 --> 00:14:15,290 and working with tools and materials 256 00:14:15,290 --> 00:14:18,033 that the actual cloth would not exist. 257 00:14:19,610 --> 00:14:21,860 So the performances or the cloth is born 258 00:14:21,860 --> 00:14:24,010 out of the performance of the weaver. 259 00:14:24,010 --> 00:14:25,960 And I was really interested in 260 00:14:25,960 --> 00:14:29,830 how I could create my own texts 261 00:14:29,830 --> 00:14:33,190 or embed my own kind of language into 262 00:14:33,190 --> 00:14:37,770 a cloth through the act of raising and lowering 263 00:14:37,770 --> 00:14:39,610 threads while speaking. 264 00:14:39,610 --> 00:14:43,430 And so this is still from an eight hour performance 265 00:14:43,430 --> 00:14:45,463 which I did on my bed. 266 00:14:46,520 --> 00:14:47,353 Next slide. 267 00:14:50,150 --> 00:14:52,910 This is from the body warp series 268 00:14:53,900 --> 00:14:56,410 specifically the casting series. 269 00:14:56,410 --> 00:15:01,410 And in body warp I think about myself as a thread. 270 00:15:03,030 --> 00:15:06,780 So one of the desires which came out of the practice 271 00:15:06,780 --> 00:15:11,460 of weaving for me was a sense to feel 272 00:15:11,460 --> 00:15:16,460 the kind of support that my warp, 273 00:15:18,510 --> 00:15:21,007 when stretched across Ojibwe. 274 00:15:23,042 --> 00:15:27,670 And I'm sure many of you in the audience know 275 00:15:27,670 --> 00:15:31,450 there's so much touch which happens with our threads, 276 00:15:31,450 --> 00:15:32,543 you know threads are, 277 00:15:34,340 --> 00:15:36,450 they're double strand twisted to begin with 278 00:15:36,450 --> 00:15:39,550 and then they're dyed, and they're dried 279 00:15:39,550 --> 00:15:41,980 and they're stretched in there. 280 00:15:41,980 --> 00:15:45,240 There's all of this care 281 00:15:45,240 --> 00:15:46,690 which is happening for this material. 282 00:15:46,690 --> 00:15:48,180 And I want it to be able to 283 00:15:49,705 --> 00:15:51,090 to experience the loom 284 00:15:52,230 --> 00:15:56,017 supporting the weight and tension of me, 285 00:15:56,017 --> 00:15:59,510 the attention within my body and not just 286 00:15:59,510 --> 00:16:02,310 the weight of my expectations for whatever cloth 287 00:16:02,310 --> 00:16:03,800 I might create. 288 00:16:03,800 --> 00:16:05,823 So in this particular series, 289 00:16:06,973 --> 00:16:08,710 I'm actually working with 290 00:16:10,620 --> 00:16:14,010 the tension of a history, which exists at this site 291 00:16:14,010 --> 00:16:16,410 which was a suicide, which occurred at the site. 292 00:16:17,950 --> 00:16:22,166 A suicide of a woman by the name of Pamela Drassi. 293 00:16:22,166 --> 00:16:27,166 And rather than move away 294 00:16:30,340 --> 00:16:35,063 from that feeling of discontent or haunting, 295 00:16:36,900 --> 00:16:40,190 the question for me became how can my body 296 00:16:40,190 --> 00:16:42,870 as a thread and how can these looms as bodies 297 00:16:42,870 --> 00:16:44,730 which are built to hold tension 298 00:16:44,730 --> 00:16:49,280 actually work on 299 00:16:50,440 --> 00:16:51,443 this narrative tension, 300 00:16:51,443 --> 00:16:53,680 this historical tension in this space. 301 00:16:53,680 --> 00:16:57,390 And so the body warp casting performance comes out of that. 302 00:16:57,390 --> 00:16:58,940 If you could advance the slide. 303 00:17:09,320 --> 00:17:12,300 - This is the bodywork double call series when I'm working 304 00:17:12,300 --> 00:17:17,300 with a fabric, aerialist capable knee Calmac. 305 00:17:20,622 --> 00:17:24,150 And I was really interested in their relationship to cloth 306 00:17:24,150 --> 00:17:26,080 and cloth making as an aerialist 307 00:17:26,080 --> 00:17:28,940 and preferred time I trained circus as well 308 00:17:28,940 --> 00:17:31,600 just to kind of get an understanding of 309 00:17:32,880 --> 00:17:36,290 what it would mean to interest the full weight 310 00:17:36,290 --> 00:17:40,203 of my body to cloth and what I could learn from that. 311 00:17:41,060 --> 00:17:42,860 And so in the double cloth series 312 00:17:43,980 --> 00:17:46,640 you see us using our bodies as thread 313 00:17:47,840 --> 00:17:51,390 through these little pieces and sculptures. 314 00:17:51,390 --> 00:17:52,513 And the next slide. 315 00:17:57,540 --> 00:18:02,540 And this is a woven account wherein I take newspaper 316 00:18:05,540 --> 00:18:10,220 stories of hate crimes against LGBTQ 317 00:18:10,220 --> 00:18:12,230 and two-spirit people here in the Bay area. 318 00:18:12,230 --> 00:18:16,480 And I weave them into a shroud that I then take to 319 00:18:16,480 --> 00:18:18,110 or took to the different places 320 00:18:18,110 --> 00:18:20,310 which are detailed in the newspaper articles 321 00:18:21,450 --> 00:18:24,673 and did a public performance around this. 322 00:18:26,570 --> 00:18:27,403 Next slide. 323 00:18:31,510 --> 00:18:33,760 This is a surrogate mother to myself 324 00:18:35,390 --> 00:18:37,490 also done for Pamela Drassi. 325 00:18:37,490 --> 00:18:42,250 And what you see here are two Redwood logs 326 00:18:42,250 --> 00:18:46,830 and 600 feet of cotton lead line rope 327 00:18:50,458 --> 00:18:52,300 which she use to work with horses. 328 00:18:52,300 --> 00:18:56,240 And so Pamela was someone who had a deep relationship 329 00:18:56,240 --> 00:18:58,050 with horses during her life. 330 00:18:58,050 --> 00:19:02,120 And so in learning a bit more about her life 331 00:19:02,120 --> 00:19:04,600 it was important to me to use materials 332 00:19:04,600 --> 00:19:09,170 which she had handled with care while she was alive. 333 00:19:09,170 --> 00:19:12,850 And so this was up from the winter solstice of 2017 334 00:19:12,850 --> 00:19:14,723 through the winter solstice of 2018. 335 00:19:14,723 --> 00:19:19,000 This is a temporary installation, a memorial for her. 336 00:19:19,000 --> 00:19:19,833 Next slide. 337 00:19:23,170 --> 00:19:25,193 And there we go, thank you so much. 338 00:19:36,430 --> 00:19:40,360 - Well, thank you so much, Indira, fascinating as always. 339 00:19:40,360 --> 00:19:45,240 And you know, as you discuss here 340 00:19:45,240 --> 00:19:48,703 a lot of your practice is centered on the grieving process 341 00:19:48,703 --> 00:19:50,820 and the importance of memorials. 342 00:19:50,820 --> 00:19:54,030 And I'd love to hear just a little bit more from you about 343 00:19:54,910 --> 00:19:58,010 the criticality of material in that process 344 00:19:58,010 --> 00:20:01,070 and the importance of material and helping us move 345 00:20:01,070 --> 00:20:03,693 through loss and find a way forward. 346 00:20:06,640 --> 00:20:09,560 - First, I wanna say that I think that when we care 347 00:20:09,560 --> 00:20:14,107 for our losses, we're actually more available to life 348 00:20:16,180 --> 00:20:18,920 and everything that life can offer us. 349 00:20:18,920 --> 00:20:23,470 So I think on the surface, you know 350 00:20:23,470 --> 00:20:24,675 it might be easy to be like, 351 00:20:24,675 --> 00:20:27,313 oh, a Memorial, that's a sad show. 352 00:20:28,177 --> 00:20:32,890 But actually I think it's a really vital practice 353 00:20:33,780 --> 00:20:36,750 for us to be able to... 354 00:20:38,250 --> 00:20:40,870 We care for our losses, we reduce the amount of suffering 355 00:20:40,870 --> 00:20:42,740 which exists in our lives. 356 00:20:42,740 --> 00:20:44,653 And if we include ourselves in the big story it means 357 00:20:44,653 --> 00:20:46,840 that we're actually reducing the amount of suffering 358 00:20:46,840 --> 00:20:48,743 which exists in the world overall. 359 00:20:49,600 --> 00:20:53,620 And I think I feel most nourished by people who 360 00:20:53,620 --> 00:20:56,600 have cared for the losses in their lives, right? 361 00:20:56,600 --> 00:21:01,600 So, you know, when acts of violence occur 362 00:21:07,657 --> 00:21:10,107 you know, and I, myself am a hate crime survivor. 363 00:21:11,320 --> 00:21:14,703 One of the things that occurs to me is, 364 00:21:15,840 --> 00:21:18,253 one of many things that occurs to me is, 365 00:21:19,180 --> 00:21:21,733 what loss was not cared for in this person's life. 366 00:21:22,760 --> 00:21:26,630 - Wow, wow, that's a really powerful way to look at it. 367 00:21:26,630 --> 00:21:29,170 And I would imagine that it's critical for you 368 00:21:29,170 --> 00:21:32,000 in order to move through your trauma 369 00:21:32,000 --> 00:21:33,870 to have that perspective. 370 00:21:33,870 --> 00:21:35,030 - Absolutely. 371 00:21:35,030 --> 00:21:35,863 - Yeah. 372 00:21:35,863 --> 00:21:38,830 - You know, 'cause I think that a lot of this 373 00:21:40,730 --> 00:21:44,480 aggression is learned, you know. 374 00:21:47,990 --> 00:21:52,990 So when deciding to make a memorial of any kind 375 00:21:54,400 --> 00:21:59,400 I think for me, I have to think about 376 00:21:59,450 --> 00:22:02,943 who I'm trying to honor. 