 Hello. Hi everyone. Thanks so much for joining us tonight. I see several familiar faces. Is tonight anyone's first time seeing the exhibition? Awesome. Thanks for coming in. We're really thrilled to have you. I'm Cecilia Cullen. I'm the director and curator here at the Center for Visual Art. We are the off campus gallery contemporary art center for MSU Denver and we act as a resource for students and the broader community through contemporary exhibitions of local significance and global reach and immersive education program and workforce development for students interested in creative fields. You'd think I would know that by heart by now, but I still have to read it speaking of reading it. I'm also going to do a brief land acknowledgement to give due to people who were in this land before us. The Center for Visual Art acknowledges the privilege we have to gather in this place once the territories and homelands of so many indigenous people including the Arapaho and Cheyenne nations. We respect the many diverse indigenous people still connected to this land and value the knowledge systems they have developed in relationship to their lands. We understand that offering a land acknowledgement neither absolves settler colonial privilege nor diminishes colonial structures of violence at either the individual or institutional level. Land acknowledgments must be accompanied with ongoing commitments to displaced indigenous and immigrant communities. In order to learn more about the spatial relationships of indigenous communities to lands, we recommend visiting native-land.ca and exploring the interactive map. So as I was saying about CBA, we are connected to MSU Denver. We're supported by the university, but for exhibitions and programs we do fundraising. And a part of that fundraising is membership. So all of you art students, if you didn't notice already, you have a free membership here at the CBA, but you have to activate it. So you can get information about that up at the front desk. We also have many different levels for everyone else to join as a member and to show their support in all the programs that we do and help us offer free access to these programs. I want to tell you about a couple of additional programs we have before the exhibition closes on March 25th. Tomorrow, you might have seen them practicing doing a dry run. We have the high school intern fashion show tomorrow at 6pm. We have an internship that runs through the academic year where teens learn about creative industries and also create artwork. And this year they're creating fashion designs. They are really fabulous. That's tomorrow at 6pm. And next Wednesday we have a panel discussion with muralists and mural festival organizers. So if you're interested in learning how to get into that corner of the art world, this is a great talk for you. It's a panel discussion on Thursday, March 15th at 5pm. Thursday, a week from today, we have another artist talk with Marcella Kway whose film Aki is right behind you. Marcella is a scholar and artist. She is also a professor at the University of New Mexico in Albuquerque. So she will be giving a talk at 4pm and then that will be followed by a reception sponsored by Ratio Bear Works. So, on to the good stuff. This exhibition entanglements came about from a collaboration with MSU Denver art professor Natasha Sideneck. Many thanks to Natasha and all of the CVA team for creating this amazing exhibition. The artists in this exhibition have been so incredible to work with and we're really lucky to have two local artists in this show, one of which is Amy Hoagland. For this exhibition, she's created a space of quiet contemplation and respite. Stepping into Amy's installation is a transporting experience where you can feel the cold air, contemplate the beauty of nature and question our value system that often privileges the human made over the natural world. Amy reminds us that the line between humans and nature is merely a hyphen. Amy received her BFA from the University of Kentucky and her MFA in 2022 from the University of Colorado Boulder. We are thrilled to have been able to show her work so early in her career and are so excited to see what she has on the horizon. Please welcome Amy Hoagland. Thank you Cecily for that lovely introduction and just a huge thank you to Cecily, Natasha, Melanie and all of the wonderful MSU students for making this exhibition possible. I'm really grateful to be part of this exhibition. So a little about my work, I create multi-elemental sculptural installations, often including materials such as scientific glass and rocks, but also elements like reflection, light and shadow. To explore questions such as how does one's perception of their environment shape their view of the world, of their connection or disconnection to the landscape. I often incorporate photography and moving images as elements within my work. My sculptural work materials often are remnants of recyclable material and found objects. My arts practice stems from a deep rooted connection to landscape. I grew up in Kentucky. The deciduous oak tree leaves smashed into the ground exude a smell that feels like home. Expanding my studio into the surrounding landscape has always been a critical part of my practice. Many of my concepts are derived from organizing my thoughts during the time spent outside in the environment. My senses are activated during these moments, which informs my desire to connect viewers of my work to their senses. My first inception of a connected relationship with landscape came