Introduction

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[Music] all right welcome everyone um to the aga live uh

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and um today i have the pleasure of talking with jonathan luckhurst who

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is the artist and designer of our current children’s gallery entitled animal architecture or animal

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architect story uh hi jonathan hey guys hey dara um and so i first met jonathan during a

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printmaking class so we’ve known each other since about 2012 um and jonathan is a local photographer

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and business owner uh of cedar sky botanics and so i i think jonathan will expand on on

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sort of that part of his uh biography in just a second but before we

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dive into uh into that i just want to say a few words about um the exhibition so the exhibition is

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part of the pool center for design the children’s gallery is an interactive

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space that allows families to engage with big ideas and so the purpose of the gallery is to

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really get um to take a deep dive into some of those concepts and really explore them

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this year’s theme was inspired by the building behaviors of animals simple building and repeating

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patterns that ultimately create these really complex structures um and

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this is a collaboration between the aga and jonathan and jonathan really took it uh to the

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next level which is really exciting um and i also just a small shout out

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well maybe a big shout out to some of the people that helped us get to where we are today so a special thank

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you to city lumber designs by bob and house of so

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now before we uh chat with jonathan there is a short video um that we have

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made just just to set the the stage the children’s gallery has been closed

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so you may not have had an opportunity to take a look at it so we’ve created this little video to

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give you a sense of what it feels like to be inside

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[Music]

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[Music]

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[Music]

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[Music]

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[Applause]

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[Music] [Laughter]

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[Music] [Laughter]

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[Music]

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[Music]

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[Music]

Jonathans background

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such a great video all right without further ado jonathan hey guys uh hey everyone

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uh thank you dara thank you sophia thank you to the aga for inviting me here today i’m really

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excited to be here um i guess i’ll start by

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just talking a little bit more about my background and how i arrived at this point to take

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um part in this installation um so my background is actually in photography

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traditional black and white analog photography um i started out many years

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ago actually pursuing more of like um an interest in documentary photography

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i was traveling quite a bit spent a lot of time in india um and throughout the years i’ve

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transitioned a bit quite a bit actually and

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over the last few years i’ve started to incorporate sculptural elements into my photo based

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process but sculpture was never the the final output of what it was that i was

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creating and so i think for me this installation was a natural

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transition point for me um i’m really um interested in the idea of

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pursuing sculpture more and seeing where that goes um through my business see the sky

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botanics i’ve pursued my interest in sustainability

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and local food production in um education so when i started my business

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uh in 2015 it was actually in squamish dc hence the name sea disgaea

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referencing the corridor there but it was started at the time purely with the intention of

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of uh creating and building sustainable food production systems specifically aquaponic systems

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for schools to educate kids about one form of sustainable food production

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so and now where i’d really like to go with things is and what i’ve been trying to do slowly

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is sort of seeing how i can merge these different elements of art design uh science botany

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sustainability and education so just creating like really multi

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multi-faceted um installations um for me i was i’m really grateful to have

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had this opportunity to to work with eag in this space because for me this was sort of i think a first step towards

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that direction that i went ahead [Music] awesome um so what are

Influences

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what are some of your influences jonathan you’re talking a little bit about um sort of the things that you’re that

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you’re most interested in but influences you yeah um

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well most recently i would say in the last few years i’ve had this obsession with simple forms

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simple patterns and in how sort of like a meaning or a function

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arises through this repetition and you know we see this in nature all the time and

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and uh we can use and we do use this as a as a basic principle to to inform uh

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our own lived-in spaces and this is something that i really wanted to try and convey in this installation animal architects

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um i wanted to subtly hint give give kids a nudge in the direction that

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you know we too we we are animals i think we often forget that and you know how can we how can we remind

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ourselves of that and how can we look to nature um as a means to inspire

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all our own lived-in spaces um relating to that i’ve also had this um

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sort of ongoing and developing interest in that um this idea that uh it seems like we’re

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constantly trying to find this line between respecting our connection to to nature

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and at the same time continually pushing ourselves to explore these new um scientific and technological realms

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and ultimately both of these things are really essential for who we are as humans and yet they’re definitely at

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odds with one another so there’s an irony in that and um i think

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um biomimicry would be something that would be an example of this something i’m