377 00:22:04,950 --> 00:22:06,780 If that's worked for me to do as an artist, 378 00:22:06,780 --> 00:22:09,520 or maybe that's work for another artist to do, 379 00:22:09,520 --> 00:22:12,120 I don't assume that I'm the artist for all projects. 380 00:22:14,690 --> 00:22:19,690 And, you know, say for the surrogate mother to myself, 381 00:22:20,400 --> 00:22:24,870 I'm using Redwood and cotton lead line rope 382 00:22:24,870 --> 00:22:26,740 because that matter to Pamela 383 00:22:28,980 --> 00:22:31,040 not because I thought 384 00:22:32,600 --> 00:22:33,990 one way or another about it, 385 00:22:33,990 --> 00:22:37,083 or I just thought it would be an interesting combination. 386 00:22:38,140 --> 00:22:42,230 - Yeah, you know I think by de-centering yourself also 387 00:22:42,230 --> 00:22:47,230 in that process, it's a very generous way to practice. 388 00:22:47,670 --> 00:22:50,220 And I think that's really beautiful, 389 00:22:50,220 --> 00:22:51,713 compassionate way, yeah. 390 00:22:53,180 --> 00:22:57,420 And I remember from the letter from Penelope 391 00:22:57,420 --> 00:23:00,400 that you wrote for the American Craft magazine 392 00:23:00,400 --> 00:23:04,030 you had some beautiful words about the importance of grief. 393 00:23:04,030 --> 00:23:06,580 And I'm wondering if you could just maybe find 394 00:23:06,580 --> 00:23:08,440 a small portion of that article 395 00:23:08,440 --> 00:23:12,530 and just read it for us because I will not do it justice. 396 00:23:12,530 --> 00:23:14,722 So I would love for you to read for us. 397 00:23:14,722 --> 00:23:16,805 (laughs) 398 00:23:16,805 --> 00:23:19,470 - Let me whether I can find it. 399 00:23:19,470 --> 00:23:23,080 So I'll read the... 400 00:23:24,870 --> 00:23:27,740 I'll start at a page top of 65. 401 00:23:27,740 --> 00:23:31,210 I cared for my morning self by turning to thread 402 00:23:31,210 --> 00:23:32,860 to mark the passage of time 403 00:23:32,860 --> 00:23:35,023 and my feeling of suspension within it. 404 00:23:36,020 --> 00:23:39,100 I needed the gentle, his so weft being pulled 405 00:23:39,100 --> 00:23:42,300 from the shroud, that flossing of the warp 406 00:23:42,300 --> 00:23:45,860 was a way for me to weep, plump quietly at night 407 00:23:45,860 --> 00:23:48,200 while I waited for the part of myself 408 00:23:48,200 --> 00:23:52,373 I call a DCS to return back to the home of my body. 409 00:23:53,870 --> 00:23:56,180 The performance of weaving and unraveling 410 00:23:56,180 --> 00:23:59,540 was the memorial I needed not to shroud. 411 00:23:59,540 --> 00:24:03,020 I needed to show people I was unraveling inside. 412 00:24:03,020 --> 00:24:06,353 And this honesty was the most nourishing thing. 413 00:24:08,260 --> 00:24:10,600 I believe we can use materials to perform 414 00:24:10,600 --> 00:24:12,970 the memorials we need, which come out 415 00:24:12,970 --> 00:24:15,943 of our body's own unique relationship to grieve. 416 00:24:17,460 --> 00:24:20,350 The era of solely relying on larger than life 417 00:24:20,350 --> 00:24:22,790 physical memorials and public squares 418 00:24:22,790 --> 00:24:26,550 to represent a universal experience of grief, 419 00:24:26,550 --> 00:24:27,603 that's winning. 420 00:24:29,140 --> 00:24:31,610 Each of us needs to take responsibility 421 00:24:31,610 --> 00:24:34,050 for making our own memorial specific 422 00:24:34,050 --> 00:24:36,663 to our own experiences of loss. 423 00:24:37,700 --> 00:24:41,100 Those of us who have skills as makers are especially 424 00:24:41,100 --> 00:24:43,753 gifted to meet the moment. 425 00:24:44,840 --> 00:24:47,490 We can craft new mythologies 426 00:24:47,490 --> 00:24:49,360 for the world we want to live in. 427 00:24:49,360 --> 00:24:52,230 And the understanding that loss will always be a normal part 428 00:24:52,230 --> 00:24:53,633 of lived experience. 429 00:24:54,700 --> 00:24:58,290 We can use the qualities of courage and patients 430 00:24:58,290 --> 00:25:01,060 which are cultivated through our art practices 431 00:25:01,060 --> 00:25:04,350 to take an honest assessment of the historical materials 432 00:25:04,350 --> 00:25:07,690 we have been offered soaked as they are with complexity 433 00:25:07,690 --> 00:25:10,770 and learn how to transform them into something that 434 00:25:10,770 --> 00:25:14,450 if nothing else adds meaning to our lives. 435 00:25:14,450 --> 00:25:16,120 And I believe a life of meaning 436 00:25:16,120 --> 00:25:18,913 may be the most nourishing thing of all. 437 00:25:20,830 --> 00:25:23,360 - Beautiful, thank you so much for reading that. 438 00:25:23,360 --> 00:25:27,800 It's really just very moving and meaningful, thank you. 439 00:25:27,800 --> 00:25:32,670 And we'll dive more into that later on in the program today. 440 00:25:32,670 --> 00:25:35,220 Right now I would like to welcome 441 00:25:35,220 --> 00:25:38,650 and introduce Shanai Matteson. 442 00:25:38,650 --> 00:25:41,230 Our next featured artists here today. 443 00:25:41,230 --> 00:25:45,420 Shanai is an artist, writer, environmental activists 444 00:25:45,420 --> 00:25:48,190 and cultural community organizer. 445 00:25:48,190 --> 00:25:51,050 Through slow and immersion arts activism, 446 00:25:51,050 --> 00:25:53,100 Shanai tries to create a more caring 447 00:25:53,100 --> 00:25:56,350 and reciprocal culture, shifting narratives, 448 00:25:56,350 --> 00:25:58,630 challenging hierarchical power structures 449 00:25:58,630 --> 00:26:00,590 and helping her community reimagine 450 00:26:00,590 --> 00:26:03,760 and transform the systems these shape. 451 00:26:03,760 --> 00:26:07,300 She is one of the co-founders of Water Bar & Public Studio 452 00:26:07,300 --> 00:26:10,940 and her most recent artwork addresses resource extraction, 453 00:26:10,940 --> 00:26:13,690 rural identity and community survival. 454 00:26:13,690 --> 00:26:14,930 She is also a single mother 455 00:26:14,930 --> 00:26:17,760 and lives in rural Palisade, Minnesota. 456 00:26:17,760 --> 00:26:21,250 So welcome Shania, it's wonderful to have you here. 457 00:26:21,250 --> 00:26:22,083 - Thank you, Beth. 458 00:26:22,083 --> 00:26:25,740 And it's really good to be here with all of you. 459 00:26:25,740 --> 00:26:28,960 I wanna just start by expressing my gratitude 460 00:26:28,960 --> 00:26:32,110 to the American Craft Council, to Indira and Beth, 461 00:26:32,110 --> 00:26:35,000 for all that they've shared today. 462 00:26:35,000 --> 00:26:38,660 This has been a really engaging and important conversation. 463 00:26:38,660 --> 00:26:41,950 And also I wanna thank my mother, who's not on here 464 00:26:41,950 --> 00:26:44,070 and she doesn't often get attend these things 465 00:26:44,070 --> 00:26:47,520 but she's a real inspiration for how I think about care 466 00:26:47,520 --> 00:26:51,360 and also takes care of my children so that I can participate 467 00:26:51,360 --> 00:26:54,350 in things like this and be involved in a community 468 00:26:54,350 --> 00:26:55,790 in lots of ways. 469 00:26:55,790 --> 00:27:00,020 And also to all of the human and non-human 470 00:27:00,020 --> 00:27:03,690 or more than human beings that make all of this possible. 471 00:27:03,690 --> 00:27:07,210 I think you can go ahead and start the slides. 472 00:27:07,210 --> 00:27:09,910 Mine are just randomly scrolling, 473 00:27:09,910 --> 00:27:13,320 and it's a number of slides that show 474 00:27:13,320 --> 00:27:16,160 different projects that I'm working on. 475 00:27:16,160 --> 00:27:17,990 And before I get into that, 476 00:27:17,990 --> 00:27:20,340 I wanna place myself a little bit more 477 00:27:20,340 --> 00:27:21,580 where I'm zooming in from. 478 00:27:21,580 --> 00:27:25,650 So Beth mentioned that I'm North of Palisade, Minnesota. 479 00:27:25,650 --> 00:27:28,580 Palisade is in Aiken County, Minnesota 480 00:27:28,580 --> 00:27:31,450 which is occupied Anishinaabi territory 481 00:27:31,450 --> 00:27:35,150 and specifically the 1855 treaty territory. 482 00:27:35,150 --> 00:27:37,930 And more specifically than that 483 00:27:37,930 --> 00:27:42,210 I'm on the Mississippi River, right at the edge of 484 00:27:42,210 --> 00:27:46,500 the construction of the line three oil pipeline 485 00:27:46,500 --> 00:27:47,980 which I'll talk a little bit about 486 00:27:47,980 --> 00:27:50,430 'cause a number of the projects that I'm working on 487 00:27:50,430 --> 00:27:53,620 around resource extraction are actually engaged with 488 00:27:53,620 --> 00:27:55,751 what it means to be part 489 00:27:55,751 --> 00:27:58,760 of an indigenous led resistance movement. 