from Louisville, Kentucky, where I grew up. Louisville is built to top limestone rock full of fossilized shells and creatures signifying how it was once covered by water. Time changes in the landscape shifts. This has always fascinated me. I'm grateful for going up in a city that arguably did not have pristine nature. There is no separation between city and the landscape. It just was no boundaries. I find it important not to isolate nature from the built environment. We are nature and our actions directly affect and pull on the web of the natural world we exist within. So this image is from Rdiver Gorge in Kentucky, which is an area outside of Louisville that I spent a lot of my time hiking during my time in Kentucky. And this is another image from that place. This is an image from Mammoth Cave, which is the longest cave system in the world, and it is found beneath Kentucky. And this geologic formation was always of a lot of fascination to me growing up. I was fascinated by the way that time can really change the landscape and just by visiting this place and seeing the formations and the way that the rock shift and change over time. I've always been fascinated by textures found within rocks and geologic formations of the way sedimentary layers grow and change over time. This is another image from Kentucky. These images are from Austin, Texas. I've lived there for three years and it took me about two and a half years to feel really connected to this landscape. I feel the need to have spent time within an area to justify this connection. Time can mean different things, either living somewhere long enough to foster this connection or connecting with a place through human interaction such as a long hike. And this is an image from Boulder. So I lived in Boulder for three and a half years and in November I moved to Denver. I had a similar experience with Boulder. It wasn't until like year two or three that I felt really connected to this landscape. And it was from spending time within it, from creating work within it, and from really understanding some of the ecological challenges that are facing our landscape here. The reason I share these images of place is due to the fact that place and understanding of landscape plays such a significant role in my work. My work is inspired by the knowledge that the landscape teaches us. And over the time, I've collected 3D scans of rocks from many places I've lived and traveled to today. Essentially a digital rock collection. Many of these scans inform much of my work today. I'm really interested in how a computer sees the landscape. This is another scan. In 2017, I received a Wingate fellowship presented by the Center for Craft Creativity and Design to travel to Alaska to attempt to 3D scan icebergs and glaciers. I was using really rudimentary materials, my camera and a process called photogrammetry that was seen in the previous videos as well. And this process is where I surround an object kind of intimately and taking anywhere between 70 to 200 photos at once. And then later I use a computer software program that stitches these images together to create a form. And this is an image of what one of those scans of the icebergs looked like overlaid atop an image of an iceberg. And at the time I was 3D printing these and then casting them in glass. I'm really interested in how a computer takes an organic natural form and transforms it into this triangulated geometry. I am intrigued by how a computer sees everything, either my hand, a rock, a chair, as a series of multiple triangles. Our raw human eyes are blind to the basic building blocks of every physical thing, atoms, yet the computer sees the simplified connection between everything. And this is an example of one of the 3D scans of the icebergs. This work is titled Ice Frame. It's flameworked borosilicate glass and projection. It's from 2018. This work is significant because this was my first time working with scientific glass, also known as borosilicate glass and projection, which might seem familiar to some of the work seen here on Thawing Web. I often choose materials based on the connotations they hold. I work with scientific glass for its connection to lab equipment and its material integrity, but also its visual and material resonance with ice. And here's a detailed image of that. This work was from the Ice Frame series. It's titled Ice Frame 2. It's created from steel rod. And Ice Frame 2 is based off the 3D scanned data that are created from the melting icebergs in Valdez, Alaska. The triangulated geometry relates to a computer's interpretation of the melting icebergs. The piece is installed in shallow water to create a refraction of what once was by mimicking the imagery of a full iceberg. This work is titled Ice Skeleton from 2019. And it involves scientific glass, projection, and water. And so there were two projections in this installation pointing down on this water and creating these amoeba-like reflections on the surrounding walls. The world we exist in moves at such a pace, I believe it's easy to overlook the marvelous subtleties. My installations attempt to draw attention to the unverbalized natural phenomena that are overlooked by a distracted eye or mind. And here is a video of this piece. So as people came into the space, their movements affected the water within the sculpture, creating these movements that were also reflected into the projection. The projected reflections of the water. There's a detail, that piece, other detail. In 2018, I did an artist residency in Marfa, Nepal. And