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that i’m um i haven’t looked into too much but it’s something that has caught my attention it’s something that i’d like to look more into

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but as an example um biomimicry and this sort of like feedback loop um

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that um that entails like this whole biomimicry thing it’s um you know we we’ve

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exploited nature and we continue to exploit nature and these create a whole um set of uh problems

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ecological problems and this is followed by us sort of almost like

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turning back to to nature to look for answers and sometimes are often these solutions

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can lead to a whole new set of problems and this sort of feedback loop

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carries on and i recently uh i was researching terrarians recently

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and um i came across i i was really curious about what was the the original how did terrariums

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come around and it was really interesting how they came around um this guy living in london uh in the mid

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1800s dr ward um he was trying to grow a bunch

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of plants and ferns in his home and and they kept dying because there was a uh

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the the levels of of coal smoke and sulfuric acid in the air were so intense that his

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friends were actually dying so he actually had to to come up with a way to to protect his

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plants from from dying so he he designed and had builders um create these

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these airtight um containers around these plants and and that would and that was the

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beginnings of this like um what we now consider to ram a very decorative thing but it’s interesting how it was steeped in this sort of um

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symbol almost of our desire to like really value and like revere and have nature

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around us and at the same time it was like it was a response to a consequence created by our

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very exploitation of nature so there’s like i find that um you know there’s just constant

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examples of that irony around us and i’m really interested in that

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um and how do you how do you think that feeds into the work that you um that you did

Installations

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in the gallery right yeah for sure so

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i think for me um one of the most interesting um installations was the

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um the installation of these uh these circles um and it’s a very basic form

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and it repeats upon itself and through that

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repetition the structure almost starts to like degrade or like become very unpredictable um

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[Music] and yeah there’s to me that’s really interesting um

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if you consider certain structures in nature such as a hexagon or a tetrahedron or

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um these structures are very stable and they

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upon stacking these forms upon one another you actually create a more stable structure

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um so it’s interesting to to consider certain forms that don’t feed into that sort of

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result also with the um the central

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sculpture it’s almost like these it was actually inspired i was flipping

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this botany book and um when dara first approached me about this installation she asked about the idea of

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creating a treehouse and i thought okay yeah i could do something and i had a concept for that but then um

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was flipping through his body book and um i came across this illustration of this really interesting plant

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um that was sort of sending out these pods and it’s sort of this interesting like light bulb moment like

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i don’t know why it just like this uh switch came on in me and i was like actually i want to create like something like more like uh

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the central organic biomorphic structure with these pods coming off of it um the same time this uh that piece

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also has like almost like a mechanical quality to it i would say um so

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at least that was attempting um i don’t know if i was successful but i was attempting to sort of like hint to that sort of like interplay

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between like um biology nature um and our own

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manufactured or designed lit in spaces

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for me those i would say those are the two most um oh and then there’s also the uh the

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table that i created this is an example of actually sophia are you able to bring that up

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just some of these maybe bring up that slide of the table yeah but anyways it’s a very

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simple form that i came up with um and um

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it’s just it’s a simple form repeated oh there it is yeah uh repeated many times

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upon itself so this was this was an example of

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this thought process i was explaining earlier um and unfortunately this photo doesn’t show it but there’s actually a lot of

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dimension to this piece there’s if you look at it from different sides you see something totally

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different which i found really interesting so i like that that whole process of like taking something really simple and

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and seeing what comes up um a lot of unexpected results can come up i actually when i had this

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um peace in mind i actually had a different vision of how it would look

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ultimately but it wasn’t until i had these pieces in front of my workshop and i was playing around with this form came up and that’s

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another interesting if we take take the same form and we repeat it or alter a variable or

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the way in which it’s arranged something totally different comes out of it a different structure and then our own experience and like

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perception of this thing also changes um

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yeah so um and you know i also wanted to say like

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um i uh was very grateful to bob fedena from

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designs by bob as well as to beverly from house of soul further their input into these uh some of these

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pieces um without them i definitely couldn’t have taken uh this install to where i wanted

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to take it so bob for example he’s a great guy he he owns this uh he has a cnc company and

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he uh he’s able to basically take i came with to him with

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my illustrations and he was able to provide some really valuable input for me um