490 00:27:58,760 --> 00:28:02,150 And as a non-native person, I come into this space 491 00:28:02,150 --> 00:28:04,920 as someone whose family has actually been here 492 00:28:04,920 --> 00:28:09,340 in Aiken County, here in the 1855 for six generations 493 00:28:09,340 --> 00:28:12,320 specifically about a mile from the resistance, 494 00:28:12,320 --> 00:28:14,250 the Pipeline Resistance Camp, 495 00:28:14,250 --> 00:28:17,760 where I'm living and working now, my grandmother was born. 496 00:28:17,760 --> 00:28:21,010 And so those stories about relationships with land 497 00:28:21,010 --> 00:28:24,600 and how we individually come to the places that we are 498 00:28:24,600 --> 00:28:27,510 are part of this story about a crisis of care 499 00:28:27,510 --> 00:28:28,590 and a culture of care. 500 00:28:28,590 --> 00:28:30,650 Because I really believe that 501 00:28:30,650 --> 00:28:32,810 beyond just acknowledging where we are 502 00:28:32,810 --> 00:28:36,160 that taking accountability, truth telling, 503 00:28:36,160 --> 00:28:38,610 trying to heal those relationships is really part 504 00:28:39,873 --> 00:28:41,830 of the work that we do. 505 00:28:41,830 --> 00:28:44,490 So I'll just speak to the image that you see here. 506 00:28:44,490 --> 00:28:47,970 This is a group of children, including my children. 507 00:28:47,970 --> 00:28:49,883 You can keep advancing and it's fine. 508 00:28:50,720 --> 00:28:54,920 And here we're making flags 509 00:28:54,920 --> 00:28:58,020 that look like the construction flagging 510 00:28:58,020 --> 00:28:59,950 that Embridge has used to mark the route 511 00:28:59,950 --> 00:29:02,860 for this oil pipeline, but the children are writing 512 00:29:02,860 --> 00:29:05,580 their wishes, that the things that they would like to say 513 00:29:05,580 --> 00:29:07,310 to those construction workers 514 00:29:07,310 --> 00:29:09,620 when they come in to cut these trees down 515 00:29:09,620 --> 00:29:14,380 and we place those flags alongside the flags that 516 00:29:14,380 --> 00:29:17,530 the oil company had put their marking where the trees 517 00:29:17,530 --> 00:29:21,240 were to be cut and where the pipe was to be laid on. 518 00:29:21,240 --> 00:29:24,070 And we actually worked with those children 519 00:29:24,070 --> 00:29:28,073 to help them raise their voices in protest of this pipeline. 520 00:29:29,040 --> 00:29:31,940 All of my work is really a collaborative. 521 00:29:31,940 --> 00:29:34,143 It happens over long spans of time. 522 00:29:35,570 --> 00:29:38,560 Each project evolves over years. 523 00:29:38,560 --> 00:29:41,030 So Water Bar & Public Studio 524 00:29:41,030 --> 00:29:44,940 is one project that there, you'll see images of it here. 525 00:29:44,940 --> 00:29:47,220 That was a project that started out much like this 526 00:29:47,220 --> 00:29:51,250 as a small workshop that was done in public to 527 00:29:51,250 --> 00:29:53,820 help people think about where their water comes from. 528 00:29:53,820 --> 00:29:58,370 So we would serve drinking water for free in public spaces. 529 00:29:58,370 --> 00:30:02,100 And we would share with people the source of that water. 530 00:30:02,100 --> 00:30:03,890 that project went on for about, 531 00:30:03,890 --> 00:30:06,810 it's been about six or seven years now. 532 00:30:06,810 --> 00:30:11,810 And over time, it went through being a pop-up space 533 00:30:12,280 --> 00:30:16,810 to being a storefront where we did community engagement 534 00:30:16,810 --> 00:30:18,233 around water equity. 535 00:30:19,130 --> 00:30:23,640 Then we also collaborated with the Dakota Language Society 536 00:30:23,640 --> 00:30:26,840 to launch a version of water bar that they called Mini away 537 00:30:26,840 --> 00:30:30,500 which is the Dakota word that means a place together water. 538 00:30:30,500 --> 00:30:34,010 And in that case, when we shared that water 539 00:30:34,010 --> 00:30:37,700 we would talk about the Dakota language 540 00:30:37,700 --> 00:30:41,470 and how important it is to this place and to this land. 541 00:30:41,470 --> 00:30:44,030 And that's just an example of how 542 00:30:44,030 --> 00:30:48,190 in the work that I do, I think of that attention to material 543 00:30:48,190 --> 00:30:49,490 and the stories of material, 544 00:30:49,490 --> 00:30:52,860 whether that be a water that we drink 545 00:30:52,860 --> 00:30:54,820 and that we bring into our bodies 546 00:30:54,820 --> 00:30:56,230 or that it comes through our homes 547 00:30:56,230 --> 00:30:57,630 and through our communities. 548 00:30:59,640 --> 00:31:01,220 Thinking about the origin of that 549 00:31:01,220 --> 00:31:03,810 and all the stories that it carries with it. 550 00:31:03,810 --> 00:31:08,810 I also have a project that you'll see some images up here 551 00:31:09,220 --> 00:31:11,390 that is about mining 552 00:31:11,390 --> 00:31:13,893 and the resource extraction that happens. 553 00:31:14,790 --> 00:31:18,680 Now, you're seeing images of what this was taken last week. 554 00:31:18,680 --> 00:31:22,020 So this is where the pipeline that I mentioned 555 00:31:22,020 --> 00:31:25,200 has been laid underground and now we're in mud season. 556 00:31:25,200 --> 00:31:28,480 And so it's flooded and you can really see what a mark 557 00:31:28,480 --> 00:31:30,963 that extraction has left on the land. 558 00:31:32,600 --> 00:31:35,560 So I think a lot about that culture of extraction 559 00:31:35,560 --> 00:31:39,280 really being a crisis of care is, you know 560 00:31:39,280 --> 00:31:42,890 if we're permitted to abuse land in this way 561 00:31:42,890 --> 00:31:46,110 and to abuse water, how does that abuse get integrated 562 00:31:46,110 --> 00:31:48,370 then into our sense of who we are? 563 00:31:48,370 --> 00:31:50,270 So in the community that I come from, 564 00:31:50,270 --> 00:31:53,640 a lot of people are really about, 565 00:31:53,640 --> 00:31:56,710 they're very much pro-pipeline and pro mining. 566 00:31:56,710 --> 00:31:59,350 And the arguments that they use is, 567 00:31:59,350 --> 00:32:01,340 these are the jobs that we do. 568 00:32:01,340 --> 00:32:03,220 These are the jobs that we need. 569 00:32:03,220 --> 00:32:06,520 And I think that that really speaks to a crisis of care 570 00:32:09,473 --> 00:32:11,123 when you're in this position that 571 00:32:13,530 --> 00:32:16,410 the only job that you can imagine for yourself 572 00:32:16,410 --> 00:32:18,590 is when destroying the place that you live 573 00:32:18,590 --> 00:32:21,393 and destroying the water that you drink as well. 574 00:32:22,670 --> 00:32:24,180 And so through these art projects, 575 00:32:24,180 --> 00:32:27,610 I'm trying to engage with those industries of extraction 576 00:32:27,610 --> 00:32:30,290 and really look at the material 577 00:32:30,290 --> 00:32:34,110 and the way that human bodies are instrumental 578 00:32:34,110 --> 00:32:35,060 in that extraction 579 00:32:35,060 --> 00:32:39,180 and then using that material to create in community. 580 00:32:39,180 --> 00:32:42,280 So with the mining project, for example, 581 00:32:42,280 --> 00:32:46,410 I take red earth that is called overburdened 582 00:32:46,410 --> 00:32:47,740 by the mining companies. 583 00:32:47,740 --> 00:32:51,230 And I use that as a dye to dye fabric 584 00:32:52,120 --> 00:32:55,210 and that fabric then that I've gathered from 585 00:32:55,210 --> 00:32:59,820 women in the community, I die and then I print stories 586 00:32:59,820 --> 00:33:03,130 onto that fabric that I've also gathered from the community. 587 00:33:03,130 --> 00:33:06,140 And here you can see an image of what that fabric looks like 588 00:33:06,140 --> 00:33:08,940 when it's been dyed with that red earth. 589 00:33:08,940 --> 00:33:12,440 And so in some ways that process of gathering 590 00:33:12,440 --> 00:33:15,200 that material from sites of extraction 591 00:33:15,200 --> 00:33:19,870 and then using it to color this cloth 592 00:33:19,870 --> 00:33:22,910 and then working with it, my hands become red. 593 00:33:22,910 --> 00:33:25,700 I invite other people into this process 594 00:33:25,700 --> 00:33:27,980 through these pop-up workshops. 595 00:33:27,980 --> 00:33:29,350 And while we're doing that work 596 00:33:29,350 --> 00:33:32,080 with this material, we're telling stories. 597 00:33:32,080 --> 00:33:34,600 And a lot of the stories that we're telling are 598 00:33:34,600 --> 00:33:37,750 about those family relationships 599 00:33:37,750 --> 00:33:39,360 or those historic relationships 600 00:33:39,360 --> 00:33:41,840 with land and with industries of extraction. 601 00:33:41,840 --> 00:33:45,820 And that naturally leads to talking a lot about abuse 602 00:33:45,820 --> 00:33:47,170 and talking about grief 603 00:33:47,170 --> 00:33:50,790 and about gendered and racialized violence 604 00:33:50,790 --> 00:33:55,580 and how these are part of the culture of our community. 605 00:33:55,580 --> 00:34:00,300 And so water bars, one example of that 606 00:34:00,300 --> 00:34:04,250 I mentioned a little bit, this overburden, overlook project. 607 00:34:04,250 --> 00:34:09,150 And then now I have recently last fall, 608 00:34:09,150 --> 00:34:12,360 I moved from Minneapolis back to my hometown here 609 00:34:12,360 --> 00:34:16,900 in Palisade to live in the line three resistance camps. 