I feel very lucky to have spent time in that place where people were just living with the landscape. And I was so inspired by this. This is an image of a house built around a rock, just existing in the space. And I think is a really good example of how people were really just living with the landscape, accepting how it is. And rather than moving this boulder, working with it. And during my term there, I was doing these works where I was working more analog than digital. I was inspired by my digital work and coming back into the landscape with an analog method of mapping various rocks with tape and glass. And I was creating these projections when I came out into the landscape, working with the light and day. But what I was really inspired by while I was there was the power of the wind throughout the day. And I was really interested in this and I wanted to show it in a way that wasn't just putting a flag into the landscape and showing how strong the wind was. And so thinking back to my shadow works, I found a rice bag in the landscape and began to hand cut triangles from it. And then I was hiking out and holding this above various rocks. And this is an example of what those videos look like. It's not sped up at all. This is just the power of the wind in that moment. This work is titled Synthetic Geo 3. It's sheet glass in a found and modified telescope tripod. The rock was created from a 30 scan rock cut and layered from edged sheet glass. There's a detail. And I've been really interested in sheet glass and the coloration of built layers on top of layers and also its semblance to ice. As with time, the ice gets more blue and these deep colors with the more layers that are present. This work is titled How Do They Belong? It's granite from Boulder Canyon and Steel Welding Rod. I am fascinated by the expression of time alternative to human measurements within the landscape. Geologic time is of specific interest to me. Rocks express time through weathering, layering and moving. A rock touch today may have originated millions of years ago or from a few hundred years of rolling around in a creek bed. How Do They Belong is a work where I investigated the stories that rocks tell. It is a commentary on the human relationship with the surrounding landscape. The steel rod encircling the rocks relates to the ore held within the rocks. And these works went through a series of transformations where they were the rocks were originally brought back to the landscape they originally came from. So they were brought to my studio where the structure was partially removed and then brought back to the landscape and documented where the structure was fully removed and the rocks were returned and a performance. This work is titled When Will We Recognize What We Can No Longer See? And it's mirror-sanded for 286 seconds each, which correlates to the fastest melting ice sheet which is losing 286 gigatons of ice per year. A projection of glacial melt from NASA's Goddard Space Flight Center and then fragmented reflections. And so this is a video of the reflections from the Timelapse video from NASA, which was a glacier in Alaska that has been receding. And with this work, I was really interested in speaking to the fragmented understanding of time and loss. The active removal of material by my hand is an attempt to create a connection to the grief of unseen loss. The blurred areas and the mirrors reflect onto the opposite wall through Timelapse video projection. The blurred and fragmented reflections suggest the blurry but imminent future. As viewers came into this installation, they're confronted with the reflections and shadows of themselves. The intent of this project is to make visible and tangible, the seemingly intangible threat of climate change. And I was also thinking about how we received so much information about what is occurring on these massive geologic scales. And it was so hard to process and fragmentary when I was making this work. And so this is a detail of the mirrors that were sanded each for 286 seconds and then the reflections onto the back wall. And when I was making this work, I was walking past this pond daily. And I was really interested in how the ice was melting from the inside outward. And I was thinking about that when I was sanding the mirrors. This work is titled Scope of the Natural. It's a sculptural installation and research study with support from NASA, Nature, Environment, Science, and Technology from CU. This was a collaboration between myself and Jennifer Cole, PhD in psychology. The installation involved a series of sculptures inspired by the natural environment. As people entered the gallery, they participated in a research study, which was really fun to get to be part of as an artist and see how this artwork affected their perception of nature. And a lot of what I was thinking about in this exhibition was using sort of more industrial materials with natural, like more perceived natural materials to really like think about what is nature and how everything, even the built environment is nature. So the rocks are from 3D scan. Rocks from local crew canyon. And they're created with cardboard and sawdust and paint. And then I also used welding rod and mirror within the installation. And these are a few images of work that was from that installation. And with the materials I was really thinking about from afar. These looked like rocks, like real rocks from the environment. But as you got it close, the materiality became more clear that it was cardboard. You could see the triangulations