 I'm Maggie Neal, painter in Montpellier, and I've got a show with Jack. Jack Saban figured this show would go good together. Our aesthetics and energy flowing together with this art. What an idea to show together to see how our work relates to each other. It's an experiment for us, and it is for the viewers. It's like in any contemporary gallery, you have some representational art, then all of a sudden you have the more contemporary large notes of color art. We didn't know what paintings we were going to use together. Jack said he was doing large landscapes, and I said, okay, large is good in this city center space because it can take large paintings. It needs large paintings. A big red one. Really, we're looking for color in this white world of Vermont winter. And we're looking for water forms. So there's the energy that the red one has moving with the energy of the green wave. So that was exciting when we saw the work together. We got excited. We're hoping that other people will come by and also feel that excitement, the inspiration and the contemplation of what are these paintings about and why are they here together? It was really a lot of fun putting the show together. We had to rearrange the paintings of how both pieces are going to work together, what does not work, what will work. We grabbed a larger red one because it's kind of complementary to the green paintings. New modern type of work, so kind of aesthetics of what I'd be putting down would be a little bit different, but I understand the work. These representational paintings, I would say, are much older pieces, but I didn't know what to paint one day. I looked out my window and I saw this scene, and I asked Karen to come up and she's my significant other. Come up and take a photo of this for me, so she did. Then I said, I think I want to do this in a 30 by 40. I came out and I specifically did it for people who admire representation. Then along with the energy of the wave paintings, which I just love because I love being in the waves. I almost kind of like the dangerous feel of them. Being right out there with that water is like trying to understand it. Trying to understand the hydraulics, the movement, the foam, the thinking, and I was like, I'm a light too. Maggie? And then my landscape is of a different realm than the abstract, but I'm really trying to bridge the gap between landscape and abstract in this one so that the people that can't look at abstracts could look at this and find the calm, the different emotional qualities of a landscape, of water, of a sunrise. It's kind of like the electricity of thought, and then being conveyed and actually put on canvas, soul and heart, even if you don't believe in that. Some of the electrons being fired off or being like sent up here, you know, like a decision of do I put this color here or not. Something about painting. Like I like to be kind of sucked into the painting and walla within its color and its form, and then resurface again back to the world and see what I've done. And I think that these paintings are successful at coming through that journey in a way that they want to be shown. We're just looking at the main wall. There's quite a few other paintings around the rest of the space. This show is up for the month of January, but it goes into February and there is an art walk, a Montpelier art walk on the 5th of February, and this show will be our closing night. Come see a lot of art in Montpelier and come see this conversation that Jack and I have made with our paintings.