610 00:34:16,900 --> 00:34:19,980 So I live on a property here on the Mississippi River 611 00:34:19,980 --> 00:34:24,810 called Arcane, which is an (indistinct) word that means, 612 00:34:24,810 --> 00:34:27,480 the land to which the people belong. 613 00:34:27,480 --> 00:34:30,800 I mean I'm living here and working with 614 00:34:31,650 --> 00:34:34,890 a network of native women and other allies 615 00:34:34,890 --> 00:34:37,840 who are leading resistance to Line Three. 616 00:34:37,840 --> 00:34:39,940 And what I'm doing specifically is working 617 00:34:39,940 --> 00:34:44,520 with cultural projects like these involving people 618 00:34:44,520 --> 00:34:49,520 in the creation of these different craft objects 619 00:34:49,740 --> 00:34:52,040 as one way to advance those conversations 620 00:34:52,040 --> 00:34:55,880 and then also to do some healing work around culture. 621 00:34:55,880 --> 00:35:00,690 And so I think, I feel like the slides are sort of 622 00:35:00,690 --> 00:35:04,480 out of order, which I take responsibility for that. 623 00:35:04,480 --> 00:35:06,410 I gave them as a big slideshow 624 00:35:06,410 --> 00:35:08,190 but I think it would be good maybe 625 00:35:08,190 --> 00:35:10,470 to transition to just having conversation, Beth. 626 00:35:10,470 --> 00:35:13,603 And we can talk a little bit more about some of the details. 627 00:35:15,360 --> 00:35:16,393 - Sure, absolutely. 628 00:35:17,820 --> 00:35:19,470 - Slides going while we talk 629 00:35:19,470 --> 00:35:20,860 so we can get through the rest of them. 630 00:35:20,860 --> 00:35:25,106 Is that possible or does that overload the system? 631 00:35:25,106 --> 00:35:27,090 - [Jason] No, it's just fine, they're back on. 632 00:35:27,090 --> 00:35:29,760 - And Rachel no one needs to apologize. 633 00:35:29,760 --> 00:35:31,270 They're just, I mean, 634 00:35:31,270 --> 00:35:34,330 the work that I do is very much, non-linear, 635 00:35:34,330 --> 00:35:37,200 I'm glad that Indira mentioned that as well. 636 00:35:37,200 --> 00:35:39,220 Because a lot of these projects, you know, 637 00:35:39,220 --> 00:35:42,630 the process of being in community and hearing stories 638 00:35:42,630 --> 00:35:44,170 and working with material, 639 00:35:44,170 --> 00:35:46,820 it all blends and bleeds together. 640 00:35:46,820 --> 00:35:49,150 And I very rarely exhibit this work 641 00:35:49,150 --> 00:35:51,033 in the context of a museum. 642 00:35:51,880 --> 00:35:54,170 Most of the time, this work is received as 643 00:35:55,200 --> 00:35:58,730 a public workshop, or I make objects like these. 644 00:35:58,730 --> 00:36:02,190 These are felted wool taconite pellets 645 00:36:02,190 --> 00:36:05,780 that we made in community to talk about mining. 646 00:36:05,780 --> 00:36:08,520 And those get gifted to women 647 00:36:08,520 --> 00:36:10,720 who are doing work to protect the water. 648 00:36:10,720 --> 00:36:14,590 So I think if we just jump in 649 00:36:14,590 --> 00:36:17,110 and if they can keep scrolling, that would be good. 650 00:36:17,110 --> 00:36:18,153 - Yes, absolutely. 651 00:36:19,400 --> 00:36:21,490 And I'm thinking about something you said 652 00:36:21,490 --> 00:36:23,420 with the pop-up workshops, 653 00:36:23,420 --> 00:36:27,260 and the stories that you are hearing 654 00:36:27,260 --> 00:36:29,073 from the different participants. 655 00:36:29,073 --> 00:36:33,320 And I see that also as a form of extraction in a way 656 00:36:33,320 --> 00:36:36,030 and what I'm really interested in about your work 657 00:36:36,030 --> 00:36:40,350 is your ability to use this notion of extraction 658 00:36:40,350 --> 00:36:44,310 but really transform it into something more regenerative. 659 00:36:44,310 --> 00:36:46,520 So could you speak a little bit more about 660 00:36:46,520 --> 00:36:50,720 how you hope to kind of flip the script as it were, 661 00:36:50,720 --> 00:36:52,250 and really take extraction 662 00:36:52,250 --> 00:36:56,023 and have it be more sustainable and about renewal, really. 663 00:36:57,300 --> 00:36:58,613 - Yeah, that's a great question, 664 00:36:58,613 --> 00:37:00,870 because that way of thinking about the world, 665 00:37:00,870 --> 00:37:02,810 that extraction culture that's imprinted 666 00:37:02,810 --> 00:37:05,090 on so many of us and is about 667 00:37:05,090 --> 00:37:06,360 it colors the way that we see the world 668 00:37:06,360 --> 00:37:10,570 and that we see our relationships to others. 669 00:37:10,570 --> 00:37:12,540 There is a way that doing narrative work 670 00:37:12,540 --> 00:37:14,290 can be very extractive. 671 00:37:14,290 --> 00:37:18,060 You know, here in the Line Three Movement, 672 00:37:18,060 --> 00:37:20,470 a lot of journalists show up and it seems sometimes 673 00:37:20,470 --> 00:37:23,540 like they have the story in mind that they want to extract. 674 00:37:23,540 --> 00:37:27,290 And then those of us who are here just sort of performance, 675 00:37:27,290 --> 00:37:29,100 we're part of a performance of the story 676 00:37:29,100 --> 00:37:32,570 that they've already decided is what's important. 677 00:37:32,570 --> 00:37:34,620 What I try to do with the workshops 678 00:37:34,620 --> 00:37:38,160 is I bring material in just as a suggestion 679 00:37:38,160 --> 00:37:39,580 for conversation in a way. 680 00:37:39,580 --> 00:37:42,930 It's like if you can get your hands on that red earth 681 00:37:42,930 --> 00:37:46,220 and you can feel it on your hands, and then you're working 682 00:37:46,220 --> 00:37:49,690 with wool, or you're working with fabric, that's being dyed 683 00:37:49,690 --> 00:37:51,423 or printing with relief, 684 00:37:54,478 --> 00:37:57,960 it brings up stories that people then didn't even realize 685 00:37:57,960 --> 00:37:59,913 maybe that they needed to share. 686 00:38:00,750 --> 00:38:03,920 Because that relationship with material, 687 00:38:03,920 --> 00:38:06,150 it helps to recall something for them. 688 00:38:06,150 --> 00:38:08,840 And so I try to create those spaces where 689 00:38:08,840 --> 00:38:11,520 people feel welcome to share those kinds of stories 690 00:38:11,520 --> 00:38:14,370 and then I'm able to deeply listen. 691 00:38:14,370 --> 00:38:17,270 Because I am also, you know, recalling my own stories. 692 00:38:17,270 --> 00:38:20,440 I'm sorting through my own relationships with this place 693 00:38:20,440 --> 00:38:24,147 and with this culture and my hope, 694 00:38:24,147 --> 00:38:27,420 and I've heard from participants in these workshops, 695 00:38:27,420 --> 00:38:30,110 my hope is that by slowing down 696 00:38:30,110 --> 00:38:32,500 and being in that space together and sharing those stories 697 00:38:32,500 --> 00:38:34,770 that it actually is healing. 698 00:38:34,770 --> 00:38:38,770 But there's a way that being recognized in that circle 699 00:38:38,770 --> 00:38:43,770 helps to heal from so much eraser. 700 00:38:44,240 --> 00:38:46,730 You know, a lot of the workshops I'm doing 701 00:38:46,730 --> 00:38:50,210 with the mining project for example, are with women 702 00:38:50,210 --> 00:38:53,670 and it's stories of women's labor and caregiving 703 00:38:53,670 --> 00:38:58,270 that seemed to be erased from so much of these conversations 704 00:38:58,270 --> 00:39:00,433 about the future and jobs and extraction. 705 00:39:01,500 --> 00:39:03,430 You know, here, people talk about 706 00:39:03,430 --> 00:39:05,706 the Line Three Oil Pipeline 707 00:39:05,706 --> 00:39:08,640 as if it's going to bring the jobs to this region 708 00:39:08,640 --> 00:39:11,690 but they never say that these are jobs primarily for men 709 00:39:11,690 --> 00:39:13,830 and primarily for white men. 710 00:39:13,830 --> 00:39:15,690 And so there's things that get left out 711 00:39:15,690 --> 00:39:17,170 and that is what's erased. 712 00:39:17,170 --> 00:39:18,920 And so being in those workshops 713 00:39:18,920 --> 00:39:22,010 where tell our stories is healing. 714 00:39:22,010 --> 00:39:24,720 - Yeah, in fact, we had a comment in the chat that said 715 00:39:24,720 --> 00:39:26,600 reciprocity not extraction. 716 00:39:26,600 --> 00:39:31,150 So I think that's an interesting way to look at it also. 717 00:39:31,150 --> 00:39:32,760 Well, our hour is dooming by 718 00:39:32,760 --> 00:39:34,850 so I wanted to save some time for us, 719 00:39:34,850 --> 00:39:36,730 the three of us to share the space 720 00:39:36,730 --> 00:39:40,520 and to talk more about some of the topics at hand. 721 00:39:40,520 --> 00:39:44,760 So I'd love to have Indira, please come back and join us. 722 00:39:44,760 --> 00:39:47,600 So we had a wonderful call before this 723 00:39:47,600 --> 00:39:49,300 to prepare for our conversation. 