within the cardboard. And I was super interested in the fact that thinking about our built environment and breaking down how they come from the natural world where cardboard and sawdust comes from a tree as well. This work is titled synthetic erosion. It was part of that installation and it's scientific glass with steel rod with projection. And I was really, so the video production is of ice melt. And this work informs some of the work that I made for Thawing Web as well. This was my first time using the moving image with projection. This work is titled Glass Shadow. It's sandstone from a landscaping company and framework scientific glass. The work is a commentary on the human relationship with landscape. A glass shadow slipping off the surface of the sandstone and a similar way to which ice sheet moves over a rock bed. The glass is fragmented in pieces and the rocks distort the rock itself. The blurred boundary between the shadow and the rock suggest an indistinct but imminent future. Really interested in this blurry space between the rock and the glass. One sculpture concerned with perception is blurred horizon, which was created during a tall grass artist residency in 2021 in Matfield, Green, Kansas. I created a structure of scientific glass broads that acted as a lens to view the surrounding landscape. The glass creates a visual blur and distorts the grass and hills beyond the forms. Scientific glass provides connection to lab equipment and the scientific understanding of the world around us. Western sciences comprehension of the natural world is complicated. While language and research can help us identify things, they can also isolate us from the very thing we were trying to understand. I created this work to investigate how our conduction with our surroundings can be blurred to the lens of scientific identification. Blurred horizon is questioning how we read a landscape or know a place. Do we know it through taught information or do we know it from experience? Perhaps both. And with this work, I was doing a series of performances where I was walking behind the glass and I was really interested in how my body disappeared. And this work was also installed very near the train tracks. So I was interested in when the trains would pass behind the work and the visual blur was created. A transport of goods, our transportation passing behind this lens. This was some work I did concerning Rocky Flats. Rocky Flats, some of you may know as a national wildlife refuge is located between Denver and Boulder, just about 30 minutes from here. It was a plutonium manufacturing plant in the 1950s until it was shut down by the FBI in the 90s for improper handling of materials and leaks and fires. Plutonium is radioactive and is what is used in atomic bombs. It has a half-life of 24,000 years and it's not going anywhere anytime soon. In 2011, the refuge opened back to the public. And researchers still find hot particles of plutonium in the landscape. It's very rare that you would actually come in contact with one, but if you do or your animal does, you are likely to develop cancer. So this is a video of me walking through the refuge in a closed area overlaid with a document from the 1950s regarding the handling of plutonium. And this is a government document. And within it, it actually admits that they didn't know how to dispose of this material or how to handle it. And the text is meant to be blurred into the landscape, sort of thinking about what is unseen, what we can't see, but is actually still there and present. And from the government documents, there's a heading that is the front-range mountains with the atomic symbol. So it's thinking about the sort of unseen eye. This is still from a video that I did where I was trying to line up that image with the front-range. We think about what really is there, but we can't see. This work is titled Reflections on the Future and it informed a series of recent work. It's tree stomps to etch mirrors and projections from 2020. This work was created as a response to the two largest fires in Boulder County's history burning in the fall of 2020. The reflections of the tree rings collapsed temporal space and expressed time alternative to human measurements. So there were two projectors in this room sort of facing down on these mirrors that were tracings of each tree stump individually and fit atop of each stump. And an autofocus image of fire was projected onto them, but onto the walls were in focus, the tree rings. Tree rings are catalogs of an area's climate. Through them, we can decipher records of growth, wet and dry season, the age of a tree. A burn scar signifies a fire scar signifies a forest fire the tree survives. Visitors are positioned within the installation. Their bodies are reflected along with the trees embedded in the problem. And here's a detail of that work and a detail of those reflections that were on the wall as moving image. And so this work informed later work I was doing with the Coward Education Center based out of Jamestown, which was affected by the Coward fire in 2020. The Coward burn scar is located just nine miles north of Boulder near the city of Jamestown. It is not a coincidence, but the two largest wildfires in Colorado's history burned last year. Researchers say that large and severe fires are associated with warm and dry conditions and such conditions will likely occur with increasing frequency and a warming climate. The initial component of this project involved a workshop with 11 first generation college student teens from