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i want to talk about the the arms on this uh central sculpture because i i went to bob and i said okay bob i want like individual arms and i want

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them i don’t know how those are going to come together until i’m in the space and i need a way to sort of like move them

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and he he came up this really great articulating design that allowed me to

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position each individual arm as i wanted to upon being in the space so

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and then beverly did a really great job of constructing these hanging bags i wanted

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to create some sort of um hanging structure that would contain

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elements that would be used in the installation so thank you guys both very much for

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that oh you’ve got me i’m not sure which direction i want to take our conversation

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there’s so many um interesting things that i want to ask you about um but let’s maybe we can talk um

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a little bit more about how like what the construction of the sculptures

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was like and then i’m gonna come back and ask you about something else okay great yeah so um as

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i was just i guess i’ll get into that a bit more so um

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in the case of um all the pieces with the exception of the

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weaving wall and the bags um again bob fideno was a very valuable um

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resource for me i went to bob and i said bob i need i have these illustrations

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is what i want to create i created these illustrations and concepts for him

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um and demand you know gave the dimensions and this and that and then he

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was able to he’s like i said he’s got a um he specializes in cnc lasers so he was able to

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to use cnc laser technology to create a lot of these very intricate

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cuts i myself um you know i have a background in carpentry by no means i’m a

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am i a really high-end woodworker um so to me i was really

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grateful for this um to be able to take advantage of this really interesting technology and um

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you know bob was able to to again create these really intricate sort of structures based on my

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illustrations um once i had these pieces in front of me

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um assembly either took place in my workshop or here directly in the space

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um as i was saying earlier with certain pieces such as this table

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i didn’t know exactly know what was going to arise until i had the pieces in front of me and it’s just like it’s very more intuitive

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thing you know and that’s how i often work with photography as it’s i have a concept in mind but it’s not until like

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you’re in this process that you that you know what is actually going to come out of it and obviously like your

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um one step will always uh be to inform the next step so it’s you know um yeah yeah

Intuition

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yeah and we talked about that a little bit about like we weren’t sure how what the outcome was going to be

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until until all of the pieces were kind of in the space yeah um can you talk a little bit more more

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about um that how that feeds and like not feeds into but um

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how that is an integral part of your of your creative process

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just this sort of this you mean the idea of one step in forming a next or yeah yeah like so

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like how do you um how do you utilize that intuition i

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guess is it something that you just sort of

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allow it to unfold or do you really i think so i mean just by the very

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nature of intuition it’s just that you can’t really explain it or pinpoint it per se it’s it’s just a very

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like um that’s what it is it’s just very intuitive and it’s um um

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i do that being said i mean you i do have in a strong interest in my background i

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actually have a degree in cell biology and genetics so i do have this like very like deep-rooted interest in science and

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which is a very like rational thing you know it’s not um it’s not

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i guess you could say it’s not really intuitive um it’s very cut and dry you

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know so um i have this this where i see myself going is is is um in

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this direction of working intuitively but based on very like scientific

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rules or something at least where i’d like to go um there’s one artist that i’ve really

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been looking at lately his name is conrad chalkross he’s a british sculptor his work is incredible i’d really recommend anyone

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who hasn’t heard of him to check him out but he’s um he’s got a really strong interest in

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science too but um more in the mathematics side of things

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um but he’s he’s creating these beautiful like very poetic sculptures um that are

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based on very like strict and rigid mathematical rules and formulas so i see myself sort

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of heading in a similar direction but instead of working with mathematics maybe working with

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or not maybe but working with biology and botany um but there’s also crossover because

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there is mathematics based um mathematics is also a part of biology this is part of like everyday nature

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like if we look at um um natural form there is there are very like mathematical rules that apply to like to

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to um to biology as well yeah um

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it’s interesting like i see a lot of similarities in some ways to to the creative process

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and to scientific sort of like thinking um but i i see what you mean when you

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say that it’s also like there’s a lot of rules that um that need to be considered um

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and i guess there are rules too in the creative process i suppose in some ways

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we break them right um you would be one of them what’s that gravity would be one of

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those rules right absolutely um

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so i want to talk a little bit about um the challenge of designing a space for kids

Design for kids

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um and and sort of some of your your thinking about uh about that so um

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so one of the parameters of of the children’s gallery is that it has to kind of