724 00:39:49,300 --> 00:39:54,180 And one of the discussion points that we had was 725 00:39:54,180 --> 00:39:58,100 this idea of decentralizing the object as a way 726 00:39:58,100 --> 00:40:02,150 to create more meaningful pathways to care moving forward. 727 00:40:02,150 --> 00:40:05,060 And I would love to hear from each of you, your thoughts 728 00:40:05,060 --> 00:40:09,440 on the role of objects in this emerging culture of care 729 00:40:09,440 --> 00:40:13,463 and how important is this final outcome of practice. 730 00:40:14,680 --> 00:40:15,930 And I think Indira, 731 00:40:15,930 --> 00:40:18,003 let's hear from you if you don't mind. 732 00:40:21,020 --> 00:40:22,233 - Yeah, I mean, 733 00:40:32,731 --> 00:40:36,314 I feel like it's important to remember that 734 00:40:38,890 --> 00:40:40,723 we bring so much to objects, 735 00:40:41,800 --> 00:40:43,520 you can have all the stuff 736 00:40:43,520 --> 00:40:46,070 but it doesn't necessarily mean that you will enjoy it 737 00:40:46,070 --> 00:40:50,120 or that this will be... 738 00:40:50,120 --> 00:40:50,953 You can have a thing 739 00:40:50,953 --> 00:40:54,163 but it may not be nourishing to you if you can't enjoy it. 740 00:40:55,980 --> 00:40:58,740 I also think that it's about 741 00:41:02,310 --> 00:41:06,593 how we can as makers be sculpted by our practices. 742 00:41:08,140 --> 00:41:10,313 That's much more interesting to me. 743 00:41:13,380 --> 00:41:18,090 So what I get to demonstrate for you is 744 00:41:20,040 --> 00:41:21,423 how I am woven. 745 00:41:23,100 --> 00:41:28,100 How deeply I have taken these lessons to heart 746 00:41:31,880 --> 00:41:36,050 in my meditation, in my thinking about 747 00:41:37,090 --> 00:41:39,100 working with tension off the loom 748 00:41:39,100 --> 00:41:41,393 and my courage to be able to do that. 749 00:41:43,940 --> 00:41:45,773 That's how weaving shapes me. 750 00:41:47,555 --> 00:41:52,555 And I think that we're so privileged 751 00:41:53,620 --> 00:41:55,740 as makers to be able to 752 00:41:57,810 --> 00:42:01,520 have those practices as a resource as teachers 753 00:42:01,520 --> 00:42:03,263 to shape our insights. 754 00:42:04,270 --> 00:42:07,730 - Yeah, yeah, and in fact, you had a beautiful quote 755 00:42:07,730 --> 00:42:09,910 in your letter also that says, 756 00:42:09,910 --> 00:42:12,170 craft is not about the object so much 757 00:42:12,170 --> 00:42:14,540 as it's about our relationship over time 758 00:42:14,540 --> 00:42:17,440 with that which touches us back. 759 00:42:17,440 --> 00:42:21,493 So I think that is a really extraordinary way to look at it. 760 00:42:25,770 --> 00:42:26,603 - Yeah. 761 00:42:27,452 --> 00:42:30,670 - And Shanai, what are your thoughts on 762 00:42:30,670 --> 00:42:34,823 taking the object and looking at it in different ways? 763 00:42:35,950 --> 00:42:38,320 - Yeah, that all really resonates with me. 764 00:42:38,320 --> 00:42:42,773 And I think a lot about the stories that objects, 765 00:42:43,680 --> 00:42:46,470 that they carry for us as individuals. 766 00:42:46,470 --> 00:42:49,150 And a lot of that does come from our relationship 767 00:42:49,150 --> 00:42:53,940 to creating if it was an object that we then spent that time 768 00:42:53,940 --> 00:42:58,560 and took that care to create but also the material, 769 00:42:58,560 --> 00:43:02,330 I'm really interested in the stories behind material 770 00:43:02,330 --> 00:43:05,290 and not just where it comes from, you know 771 00:43:05,290 --> 00:43:09,080 the kind of natural source of various materials 772 00:43:10,111 --> 00:43:12,440 or the way that they were created, 773 00:43:12,440 --> 00:43:17,440 but also the relationships that bring those into our lives. 774 00:43:18,130 --> 00:43:21,430 So, you know, with Water Bar, when we were serving water 775 00:43:23,840 --> 00:43:26,470 I really thought of that as serving water, 776 00:43:26,470 --> 00:43:27,860 you know, that we were serving water 777 00:43:27,860 --> 00:43:30,510 by helping to carry these stories forward 778 00:43:30,510 --> 00:43:33,990 of you know, the aquifer that that water was drawn from 779 00:43:33,990 --> 00:43:37,830 or the river and the work that was done to 780 00:43:37,830 --> 00:43:40,270 make that water clean enough to drink 781 00:43:40,270 --> 00:43:43,850 or the abuse that was done 782 00:43:43,850 --> 00:43:48,350 on the land that made that water unsafe, unhealthy. 783 00:43:48,350 --> 00:43:52,050 So bringing those stories into objects for me 784 00:43:52,050 --> 00:43:55,523 helps to give meaning to those relationships. 785 00:43:56,590 --> 00:43:58,990 - Yeah, yeah, and I think, you know, 786 00:43:58,990 --> 00:44:01,900 rooted in both of your practices very strongly 787 00:44:01,900 --> 00:44:04,953 is this importance of land and a place. 788 00:44:06,530 --> 00:44:08,670 There are these threads of caring for place 789 00:44:08,670 --> 00:44:10,500 and commuting with place. 790 00:44:10,500 --> 00:44:12,540 And Shanai, even on your website, 791 00:44:12,540 --> 00:44:14,920 you stated that your goal is to recognize and deepen 792 00:44:14,920 --> 00:44:18,530 your own relationship with people in places they inhabit. 793 00:44:18,530 --> 00:44:20,940 And that really resonated with me. 794 00:44:20,940 --> 00:44:24,620 And I know Indira and some of your conversations 795 00:44:24,620 --> 00:44:26,640 I'm sorry, site specific installations, 796 00:44:26,640 --> 00:44:29,390 you think very deeply about 797 00:44:29,390 --> 00:44:33,530 how you can be of service to the places 798 00:44:33,530 --> 00:44:35,530 that you are inhabiting during your practice. 799 00:44:35,530 --> 00:44:40,530 So I would love to hear from you both about what role 800 00:44:40,530 --> 00:44:44,040 does place have in your practice. 801 00:44:44,040 --> 00:44:49,040 And also how can we activate that moving forward 802 00:44:49,440 --> 00:44:51,810 in trying to create this culture of care 803 00:44:56,190 --> 00:44:58,142 - [Indira] Shania, did you wanna- 804 00:44:58,142 --> 00:45:01,079 - (laughs) That's really the question, isn't it? 805 00:45:01,079 --> 00:45:03,162 (laughs) 806 00:45:06,135 --> 00:45:08,060 I mean, my mind goes in a bunch of places 807 00:45:08,060 --> 00:45:10,700 and of course I'm thinking about what Indira shared 808 00:45:10,700 --> 00:45:14,143 and it's working its way through my brain. 809 00:45:17,170 --> 00:45:21,810 Place for me is really about those relationships. 810 00:45:21,810 --> 00:45:24,400 I mean, relationships really are everything. 811 00:45:24,400 --> 00:45:28,130 And I think that a culture in crisis, 812 00:45:28,130 --> 00:45:29,860 a culture of extraction, 813 00:45:29,860 --> 00:45:33,540 really erases and breaks those relationships 814 00:45:33,540 --> 00:45:35,690 through encouraging meaning 815 00:45:35,690 --> 00:45:37,740 that is derived from consumption. 816 00:45:37,740 --> 00:45:39,370 You know, that is simply about 817 00:45:40,210 --> 00:45:43,130 what we can consume or what we can control. 818 00:45:43,130 --> 00:45:47,470 And so I think about craft and I think about creating 819 00:45:47,470 --> 00:45:51,250 and the work that I do and that I hope others, 820 00:45:51,250 --> 00:45:53,800 I hope the projects help others discover 821 00:45:53,800 --> 00:45:55,260 that side of themselves. 822 00:45:55,260 --> 00:45:58,980 About bringing people into relationship with place. 823 00:45:58,980 --> 00:46:01,830 And that that can happen every day. 824 00:46:01,830 --> 00:46:04,870 You know, I had some images in my slide presentation of 825 00:46:04,870 --> 00:46:08,150 what we're doing now in our, here at this, 826 00:46:08,150 --> 00:46:11,060 we call it the Welcome Water Protector Center. 827 00:46:11,060 --> 00:46:13,730 The resistance camp here is that we're sugaring. 828 00:46:13,730 --> 00:46:16,940 And so right now we're tapping maple trees. 829 00:46:16,940 --> 00:46:19,060 And, you know, there's a way we could do that 830 00:46:19,060 --> 00:46:20,810 in a very extractive way. 831 00:46:20,810 --> 00:46:21,643 People do that. 832 00:46:21,643 --> 00:46:22,930 They don't have a relationship. 833 00:46:22,930 --> 00:46:26,520 It's just, what can I get from this tree? 834 00:46:26,520 --> 00:46:30,310 But when we set up the sugar bush this year 835 00:46:30,310 --> 00:46:34,310 we were led by Ojibwe people 836 00:46:34,310 --> 00:46:37,330 who have long standing relationships with this practice 837 00:46:37,330 --> 00:46:41,030 of sugaring, who offered a prayer, 838 00:46:41,030 --> 00:46:42,840 who helped us understand that you know, 839 00:46:42,840 --> 00:46:45,860 we have to be in good relationship to the land 840 00:46:45,860 --> 00:46:50,000 and to these beings and that the sugar is a medicine 841 00:46:50,000 --> 00:46:52,960 in that case, you know, that it becomes medicine. 