CU Boulder site discovery summer camp at the burn scar site. Nine trees were selected in the burn scar area for this workshop that we're already going to need to be cut down due to the fire damage and proximity to the road. So I worked with the Coward director to select these trees and generally like forestry practices to cut trees down really low. So we worked together to cut these trees at different heights that were more eye level for this work. And so for this workshop students gathered around the sumps and reflected on the trees histories while they manually trace the tree rings. The simple act of physically using a sharpie marker and doing served as a bridge to the conversation of current figure environmental issues. Students were noting the age of the tree and then also identifying their birth year within the trees of finding this point of connection between the life of the tree and their own. And we are also looking at things like the wet and dry seasons within the tree rings. True rings just hold so much interesting information about the life of a tree. And so these are what the students tracings ended up looking like. And so from these tracings I digitize these and they were etched into reflective stainless steel as a temporary installation in the space. And the goal of this work was that our society lacks adequate spaces for people to gather and grieve climate change, but also share their hopes for a positive environmental future. The intent of this project was to provide the space in several different ways. So on the one year anniversary of the fire on October 17 2021 families and students were invited back for a day of celebration morning and loss. During the initial part of the day of fire scientists came and led a workshop on creating seed balls and everyone gathered and threw seed balls back into the forest as a hopeful note. And then later we've hiked out to the memorial site and had a more solemn moment of silence for the trees. This event and project was supported by a CU outreach grant and a Red Line Arts Center Impact Fund grant. And so this is an image of the seed balls which Nature Conservancy, which Nature Conservancy came out and did. And the detail of the reflective mirrors, which these were temporary, the reflective mirrors and later donated to Cal Wood. They were not able to withstand the forest and then later working with the same tracings I created these from substance and they were installed back on the stumps for permanent installation. More forest friendly materials. Which brings me to the work that is in this exhibition. The Wine Web. It involves scientific glass, projection images, steel welding rod, rock and HD video projections. According to the interconnectedness of living and non-living things, Wine Web spans between light, glass, ice and air, revealing connections in a shared state of constant flux. And melting ice cube in Colorado drips, freezes and camouflages, a handcrafted glass structure, uniting the materiality of ice and glass. Moving images flicker through hanging scientific glass sculptures, reflecting light like an iris of an eye or a celestial starburst. This sculptural multimedia installation attempts to heighten our perceptions of the unverbalized natural phenomena around us by uncovering material and elemental parallels within our environment. Wine Web is tied to a site with conceptual importance and ice cave in western Colorado. This area has a continental, semi-arid climate, which provides significant annual temperature variation. Due to this climate, this ice cave, along with many others in the area, only exists in the winter time. The temporality of this is of interest to me. As the winter season progresses, ice stalagmites and stalactites form in the cave. The process of ice formation is intriguing. For ice caves to form, ice must first melt, drip, then re-freeze. This process exemplifies a version of an earth cycle that is accelerated in contrast to the general perception of geologic time. Ice cave calls for close observation of these geologic shifts. In a way, it expresses sped-up geologic time. While limestone caves take millions of years to form, this cave rapidly forms in the winter season and vanishes in the summer months. Geologic time is often not comprehensible within a human conception of time. It feels too slow to fully grasp, yet the speed the ice cave shifts, grows and disappears, instigates a fresh and perhaps more profound understanding of geologic time. Wine Web is a sculptural installation concerned with sitting with and knowing our surroundings. How can the simple act of observation of looking closer beyond the broader image and into the details foster empathy? Our surroundings are just glimpses into a moment of time, constantly in flux. This ice cave exemplifies those shifts. Looking closer and observing these quick changes helps better understand the bigger picture of the shifting earth landscape at large. By inserting a human-made sculpture from scientific glass into the landscape, I attempted to deepen my understanding of the world by creating this new relationship. As the scientific glass form interacts with the ice cave, the ice drips and refreezes onto the glass and unites their materiality. These two materials that may be traditionally read as being derived from contrasting places, manufactured in natural, are understood in unison. Thus, these materials point our comprehension to a new place, where ice and glass do not come from separate places, but are both entangled within our environment. Calling Wine