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um hit a wide range of of kids so there has something for

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three-year-olds and something for 12 year olds and and it sort of increased that family

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engagement across um you know a generation or so

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um how did you like what were your thoughts as you were moving through this process

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and thinking about that um well this was my first time creating

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um something um that was to be geared specifically for children

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so um that was that was a challenge in in some ways

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um but i think uh ultimately um

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in some ways it wasn’t in the sense that um i mean i think creative process in general is just can be very playful

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and exploratory and um when you bring that into what it is that

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you’re creating it it’s naturally going not necessarily i mean it depends on

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what uh what it is you’re creating what kind of message you’re trying to get across but um um if you consider

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if you consider what i just said and then um loaded with the the fact that this is for a kid space i think it just

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naturally arises so um just sort of like um

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creating a space that is like uh you want it to be engaging you want it to be um you want

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kids to see it and you want them to like immediately sort of be drawn into it i remember i did this one

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it was part of this um event called amazing agriculture a few years ago and it was put on at northlands

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and i was invited to to create an aquaponics installation for for greatness for great five kids um so

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i created this thing and it’s you know it’s got fish and it’s got lights and it’s got plants and and um without fail every time a new

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class came in to to see this uh this aquaponics system

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they immediately ran towards it and they were really just captivated by this thing they didn’t know what it was so

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um i think um if you when you’re creating space for kids um

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i think it’s important to remember that they’re just by nature they’re very curious and they want to engage with things

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they want a hands-on experience um so i think for me that was definitely at

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the forefront of my thinking it’s like how can i create a space that is immediately going to just draw them in yeah and

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um and this is sort of related to it so um after the after the installation like

After the installation

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how do you envision kids interacting with the space um well dara as you know you me

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and danny and some of the others were talking about how [Music] kids are probably going to want to climb

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things um and while i would love for them to just climb all over everything in here um i

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was obviously certain like um safety precautions to be um

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put into place and for me this is a central sculpture here is one that i uh i can envision that i

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would want kids to climb all over but the same time it’s just something that can’t really happen um but um

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yeah i think um sorry what was what was your uh oh yeah so my question

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was just like how do you envision kids like interacting in the face right so obviously very hands-on if you look

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you know this um this sculpture in the back this piece with the circles it’s just grown into this like amorphous

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sort of blobby growth which i just love and it’s just it’s fulfilling for me to

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see it just take on this like nondescript like weird sort of quality so um

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i actually wish i had more of these more of these circles to add to the piece i would love

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actually one idea one idea i have for a future is to to create i want to take this further and just create this like

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epic installation sort of playing of this idea of like repeating form you can see this here’s a

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shot of how it was um installed by me i wanted to sort of you know

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create this like weird sort of tendrical um thing

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um that maybe reminded people of it could be anything really i didn’t

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want to like have it remind anyone of anything in particular just something playful something obviously

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referencing nature um yeah so um this is something

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um that i’ve been excited to see just sort of uh um grow

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literal no pun intended you know um yeah um and then the weaving piece um

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that was uh that was created on site um sorry you’d asked me to create uh you

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were really interested in the idea of a weaving wall so i didn’t know how that was going to look until i got into space but that was really fun that

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um first time that i worked with like a fabric and again uh i have a strong interest in geometry and

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proportion and design so i created this almost like very geometric sort of thing that actually loops back

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in on itself so each part of the weaving sort of connected to another point in the weaving

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in almost this very cyclical fashion um so that was fun um obviously weaving

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well just by very nature of the the installation weaving i mean obviously kids are going to hopefully

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like weave into it but it’s been interesting to see how they’ve um i don’t know if you guys can see in the back but

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this meeting has sort of like stretched itself into other components

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yeah i’m glad that you missed that because it’s uh it’s always interesting to see how kids are going like how the public is going

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to interact with the space because even um when we have a particular vision of what

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um the kids are gonna do sometimes um we just can’t anticipate every outcome i

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guess so it’s it’s pretty marvelous to see it unfolding in in this way so

How the pandemic shaped the installation

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um we we began the installation of this exhibition in may and we were delayed

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because of the coven pandemic right so would you mind just talking a little

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bit about how um how the pandemic shaped

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um the gallery and and the installation process