842 00:46:52,960 --> 00:46:55,960 So I think through changing our relationships 843 00:46:55,960 --> 00:46:57,980 and deepening those relationships 844 00:47:00,020 --> 00:47:02,540 then you know, this work of living becomes 845 00:47:02,540 --> 00:47:05,540 a kind of medicine that nourishes us rather than 846 00:47:05,540 --> 00:47:10,540 the depleting emptiness, I guess, of constant consumption. 847 00:47:11,715 --> 00:47:12,850 I don't know if that (laughs), 848 00:47:12,850 --> 00:47:14,130 I kind of went all around there 849 00:47:14,130 --> 00:47:17,330 but that was what came to mind. 850 00:47:17,330 --> 00:47:18,890 - That resonates a lot with me. 851 00:47:18,890 --> 00:47:23,890 I feel like the story that 852 00:47:23,970 --> 00:47:27,360 a place can offer up or the history which exists there 853 00:47:30,230 --> 00:47:34,310 is also part of the teaching of a place. 854 00:47:34,310 --> 00:47:35,910 I don't believe that there's any such thing 855 00:47:35,910 --> 00:47:37,593 as like blank space. 856 00:47:38,610 --> 00:47:41,710 There's no blank pages, no blank canvases, no... 857 00:47:41,710 --> 00:47:45,860 Yeah, there's always a narrative 858 00:47:45,860 --> 00:47:49,853 which exists before I arrive at a place. 859 00:47:53,430 --> 00:47:56,230 And I think to be curious and open to like 860 00:47:56,230 --> 00:48:00,323 is to be curious about what exists there, you know? 861 00:48:01,810 --> 00:48:06,810 And what wants to reveal itself to you. 862 00:48:07,580 --> 00:48:09,360 I believe there's a front side of the cloth 863 00:48:09,360 --> 00:48:12,130 and there's a backside of the cloth to everything. 864 00:48:12,130 --> 00:48:15,920 And so it's not my expectation 865 00:48:15,920 --> 00:48:19,610 that everything should always be revealed to me. 866 00:48:19,610 --> 00:48:22,310 Sometimes you can feel the presence of an unspoken thing 867 00:48:22,310 --> 00:48:24,600 and that's all you're gonna get is the feeling 868 00:48:24,600 --> 00:48:26,250 of the presence of the unspoken thing. 869 00:48:26,250 --> 00:48:28,470 You'll never get the articulated version 870 00:48:28,470 --> 00:48:30,940 that you can understand, but I think that that 871 00:48:30,940 --> 00:48:35,940 is what is so wonderful about being an artist is that 872 00:48:36,380 --> 00:48:40,050 we are trained to have the strength to stand 873 00:48:40,050 --> 00:48:41,370 in the face of the unknown 874 00:48:42,760 --> 00:48:46,710 and to be in deep acceptance of that 875 00:48:46,710 --> 00:48:49,070 and still be able to move around, 876 00:48:49,070 --> 00:48:51,010 still be able to work. 877 00:48:51,010 --> 00:48:53,253 So, you know, for me, 878 00:49:00,340 --> 00:49:02,130 for me a place is anywhere where 879 00:49:02,130 --> 00:49:04,170 multiple voices are gathered. 880 00:49:04,170 --> 00:49:06,363 So this is a place. 881 00:49:06,363 --> 00:49:07,620 And all of us have a front side 882 00:49:07,620 --> 00:49:09,083 and a back side to our cloth. 883 00:49:11,210 --> 00:49:12,160 - That's beautiful. 884 00:49:13,821 --> 00:49:15,320 I would also love to hear a little bit 885 00:49:15,320 --> 00:49:18,990 about your process, Indira when you start a project 886 00:49:20,380 --> 00:49:22,230 'cause I know it's a very intuitive process 887 00:49:22,230 --> 00:49:23,810 and how you commune with place 888 00:49:23,810 --> 00:49:27,640 in order to inform what the work, 889 00:49:27,640 --> 00:49:30,700 how the work will proceed, what the final outcome will be. 890 00:49:30,700 --> 00:49:33,250 If you could share a little bit about that process. 891 00:49:39,071 --> 00:49:43,700 - I'll tell the story about the surrogate mother to myself. 892 00:49:43,700 --> 00:49:48,700 So for those of y'all who were watching the slideshow 893 00:49:49,940 --> 00:49:52,250 it's the piece with the Redwood logs 894 00:49:52,250 --> 00:49:54,427 and the cotton, the Lambo. 895 00:49:54,427 --> 00:49:59,165 And when I first arrived to that residency 896 00:49:59,165 --> 00:50:04,165 I had a really difficult time sleeping at night. 897 00:50:07,698 --> 00:50:10,277 And rather than just dismissing that 898 00:50:11,464 --> 00:50:12,920 and being like, oh, well, that's, you know 899 00:50:12,920 --> 00:50:15,390 just supposed to be me buzzing around, blah, blah, blah. 900 00:50:15,390 --> 00:50:17,050 I just kind of bookmarked it. 901 00:50:17,050 --> 00:50:19,100 And I said, you know, that's important too. 902 00:50:19,100 --> 00:50:20,750 Everything's important. 903 00:50:20,750 --> 00:50:23,920 You know I think it's like when you're on residency 904 00:50:23,920 --> 00:50:25,590 like everything is like information, 905 00:50:25,590 --> 00:50:27,690 like when you're making a work, right? 906 00:50:27,690 --> 00:50:32,690 And the next day we were given orientation to the space 907 00:50:32,770 --> 00:50:36,920 and we're told that the place 908 00:50:36,920 --> 00:50:40,460 had actually been set up in Pamela Drassi honor 909 00:50:41,593 --> 00:50:43,090 in that she had died by suicide 910 00:50:43,090 --> 00:50:46,533 on that land many years before. 911 00:50:48,270 --> 00:50:49,440 And then they went on to talk about 912 00:50:49,440 --> 00:50:50,840 how beautiful the view was 913 00:50:50,840 --> 00:50:53,060 and how our meals would be cooked for us every night. 914 00:50:53,060 --> 00:50:57,190 And I was like, whoa, slow down- 915 00:50:57,190 --> 00:50:59,633 - Yeah, go back to what you said. 916 00:50:59,633 --> 00:51:01,216 - Exactly, exactly. 917 00:51:02,910 --> 00:51:05,880 And so then I began to 918 00:51:07,910 --> 00:51:10,610 ask other questions about Pamela's life 919 00:51:10,610 --> 00:51:14,170 and see if there were creative works of hers 920 00:51:14,170 --> 00:51:15,930 that I would be able to have access to. 921 00:51:15,930 --> 00:51:19,940 And in this case, that's where I was able to get my hands 922 00:51:19,940 --> 00:51:21,870 on a book of her poems 923 00:51:21,870 --> 00:51:24,550 and realize what materials actually mattered to her 924 00:51:24,550 --> 00:51:27,263 through reading her own poetry about her daily life. 925 00:51:29,840 --> 00:51:30,980 But all of that started with 926 00:51:30,980 --> 00:51:32,580 not being able to sleep at night 927 00:51:33,560 --> 00:51:37,970 and taking that experience so seriously 928 00:51:39,380 --> 00:51:42,440 and then move from that place and say, you know 929 00:51:42,440 --> 00:51:44,880 I feel like there's a question here. 930 00:51:44,880 --> 00:51:48,997 Move from that place into a space of research, you know? 931 00:51:50,930 --> 00:51:52,910 So I feel like all questions are born 932 00:51:52,910 --> 00:51:54,313 from a place of intuition. 933 00:51:55,250 --> 00:51:59,720 You gotta have a hunch to know what to ask 934 00:51:59,720 --> 00:52:01,110 to start researching. 935 00:52:01,110 --> 00:52:02,763 - Right, right. 936 00:52:04,190 --> 00:52:06,730 And I think as artists, you know, if you're not able to get 937 00:52:06,730 --> 00:52:10,480 in touch with that deeper sense of intuition, you know 938 00:52:10,480 --> 00:52:13,400 that this is just gonna be a problem. 939 00:52:13,400 --> 00:52:16,570 I mean, that's really such a big part of being creative 940 00:52:16,570 --> 00:52:18,670 and being an artist is really being able to kind of drop 941 00:52:18,670 --> 00:52:22,603 into that space for yourself and for your practice for sure. 942 00:52:24,622 --> 00:52:26,860 Shania, I was wanting to ask you a question 943 00:52:26,860 --> 00:52:31,560 about your time at the Water Welcome... 944 00:52:32,440 --> 00:52:34,193 At the pipeline opposition camp. 945 00:52:35,060 --> 00:52:36,900 And I imagine that 946 00:52:36,900 --> 00:52:40,330 it's very emotionally, taxing, physically, mentally 947 00:52:40,330 --> 00:52:42,960 and I'm wondering about self care for you 948 00:52:42,960 --> 00:52:45,840 and that if are there practices that you put in place 949 00:52:45,840 --> 00:52:47,920 to take care of yourself 950 00:52:47,920 --> 00:52:51,803 in order to really do your best work at the camp? 951 00:52:54,380 --> 00:52:56,113 - Yeah, that's a great question. 952 00:52:56,980 --> 00:52:59,590 You know, so much of what we're doing here 953 00:53:01,182 --> 00:53:03,860 is this really collective remembering 954 00:53:03,860 --> 00:53:06,340 of how to take care of each other 955 00:53:06,340 --> 00:53:10,970 and how to take care of ourselves and our camp is right 956 00:53:10,970 --> 00:53:14,240 directly adjacent to the pipeline construction. 957 00:53:14,240 --> 00:53:18,000 And so this doesn't exactly answer your question 958 00:53:18,000 --> 00:53:23,000 but it is very nourishing to me to be part of a community 959 00:53:23,560 --> 00:53:25,660 that is caring for itself 960 00:53:25,660 --> 00:53:28,320 and caring for each other and caring for the land. 961 00:53:28,320 --> 00:53:30,510 And those daily practices have become 962 00:53:30,510 --> 00:53:33,730 really, really important to me that I don't sidestep those 963 00:53:33,730 --> 00:53:35,820 that I don't just hop on a computer 964 00:53:35,820 --> 00:53:37,870 to do the organizing work that I need to do 965 00:53:37,870 --> 00:53:40,680 but that I actually go out and help chop wood 966 00:53:40,680 --> 00:53:42,210 and that I go out and, you know, 967 00:53:42,210 --> 00:53:44,760 I help cook the meals that we eat together. 