Web one and two are atmospheric works. They hang suspended from the ceiling, appearing to float and defy gravity within the installation, pointing towards a glimpse in time. These amorphous hanging forms allude to earth phenomena, such as stalactites dripping down in a cavern, light floods through the forms and refracts onto the walls behind them. There is a balance between the ominous qualities of the landscapes and their visual layer. These works and Thawing Web respond to that tricky balance. This work is a process of uncovering methods to zoom in, slow down, and observe time within the landscape. In Western society, linear time controls many parts of our own being. It is a prime way we relate to and understand the world around us. In the book Art and the Anthropocene, the importance of time to our understanding of our surroundings is discussed. Davis and Turpin write, attuning ourselves through poetry, art, and description to pay attention to other times. Developing techniques to think through the limits of our temporal frameworks and thinking beyond them, these are crucial practices. In fact, there are matters of survival. The authors go on to discuss how adapting to this world requires adapting with all of their creatures. Seeing from their perspective is central to reorganizing our knowledge and perceptions. To better care for our surroundings, there's a need to shift our method of time perception. To that of our animal, plant, and rock cohabitants. Seeing from their perspectives of other creatures can help us better empathize with them and in turn respond to the world with reciprocity. This work is titled Tricky Balance and it's scientific glass atop a rock. The wind moves, the soil moves, the earth casts shifts. If we can better understand the slow process of geologic time, we can more profoundly grasp the shifts of our planet due to our causes. What has occurred to our land is violent despite the clear lack, despite the clear visual reference. Climate change and slowly unfolding environmental catastrophes create representational obstacles that can hinder our efforts to mobilize and act decisively. The big picture can be challenging to comprehend due to the slowness of geologic change in contrast to our industrialized and post-industrialized society's fast-moving conception of time. I hope to point viewers to a new perspective to facilitate recognition of these slow but significant processes. Similar to the triangulated pattern I engage within my practice, Earth's landscape consists of interconnected elements and beings. Each point is united as a whole, nothing is isolated. Indigenous scholar Kyle White writes, ecosystem is a term that has one of its origins in the field of ecology. The term refers to a community of relationships of organisms that are connected through the sharing of their nutrients and energies. As more points are connected in unison with the transparent quality of glass, the form begins to reference a web. A web is defined as a complex system of interconnected elements. A web is a non-hierarchical system of organization. Every point within is dependent on every other point within the web. A shift in one point determines a shift in all of the other points. Scientific glass is another material with conceptual resonance within thawing web. Scientific glass is used to create apparatus to study our surroundings. It is fundamental to much of the Western knowledge of the interactions between elements surrounding us. I work with scientific glass and thawing web for its connection to lab equipment and its material integrity for its visual and material resonance with ice. Ice is constantly oscillating in form, often melting and transferring its form into water. Or a delicate glass with its transparency acts as a mediator, a lens to see through. I work with light as a sculptural medium because it is closest to phenomena within the landscape. Light is responsive to all surface and objects in its path. It can bend across a wall or produce shadows beyond an object. I am interested in transforming light through transparent materials such as glass to create refractions. The refraction of light through the glass is a direct response to the material, similar to the way stars flicker in the night sky as a response to our atmosphere. As light from a star races through our atmosphere, it bounces and bumps through different layers, bending the light and causing the star to appear to twinkle. Conglomerate mess and artwork included within the thawing web installation is involved with scientific glass entangled in a metal framework. The sculpture seems as though it's nearly at a tempting point, yet somehow it remains balanced. The glass embedded in and over the metal can symbolize ice dripping over and through the rock in a cave in a slagmite formation. Emerged partially within the rock, the glass drips and moves through its form, pointing to the liveliness of rocks as agents of change in our surroundings. By looking closer, slowing down and observing the expression of time alternative to human measurements within the landscape, I believe we can reposition ourselves within our environments towards a more empathetic perspective. As climate catastrophe moves closer to us, as we remain in a global pandemic, our connection within nature is less difficult to comprehend. We have a choice to ignore the implication of this connection or to embrace it, to coexist with the other animal plant and rock cohabitants of the shared earth. With a greater understanding of our position within nature