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um yeah well obviously there’s been you know this being a very interactive

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space um hands-on um pandemic those two things don’t jive too well so

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um so we talked many times about how you know

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in the early um before the lockdown um [Music]

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we talked about how can we or a necessity would be how can we um

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protect these pieces so that they can hold up to constant cleaning that’s just sort of a

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reality of our uh current and hopefully um and temporary time

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um that we’re living in um so you know just something as simple as

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um uh uh protecting or coating these some of these pieces with

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um like a um i can’t remember what i used um you know

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a stain that would withstand um touching cleaning um so that was

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an obvious an important consideration um yeah

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um obviously it’s frustrating for everyone involved to to to see um the space not being maybe

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utilized to its maximum um um but at the same time just be

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grateful for the fact that you know families still are allowed to access the space and you know the fact that you

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have to book an appointment and you can come in in one family at a time you know that’s just you know it is what it is um and um

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[Music] yeah well and i guess like one of the and i guess we can mention that you know

Whats next

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part of the exhibition was set aside uh for now so there are components that

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we’ve taken out of the gallery yeah that’s right for a little while

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there was another uh component to the installation um we’re gonna be um we’re calling this

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something along the lines of like a termite now so um i had um

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i worked with bob i gave him my drawings and he created these really cool um sort of like um forums that um

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and they had uh you know concept behind these forums was to have them like added onto

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with like something clay or like processing or something and then um so yeah just um again

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just um hands-on interactive quality so i don’t know maybe maybe in a

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few months we’ll be able to bring those up yeah i would love to

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as soon as i figure out as soon as we figure out how to sanitize plastic yes

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um okay uh so i want to talk a little bit i’m going to go back kind of circle back

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and say like circle back and ask you like how how is this work um how is this work

Past work

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informed by your past work or yeah how is this work being informed by

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your past work and sort of where maybe you can give us a little bit more in terms of where you see yourself going

32:51

mm-hmm um yeah so few would you mind bringing up those other images um so as i was saying

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earlier i’ve i’ve had this real fascination with um form um

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repeating form um this is some older photographic work that i created um

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and it’s interesting when you create something you you don’t at the time necessarily

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know like why you’re making it necessarily like sometimes you but um in this instance i didn’t know necessarily

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why i was doing this and and for me um that’s sort of the way i’ve always

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operated i guess i i’m i was coming from this like more like intuitive like emotional based

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place first and then it’s not until much later that i often find like

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the words to to describe like what it is that that i was actually trying to do um obviously i want to create work that

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not only um has some sort of like emotional um impact or component to it but also i

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want to hopefully like my um any ways is to to at least create

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work that’s um engages people’s minds a little bit um as much as possible um

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so for me looking back on this um this older work of mine can you flip this one

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so i was working with sculpture and form and and and just playing around um

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looking back i see there was like there’s this element of like repetition in form that i was like really obsessed

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with um bringing together of like like

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this organic kind of quality but also of this sort of like futuristic sort of um

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utilitarian sort of quality

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but again the output had always been photo based so so again it’s really

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exciting for me to i don’t know if i would have thought about the idea of actually going

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out into the world and creating physical sculpture if it hadn’t been for this opportunity so again i’m

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just really grateful because it’s really just kind of shifted my thinking around where i want

35:19

to go and i’ve actually just applied for a grant and i’ll be applying for some more grants to

35:25

to work purely in sculpture and to to see where that goes and and again working with uh cnc technology

35:31

it’s a really interesting technology um i really think about that a little bit i

35:37

don’t know so it’s literally a it’s a form of technology where you can

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you can enter in um these sort of variables or or whatever design into a computer

35:51

program and that um is actually these these forms are then

35:56

able to be cut by laser cnc laser it’s it’s all based on computer um so it’s just

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it’s been around for a while but it just it’s opened up a whole bunch of possibilities around architecture

36:09

design um artists use it um for uh various parts of their process

36:16

and i see myself continuing to use it and working with people like bob or working with engineers or something to

36:23

um [Music] to create really epic like sculptural work and i i don’t know what it looks

36:28

like yet but um i think for me at the moment anyways i’m really interested again in this like

36:34

this idea pattern and form and and and how can i look to um

36:40

to what we just see in our everyday um you know in nature or in our constructed

36:46

environments too um um but uh how can i use this as a means to sort of

36:52

like inspire like inform something that i want to create um can you go to the i think