968 00:53:44,760 --> 00:53:47,880 I do my part as much as possible. 969 00:53:47,880 --> 00:53:52,360 And then also, you know, I'm spatially, you know 970 00:53:52,360 --> 00:53:54,450 we have this camp and on two sides, 971 00:53:54,450 --> 00:53:57,420 on one side is the construction or the destruction, 972 00:53:57,420 --> 00:53:59,300 and then on the other side is an access road 973 00:53:59,300 --> 00:54:01,860 that trucks are driving down all day long 974 00:54:01,860 --> 00:54:04,990 full of men who are going to work on this pipeline. 975 00:54:04,990 --> 00:54:09,530 And then on this side over here is the Mississippi River. 976 00:54:09,530 --> 00:54:11,700 And that's why we're here. 977 00:54:11,700 --> 00:54:13,380 That's why we're here to protect that water 978 00:54:13,380 --> 00:54:15,640 but also that water gives us life. 979 00:54:15,640 --> 00:54:18,880 And so, you know, whenever I'm starting to feel overwhelmed 980 00:54:18,880 --> 00:54:22,350 by proximity to destruction and to carelessness 981 00:54:22,350 --> 00:54:24,981 I can go to the river and 982 00:54:24,981 --> 00:54:28,320 I can be reminded that it's really care. 983 00:54:28,320 --> 00:54:29,360 That's why we're here. 984 00:54:29,360 --> 00:54:31,270 And so that extends, you know 985 00:54:31,270 --> 00:54:35,040 to myself to do that care work 986 00:54:35,040 --> 00:54:39,100 is also a way to care about my own spirit. 987 00:54:39,100 --> 00:54:41,720 - Yeah, and I think too engaging in political action 988 00:54:41,720 --> 00:54:45,140 in such a way, if you don't embed care into it 989 00:54:47,270 --> 00:54:49,050 in a sustainable way, 990 00:54:49,050 --> 00:54:50,810 you won't be able to continue to do it 991 00:54:50,810 --> 00:54:52,540 for these protracted amounts of time. 992 00:54:52,540 --> 00:54:56,200 So I think that that's really important to have 993 00:54:56,200 --> 00:54:57,033 to be able to take care of yourself 994 00:54:57,033 --> 00:54:59,180 and to be able to take care of others 995 00:54:59,180 --> 00:55:01,840 and have that part of the system in place 996 00:55:01,840 --> 00:55:03,940 to continue the work that you're doing. 997 00:55:03,940 --> 00:55:04,870 - Well, there's that, 998 00:55:04,870 --> 00:55:08,380 and I think recognizing that our movements are spaces 999 00:55:08,380 --> 00:55:11,563 of care and creation, you know, 1000 00:55:11,563 --> 00:55:14,912 that it can seem sometimes I think to folks 1001 00:55:14,912 --> 00:55:16,960 who are outside of that, somewhat, that, you know, 1002 00:55:16,960 --> 00:55:19,770 we stand around and we hold signs and we yell, 1003 00:55:19,770 --> 00:55:23,190 but there's actually a lot of care 1004 00:55:24,360 --> 00:55:28,100 that goes into just maintaining our relationships 1005 00:55:28,100 --> 00:55:30,260 with each other as we build movements. 1006 00:55:30,260 --> 00:55:32,050 And that is challenging. 1007 00:55:32,050 --> 00:55:35,360 You know, we're not always getting along either. 1008 00:55:35,360 --> 00:55:37,270 You know, I've had a lot of really hard lessons 1009 00:55:37,270 --> 00:55:40,450 being back here in the place that I grew up 1010 00:55:40,450 --> 00:55:42,780 and realizing how many stories I didn't know 1011 00:55:42,780 --> 00:55:45,280 and how many things I'd never acknowledged. 1012 00:55:45,280 --> 00:55:48,603 And I have to do that work, to be accountable. 1013 00:55:49,803 --> 00:55:51,990 So there's a lot of care that needs to happen. 1014 00:55:51,990 --> 00:55:53,960 - And I would say, 1015 00:55:53,960 --> 00:55:56,880 thank you so much for this Shanai. 1016 00:55:56,880 --> 00:56:00,980 I would say also that it's multi-generational as well. 1017 00:56:00,980 --> 00:56:05,980 So who is I really, you know? 1018 00:56:09,870 --> 00:56:13,390 Yes, I sit here as Indira on the zoom call 1019 00:56:13,390 --> 00:56:16,170 but there's so many other forces which make my life 1020 00:56:16,170 --> 00:56:17,493 and work possible. 1021 00:56:18,370 --> 00:56:23,370 And I think when thinking about, yeah 1022 00:56:24,120 --> 00:56:26,510 when thinking about care, it really has to be vast 1023 00:56:26,510 --> 00:56:29,360 it's for stuff that we're not gonna see in our lifetimes. 1024 00:56:30,640 --> 00:56:31,473 - [Beth] Yeah. 1025 00:56:31,473 --> 00:56:34,040 - Hopefully, there's a lot of stuff I'd like to see, 1026 00:56:34,040 --> 00:56:36,943 but I accept that there are many things that, 1027 00:56:38,910 --> 00:56:41,900 you know, that I have to do for my niece 1028 00:56:42,860 --> 00:56:45,510 and whoever my niece is caring for 1029 00:56:45,510 --> 00:56:46,497 and whoever they're caring for 1030 00:56:46,497 --> 00:56:49,480 and you just keep going generations out. 1031 00:56:49,480 --> 00:56:50,313 - [Beth] Yeah. 1032 00:56:52,450 --> 00:56:54,440 - I just wanna say in that by like 1033 00:56:58,640 --> 00:57:03,580 choosing to live in a, what I feel is a dignified way 1034 00:57:04,630 --> 00:57:06,543 by centralizing movements of care, 1035 00:57:07,960 --> 00:57:11,520 I am also caring for 1036 00:57:12,860 --> 00:57:15,853 stuff that my ancestors were hoping for, for me, 1037 00:57:18,030 --> 00:57:20,040 to be able to experience this time around. 1038 00:57:20,040 --> 00:57:21,900 They didn't have the option to. 1039 00:57:21,900 --> 00:57:22,733 - Yeah. 1040 00:57:24,223 --> 00:57:26,750 - So it moves in all directions. 1041 00:57:26,750 --> 00:57:29,080 It's not just about the here and now, if you will. 1042 00:57:29,080 --> 00:57:31,140 - Yeah, I think acknowledging that continuum 1043 00:57:31,140 --> 00:57:32,690 it's very important 1044 00:57:32,690 --> 00:57:36,073 and certainly one to keep in mind. 1045 00:57:37,890 --> 00:57:40,130 And we've just reaching an hour 1046 00:57:40,130 --> 00:57:43,163 and I wanted to save a little bit of time for questions. 1047 00:57:46,272 --> 00:57:49,970 And we had one comment, actually, an interesting observation 1048 00:57:49,970 --> 00:57:53,530 from an attendee, Shanai's protest makes me think about 1049 00:57:53,530 --> 00:57:55,720 the attempts by some who claim and practice 1050 00:57:55,720 --> 00:57:59,040 privilege of extraction, eraser, discarding 1051 00:57:59,040 --> 00:58:00,883 of those they see as other. 1052 00:58:03,036 --> 00:58:04,950 So I think that's a good point. 1053 00:58:09,540 --> 00:58:10,377 One woman said, 1054 00:58:10,377 --> 00:58:13,687 "Thank you for your deep work and thoughtfulness. 1055 00:58:13,687 --> 00:58:14,817 "Stay in touch with yourself. 1056 00:58:14,817 --> 00:58:16,487 "You're both very special." 1057 00:58:17,740 --> 00:58:21,770 I'm just scanning here for any questions. 1058 00:58:21,770 --> 00:58:23,190 Lots of great comments. 1059 00:58:23,190 --> 00:58:24,113 It's wonderful. 1060 00:58:31,080 --> 00:58:32,143 Wow, this is great. 1061 00:58:34,280 --> 00:58:35,940 I had one other question, 1062 00:58:35,940 --> 00:58:38,053 if we have a little bit of extra time. 1063 00:58:39,210 --> 00:58:41,540 It's about collective care and I think we've touched on this 1064 00:58:41,540 --> 00:58:45,490 a little bit, but what can we lean 1065 00:58:45,490 --> 00:58:48,980 from these modalities of relational care 1066 00:58:48,980 --> 00:58:51,370 with the people around us, with our communities, 1067 00:58:51,370 --> 00:58:54,140 with the land, with non-human entities 1068 00:58:54,140 --> 00:58:56,003 and how can we take that forward? 1069 00:58:58,670 --> 00:59:03,110 And I think that might be a good question to end on 1070 00:59:03,110 --> 00:59:04,910 unless we get some more in the chat. 1071 00:59:10,768 --> 00:59:13,771 - I guess I could start to think that one out. 1072 00:59:13,771 --> 00:59:16,240 (laughs) 1073 00:59:16,240 --> 00:59:19,930 I mean, I really believe in 1074 00:59:19,930 --> 00:59:24,930 these collective spaces of creation and care as practice 1075 00:59:25,290 --> 00:59:28,890 for how we move forward in a wider way. 1076 00:59:28,890 --> 00:59:32,750 I also get involved in policy making 1077 00:59:32,750 --> 00:59:36,620 and in other sorts of activism work where I'm in spaces 1078 00:59:36,620 --> 00:59:39,440 that folks who've been elected 1079 00:59:41,690 --> 00:59:44,040 to work on these things from a policy standpoint 1080 00:59:44,040 --> 00:59:45,730 where they create those policies. 