and empathetically can be formed to our more than human surroundings and empathy that's crucial in this time of a landscape demanding human change. And thank you all in there. Questions. I want to look at the scientific process together. How do I put the scientific together? I work with a similar process to welding. It's using a torch. As far as studio equipment, it's pretty basic and it's really great to work with. It's the same techniques that chemists use with their glass. I use the same sort of torch equipment to make these connections. And then the material that I work with specifically is stirring rods. So it's that material that would be used to stir concoctions together to understand the water on us. So that's where the rods are specifically made for that purpose. Yes. I'm curious how that shifted into such a specific focus to climate change and climate justice. So you're curious about kind of like where my background falls into that? Yeah, I think just any place we are, we are being affected by climate change, whether it's visible or invisible. I think to care for place, to really understand place, we have to acknowledge that that is happening and affecting us. So I think from developing just care from understanding specific places I've been, I've also felt obligated to attend to those bigger issues. Yeah. Yeah, so the triangle comes from the three scanning. And it's the way that the computer is seeing nature or our human bodies are really anything. And I'm interested in that patterning of how from a 3D scan, the technical term is called triangulated mesh. So when I create the 3D scans and the 3D files from anything, it boils down to this geometry. So I'm interested in how, whether it's my hand, this podium, a rock, it all is the same geometry from this process. And so it really shows that sort of like material connection between all things. It's been great to see the progression of your work through before grad school to May and now after. And I'm just curious about where you're taking your work next and what you're exploring right now and what things you have coming up. Okay. I'm doing an Arctic Circle residency in June. I'm really excited about that. So that'll be my proposal. So the Arctic Circle residency is a residency, a two week residency on a research vessel outside of Spalsbard, the northern tip of Norway, island off of Norway. And so I'll be on this research vessel with other artists from across the world and scientists and June. And I'll be really thinking about creating performance and video related to that landscape. Going there has been a huge dream of mine for a long time. So I'm really excited to get to do it. And so a lot of my work right now is planning for that. And I'm also going to be in a, I'm a case fellow right now with CU Boulder, which is climate artists involved with science and environment. And we're going to be doing an exhibition at the Colorado State Capitol in May. We're collaborating with a fire scientist named Tonya. And we will be creating a series of works related to fire and also just really like developing more positive relationships with wildfire in the front range because wildfires only going to become more common. And that will be opening mid May. Yes. Okay, so, which came first. I think they were a bit in tandem. So just growing up, I always had this connection to place and really feeling it and trying to understand it. And also all of these curiosities with geology coming from Louisville, having, you know, seashells embedded in the rocks and just really interested in how like my curiosity really drove me a lot. And I was creating much my work was 2D when I was much younger. And I sort of with this interest and undergrad started working more with the landscape and these sorts of ideas came together when I started to work more sculptural and with materials. And then as far as like the artificial, I view it also as natural. So I see this connection between the two as one and I'm interested in sort of showing that connection. You feel like you've been choosing a long time to understand the space. Yeah. I feel like it's just like it from history. That's what has happened. And then it's just like that's long enough to really get to know a place for me. So I think everybody's different. But I think that can be sped up or slowed down depending on your interactions with the place that you're in or your intentions. I don't talk too long about your materiality, but notice that a lot of it falls either on the kind of fragile and expected or really the hefty surface of the stone. And you do have stuff in between my cardboard and the floor. But I'm curious about how you draw to the extremes on that fragile and expected. That's an interesting question. So I think a lot of it for me is just thinking about. I love this question. So I will have to think on it without just saying something, but a lot of it from coming from the top of my head right now. It's just thinking about the way the landscape works. It's very fragile in certain areas and then other parts are more wholesome and sturdy. And I am, I think, considering some of those elements when I'm working and specifically at work with glass for its resonance with ice. Ice is very fragile. It's melting. It's shifting. It's changing. I'm interested in these structures specifically for their like hollow qualities for thinking about how ice melts and changes. But you can also just see through the density of these scientific glass sculptures. Thank you all so much. Thank you. It's really cool to see this.