36:57

there’s two more in there yeah this again this was like a very this was um i actually went back to

37:02

i was part of a residency a few years ago and one of the resident artists was a uh he’s a good friend of mine now rating

37:09

varma and he lives in kolkata india so he’s a sculptor he’s a very successful sculptor and

37:16

he invited me to go and live with him and his wife for a month in 2017. this isn’t such an

37:22

amazing experience um had access to his shop and and everything and he’s got a team of like

37:27

welders and things and um it that that was a very it was

37:32

like i guess you could consider it like a live work residency um where i was able to to work with like

37:38

very industrial materials he had like i was in his workshop was in this um really

37:44

um in a really industrial part of calcutta so he was the only artist in the area and

37:49

he was surrounded by these like shops manufacturing like industrial components and

37:55

um so i was like how can i i was really interested at the time like how can i use like these

38:01

uh various industrial forms or scrap materials and what can i do with

38:06

them um and as you can see if you go to the next one too so if you it’s just like this was industrial felt

38:12

that was used and um to create like supports for industrial like weights or whatever it’s a very

38:18

strong material so i don’t know it’s just playing around with this like idea of using industrial

38:23

found materials and creating like this sort of repetition and pattern and just seeing what comes out of it again photo based

38:33

um these weren’t like physical sculptures that i kept they were just sort of like in the moment

38:38

um um results of me just playing around with these materials so

38:44

yeah i i really like the idea of taking this further and oh and this is a design of uh that i

38:50

came up with for ceda sky botanics this is um again just playing around with like repetition

38:56

uh form and and but it has this very like utilitarian quality to it you know it’s a it’s a

39:02

micro green tower it’s meant to grow microgreens um you know so um yeah i’m just really

39:08

interested to to again continue to to sort of merge all these elements of like design art you know as you saw

39:15

on the previous side there’s plants there’s food production um there’s um

39:21

that element of education that i’m really interested in you know so um you know i think um no matter what i

39:29

create i think each each thing will be different um in the sense that maybe it won’t combine

39:36

all of these things maybe it will but um yeah

39:41

awesome um can you talk a little bit about this educational component like what are you hoping to

Education

39:49

how what direction are you taking that in we’ve talked a little bit about it but i want you to share it with everyone yeah sure um so i’ll start with um

39:56

describing my inspiration for bringing education into my

40:02

uh food systems that i was doing for school so um for me i was coming coming at it from this um

40:07

from the perspective that you know we’re living in this like especially with events around like kovid

40:13

and climate change there’s like a lot of conversation nowadays around um

40:18

uh creating uh resilient communities um uh the food chain supply um

40:26

and i think obviously if we’re going to if we’re going to move in a direction that is positive and if we’re going to

40:31

actually build resilient communities we obviously we need to to engage with children i mean they’re

40:37

the future um children just by nature they’re very open and they’re curious and and we can you know you can tap into

40:44

that you can reach them you can you can educate children um

40:50

um by in ways that don’t involve them just

40:55

looking at a textbook and you know um you want to engage like

41:00

kids on many different levels you know so when you can when you can create an educational

41:06

experience that is immersive i mean obviously there everyone learns better that way you know um it’s just

41:12

lighting up different many different parts of your brain and um you know it creates a more memorable

41:18

experience so um and you know that’s the beautiful thing i think about sculpture is it

41:25

um it it it is a very immersive thing and it allows you to like interact

41:32

with the environment and the space it’s not just like a two-dimensional thing you know which is why i’m sort of

41:39

not not to say that i won’t ever make a photograph again but just um you know there’s there’s definitely

41:44

limitations to a two-dimensional object you know like a photograph and um

41:50

um especially now and we live in this like hyper digital age where you know we’re just inundated with

41:56

imagery all the time so um we’re distracted constantly so like

42:01

it’s even more important to create if you’re trying to get a point across or if you’re trying to engage kids or people in general

42:07

and educate then you need to like grab them visually um even more that’s even

42:14

becomes even more important so um and it just keeps can become very layered you know

42:20

um you know you you see something you you walk up to it you oh what’s this about you know there’s