1081 00:59:45,730 --> 00:59:49,380 And one of the things I've seen, 1082 00:59:49,380 --> 00:59:51,040 we're introducing these art, 1083 00:59:51,040 --> 00:59:53,750 these public art projects and spaces into, 1084 00:59:53,750 --> 00:59:57,660 it's like merging those two, that extractive 1085 00:59:57,660 --> 01:00:01,540 or that dehumanizing or objectifying 1086 01:00:03,190 --> 01:00:05,870 hierarchical way of thinking when it makes its way 1087 01:00:05,870 --> 01:00:08,400 into the spaces where policy is made 1088 01:00:08,400 --> 01:00:12,190 or where cities are planned or where, you know 1089 01:00:12,190 --> 01:00:14,640 all these other decisions get made, 1090 01:00:14,640 --> 01:00:18,310 it influences the outcome kind of downstream. 1091 01:00:18,310 --> 01:00:20,880 So if we can create these spaces of care 1092 01:00:21,940 --> 01:00:24,073 and these spaces of collective care, 1093 01:00:26,340 --> 01:00:28,590 I think of it like water flowing upstream 1094 01:00:28,590 --> 01:00:30,470 of where many of those behaviors 1095 01:00:30,470 --> 01:00:32,820 and those decisions are happening 1096 01:00:32,820 --> 01:00:37,130 then we can hopefully shape how that happens 1097 01:00:37,130 --> 01:00:38,363 in a more caring way. 1098 01:00:40,050 --> 01:00:45,020 You know, I specifically introduced some of those workshops 1099 01:00:45,020 --> 01:00:47,480 into spaces where policymakers would be standing 1100 01:00:47,480 --> 01:00:51,080 in circle with community folks who've been most impacted 1101 01:00:51,080 --> 01:00:52,520 by their decisions. 1102 01:00:52,520 --> 01:00:56,150 And to be in that circle where everyone is face to face 1103 01:00:56,150 --> 01:00:58,850 and not in a hierarchical way, but like 1104 01:00:58,850 --> 01:01:00,600 we're all drinking the same water. 1105 01:01:00,600 --> 01:01:04,400 And we're all using the same material. 1106 01:01:04,400 --> 01:01:09,030 It creates this sense of possibility that 1107 01:01:09,030 --> 01:01:12,230 we could really reshape systems 1108 01:01:12,230 --> 01:01:14,070 if we think in the long-term. 1109 01:01:14,070 --> 01:01:16,410 And we think in the ways that we engage 1110 01:01:16,410 --> 01:01:19,857 with one another and with the world. 1111 01:01:19,857 --> 01:01:24,857 - [Beth] Yeah. 1112 01:01:33,270 --> 01:01:34,760 - There's something that comes up to the surface 1113 01:01:34,760 --> 01:01:36,363 for me about humility. 1114 01:01:49,460 --> 01:01:54,460 That when you come to your studio, whatever your studio is 1115 01:01:54,667 --> 01:01:59,280 and maybe your studio is a space outside 1116 01:02:02,140 --> 01:02:04,370 that you don't assume that you know 1117 01:02:05,620 --> 01:02:08,443 what it is or what the story is. 1118 01:02:10,610 --> 01:02:12,630 So someone looks at me and they assume I'm a woman, 1119 01:02:12,630 --> 01:02:13,653 but I'm not a woman. 1120 01:02:15,150 --> 01:02:18,230 But when we begin to be in relationship with each other, 1121 01:02:18,230 --> 01:02:20,190 and there's a practice of deep listening, 1122 01:02:20,190 --> 01:02:23,880 then you begin to understand the worlds within worlds 1123 01:02:23,880 --> 01:02:25,633 which exists within my day then. 1124 01:02:27,940 --> 01:02:32,940 And it is I think the kind of deep listening, 1125 01:02:35,010 --> 01:02:37,443 so shout out to Pauline Oliveros, 1126 01:02:39,520 --> 01:02:41,800 the kind of deep listening, the kind of patience 1127 01:02:41,800 --> 01:02:44,320 the kind of humility to approach the studio 1128 01:02:44,320 --> 01:02:47,233 and to say, or material, and to say, 1129 01:02:48,420 --> 01:02:50,070 you know what? 1130 01:02:50,070 --> 01:02:54,713 I actually don't know, teach me. 1131 01:02:56,410 --> 01:02:57,963 Cotton, what do you want to do? 1132 01:03:01,030 --> 01:03:02,943 Clay, what do you want to do today? 1133 01:03:06,440 --> 01:03:10,460 You know, and that's what I mean 1134 01:03:10,460 --> 01:03:15,460 when I talk about using craft to sculpt our insights. 1135 01:03:17,790 --> 01:03:18,700 - [Beth] Yeah. 1136 01:03:18,700 --> 01:03:19,533 - The world isn't gonna change 1137 01:03:19,533 --> 01:03:22,540 if someone's gonna come up with a magical object. 1138 01:03:22,540 --> 01:03:25,120 The world's gonna change because we're changing. 1139 01:03:25,120 --> 01:03:25,953 - [Beth] Right. 1140 01:03:27,210 --> 01:03:28,043 - Yeah. 1141 01:03:28,043 --> 01:03:28,876 - Yeah, absolutely. 1142 01:03:28,876 --> 01:03:31,670 And that circles, right back to our earlier discussion 1143 01:03:31,670 --> 01:03:34,650 about taking the object out of the equation, 1144 01:03:34,650 --> 01:03:37,260 that's not what it's about, but, you know, 1145 01:03:37,260 --> 01:03:39,310 in the traditions of crafts, I mean 1146 01:03:39,310 --> 01:03:40,760 that's a pretty radical thought. 1147 01:03:40,760 --> 01:03:44,040 I mean, for so long, it's been about the object 1148 01:03:46,020 --> 01:03:49,030 as you know, kind of the final destination as it were. 1149 01:03:49,030 --> 01:03:51,010 So I love this conversation 1150 01:03:51,010 --> 01:03:52,300 because I think it's really important 1151 01:03:52,300 --> 01:03:54,810 as we move forward in really thinking about 1152 01:03:54,810 --> 01:03:57,490 how to create a more caring society 1153 01:03:57,490 --> 01:04:00,803 through craft, through making, what does that mean? 1154 01:04:02,170 --> 01:04:04,860 And really decentralizing the object, 1155 01:04:04,860 --> 01:04:07,140 I think is a very important point. 1156 01:04:07,140 --> 01:04:11,720 And I'm gonna be thinking a lot about it (laughs) 1157 01:04:11,720 --> 01:04:12,553 from here on out. 1158 01:04:12,553 --> 01:04:15,238 Because I think it's really beautiful and powerful 1159 01:04:15,238 --> 01:04:18,910 and I love that whole conversation we've been having. 1160 01:04:18,910 --> 01:04:20,250 So thank you. 1161 01:04:20,250 --> 01:04:21,617 - [Indira] Thank you. 1162 01:04:21,617 --> 01:04:23,993 - And I see Sarah has popped back up. 1163 01:04:25,080 --> 01:04:26,050 - I just wanted to say that 1164 01:04:26,050 --> 01:04:27,970 that was a really beautiful thought. 1165 01:04:27,970 --> 01:04:30,310 And I'm gonna be sitting with that. 1166 01:04:30,310 --> 01:04:32,110 The what do you want to do (laughs)? 1167 01:04:34,400 --> 01:04:38,810 - Well, I came back on just to thank everybody. 1168 01:04:38,810 --> 01:04:40,930 I know we had a few questions we didn't get to 1169 01:04:40,930 --> 01:04:42,130 as is always the case. 1170 01:04:42,130 --> 01:04:45,440 So it'll be great to find a way 1171 01:04:45,440 --> 01:04:46,890 to continue the conversation. 1172 01:04:46,890 --> 01:04:49,240 And I just really want to thank all of you 1173 01:04:49,240 --> 01:04:53,200 for what has just been a moment of great 1174 01:04:54,820 --> 01:04:59,250 pause and reflection to really both learn more about, 1175 01:04:59,250 --> 01:05:01,823 how you work, how you create 1176 01:05:01,823 --> 01:05:03,500 and the way you're moving into the world 1177 01:05:03,500 --> 01:05:05,150 which is inspiring for all of us. 1178 01:05:05,150 --> 01:05:08,873 So I wanna thank everybody for coming today too. 1179 01:05:09,740 --> 01:05:11,950 We have recorded this session 1180 01:05:11,950 --> 01:05:14,710 and we'll be getting it up on the site. 1181 01:05:14,710 --> 01:05:17,440 And if you're interested in continuing 1182 01:05:17,440 --> 01:05:21,410 to read and more fabulous voices from the world of craft 1183 01:05:21,410 --> 01:05:24,380 I encourage you all to get a subscription 1184 01:05:24,380 --> 01:05:28,070 to American Craft Magazine, as we move ahead into flourish 1185 01:05:28,070 --> 01:05:32,830 and kinship and wonder in the coming year. 1186 01:05:32,830 --> 01:05:34,790 And I feel very privileged 1187 01:05:34,790 --> 01:05:37,190 and honored to be in the presence of all of you. 1188 01:05:38,060 --> 01:05:38,893 So thank you. 1189 01:05:40,140 --> 01:05:43,110 - Thank you, Sarah and American Craft Council. 1190 01:05:43,110 --> 01:05:44,763 And thank you, Shanai and Indira. 1191 01:05:46,300 --> 01:05:47,133 - Thank you both. 1192 01:05:47,133 --> 01:05:48,880 Thank you to the American Craft Council. 1193 01:05:48,880 --> 01:05:52,040 Thank you to everyone in the chat 1194 01:05:52,040 --> 01:05:55,233 both in the States and internationally, yes. 1195 01:05:56,270 --> 01:05:57,850 Just really enjoying y'all. 1196 01:05:57,850 --> 01:05:58,710 It's been fun. 1197 01:05:58,710 --> 01:06:00,780 And Shanai, what an honor. 1198 01:06:00,780 --> 01:06:01,613 Thank you so much. 1199 01:06:01,613 --> 01:06:03,300 I hope our paths cross again. 1200 01:06:03,300 --> 01:06:04,447 - Yeah, thank you. 1201 01:06:04,447 --> 01:06:07,130 You really gave me a lot to think about 1202 01:06:07,130 --> 01:06:10,946 I'm excited to go jump into working on something more. 1203 01:06:10,946 --> 01:06:13,433 (laughs) 1204 01:06:13,433 --> 01:06:15,118 That was nourishing. 1205 01:06:15,118 --> 01:06:17,870 (laughs) 1206 01:06:17,870 --> 01:06:20,380 - I know, I'm more like let's get to work, all right. 1207 01:06:20,380 --> 01:06:21,610 (laughs) 1208 01:06:21,610 --> 01:06:22,760 Thanks everybody. 1209 01:06:22,760 --> 01:06:23,593 - Thank you.