42:26

many there’s a lot of layers to you walk around it you see different things you know so through that through that layering

42:33

comes engagement and and that’s really important for for education

42:40

yeah inspiring inspiring well and i do like i mean i

Conclusion

42:47

loved what you said about um education being like an opportunity

42:53

to light up kids brains in multiple different ways and i think educators were always having to

42:59

to be creative in terms of thinking about what that looks like or feels like uh kids and i think you know the

43:06

children’s gallery is is set out to to be that space to to explore those things to

43:13

light up those aspects of the brain to um to uh you know sort of give kids

43:21

um opportunities to to engage with multiple um modalities

43:27

yeah it’s been interesting looking at um you know coming through the aga over the years

43:33

myself and just seeing the space itself and different um iterations of what’s come

43:39

up here um and just yeah again this like this evolving nature of the installations is really

43:44

interesting and um yeah and yeah important i love how you guys do that how you create that space

43:50

you know it’s cool yeah well thank you and it’s uh it’s great to have

43:56

your work in here doing the you know doing that job right now and

44:01

we’re excited because it’s gonna be up for a while and

44:08

and slowly i mean i i hope at some point it gets to the point where we can open it all the way but right now it’s

44:15

not bad funny yeah i i noticed that our time is coming to a close jonathan so i just

44:20

one of the the final question i want to ask you is is there anything that you’d like to mention that i

44:26

haven’t asked you about i’ve been fine this question the hardest question um

44:33

i think um i think um i can’t honestly i can’t think of anything but i think um

44:39

if there were questions i think that might push me in the direction of something i

44:44

hadn’t thought of so if there are questions um happy to answer them yeah i don’t see

44:51

any questions in the chat so if you email me

44:58

yeah so why don’t you just please tell us how we can get in touch with you okay so yeah um i’m online

45:06

jonathan luckers dot ca um you can also find me through my

45:12

business uh see the sky botanics dot com and again that’s see this guy disguise in the corridor on

45:18

the on the coaster c is an ocean um i can’t say too much about this right

45:23

now but i also am creating an offshoot business i have a business partner we’re creating an offshoot of cedar sky

45:30

um i’m really excited about that should be launched in the next hopefully and then we’re going to launch the next uh

45:37

two to three months hopefully um but it’s um really excited about that it’s we’re creating like three very distinct

45:44

um products to allow people to to grow their own food or plants just in

45:50

general in their homes so um you can find more information about that through

45:55

um probably i guess my instagram let’s see the sky i’ll be linking through to that so

46:06

okay okay well thank you thank you dara and thanks to the ap

46:11

again yeah absolutely so thank you thank you for your time and and this discussion it was it was lovely

46:17

to spend uh this uh time with you um and i also want to thank everyone for

46:24

tuning in um and i hope i i hope that we’ve really intrigued you

46:30

uh to to come and visit the gallery and so the way that you can visit the

46:36

the children’s gallery um animal architects right now is that you can um pre-book time so we give you about an

46:43

hour in the space really you can stay as long as you want that’s just a guideline that we’re using

46:48

right now um so if you want to uh if you want to book time and space

46:54

then maybe sophia you can put the link in the chat just so that people have it

46:59

um and uh yeah we just linked up so we’re doing uh bookings on thursday friday saturday

47:06

and sunday right now uh and all of the covid protocols are in place so everything is

47:12

is safe and and will be uh ready for you to engage with uh

47:19

and i would be remiss if i didn’t mention um our halloween event that’s coming up on the 31st it’s

47:25

our first in-person event uh since covet so since the pandemic started so

47:32

again i hope that everyone will be able to come and hang out with us uh our theme

47:39

is the case of the vanishing artist um so we’re gonna look at we’re gonna look a little bit

47:45

more closely at tom thompson’s disappearance uh and have themed activities around

47:50

that uh so that’s on saturday october 31st

47:56

from 12 to about 4 30 or gallery hours at 5. so i hope

48:02

everyone will be able to come if you want to come to that event you have to book tickets online and you can do that just uh on our

48:09

website so again thank you jonathan so much for spending your morning with us

48:15

it was lovely to connect and to talk a little bit more about the things that we have been chatting

48:23

about and yeah thank you again no problem

48:29

thanks everyone thanks for tuning in

48:35

you

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