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hi everyone um welcome my name is lindsay sharman i am the curator of art gallery of

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alberta and i’m danielle siemens i’m the collections manager and curatorial

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associate at the aga and we are both very happy to be hosting our event this afternoon uh

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which is a virtual tour of this scene an exhibition that danielle and i have curated at

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the aga the show is up right now um at the art gallery of alberta and although we remain

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closed to the public that exhibition will be ready to go whenever health restrictions allow us to

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open up again so this is a show that features um all

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artists based in or closely associated with the city of edmonton or ms squishy wasp again so this is land

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on which or this land on which we’re situated is treaty six territory um and part of the

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metis nation of alberta where indigenous peoples have been making and creating since time immemorial these are the

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ancestral and traditional lands of diverse indigenous peoples including the cree

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dene netsitipi or blackfoot soto makotosu and metis we acknowledge and

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extend gratitude to the many first nations metis and inuit whose footsteps have marked

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these lands for generations and who continue to call this place home today so we of course privileged in this

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digital realm to gather together from multiple places so i encourage any of you who do not share these same lands with us

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to take a moment to acknowledge the people of the land on which you are situated and tuning in from

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um so before we start our tour um i’d like to thank epcor uh for their

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support epcor supports all of our online programming through their heart and soul fund and we’d also like to

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thank and acknowledge uh canada council for their generous support um so today uh the tour that we’re going

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to go on is about uh 30 minutes after which danielle and i will take your questions

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um but you don’t have to wait until the end of the tour to ask any questions that come up

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um you can put them in the chat um function that we have here at any time

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and then we’ll we’ll get to those questions towards the end so with that uh here’s our tour

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um we are here uh now with aga to to share uh this new exhibition with all

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of you um so the scene is an exhibition that uh danielle and i have curated together it shows

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all edmonton artists and has been a project that we’ve been working on for a number of years um have been

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working on for a very long time and so it’s it’s really exciting to see it all come together

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in the exhibition space um so as i mentioned it’s all edmonton artists this is

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kind of our loose theme that that holds all of the artists together

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and we’re wanting to really showcase and celebrate um the kind of diversity of practices

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that we have in edmonton so all of the artists are emerging mid-career

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and so there are a couple of themes that have sort of emerged um

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all of the artists being uh located in edmonton i think that that the city itself and and this area

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and this landis is definitely a theme that has come out

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um there is also um

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the kind of natural and the artificial and our relationship with the

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natural world and how we kind of navigate that whether it’s um you know through walking in the river

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valley or through uh navigated through screens and things like that i think one final theme is

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that of the body so the artist’s own body or the body of others and how bodies exist within societal

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expectations so yeah so with that i think we’ll head on inside

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so here we are in the the first room um of the exhibition um so there are

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several artists that are that are represented here the first that i’d like to draw your attention to is

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and also jill stanton um who’s just in the mural behind me here

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and i think these two works together i think are really exciting

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um there’s some some really interesting connections um between them so of course if we talk

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about the the mural first um you can see that it is this

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monumental trash um and so what’s what jill is doing is

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kind of taking language of um you know monumental landscape

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and kind of presenting um these bags of garbage and what you might find kind of in your back

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alley and presenting it as this sort of atmospheric

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and monumental landscape um and i think if we look at that sort of in conversation or relationship with

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this work um which also has its its pair behind you here the the pair of lions

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so this work um was conceptualized out of two events

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one uh would be the carbon gate which is very near

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where the aga is and so the harbin gate um was taken down for the new

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lrt line to go through and so

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um

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faye is looking at um that event and kind of thinking of it in

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relationship to chinatown how that changes chinatown how that relates to chinatown both

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historically contemporarily and kind of looking to the future and the second event that this work is

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related to was china along with many other countries making the decision

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not to take um other countries recycling any longer and so looking at kind of our

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relationship to um recycling um and kind of thinking of that in

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relation also to trash and if you know there are not

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effective ways to recycle that those those objects that we don’t really think much about consuming or using

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actually do become trash and just become discarded and i think is also a way to

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kind of start a conversation of thinking critically of the entire recycling

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industry and if you can’t tell from where you are these two lines are completely made of

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recycled waste so milk jugs and six pack can rings

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so i think we’ll move and talk about lauren cruzabel

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okay so this is one of three paintings we have by the artist lauren crazy bowl lauren’s practice for several years has

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been focused on portraiture so they are quite interested in the

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relationship that’s embedded in the act of painting a person so in that imbalanced

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power dynamic between the artist and the sitter and then between the viewer and the

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sitter so lauren individually paints people that they know

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spend time with photograph and then translates into painting and then these really kind of powerful

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portrayals of individual people oftentimes their gaze is kind of confronting you staring right back

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at you and then together they become this really beautiful uh collective portrait of a community or

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kin um what i quite enjoy about some of these portraits as well are these other little elements that are

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embedded in them so in this painting of connor for example you have this little object in the corner i don’t

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quite know if it’s a toy or maybe a dog’s ball

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so you have any glimpses of the person’s environment

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that might tell you something about them but also leaves uh the narrative open-ended you kind of have to

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fill in the details so i think we’ll move to talk about emmanuel’s work which lindsey will show you one of

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his paintings yeah so one of the things that i kind of really appreciate

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and enjoy about uh lauren and emmanuel’s work um they are hung sort of side by side on

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this wall and there’s another view of lauren’s over there and emanuel is kind of further behind me

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they’re both um unframed unstretched and there’s something um

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really interesting to me about the kind of immediacy um that you feel in both of both of the

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works they are both um painting and so i think it’s kind of like an

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interesting um choice that both of the artists have opted to have their have their canvases in kind

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of this raw and immediate sense so emmanuel’s work um

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a lot of his practice stems from his experience of coming to canada from nigeria so when he came to canada he was

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expecting this sort of perfect utopia of a country

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when he got here of course he he came to the realization that that is definitely not the case um and

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he recognized that you know canada struggles with the same sort of colonial

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um and racist uh histories uh and current uh situations that a lot of

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countries are also facing and so his kind of interest um

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in utopia in seeking utopia in creating utopia and how you kind of

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find it and maybe explore that within your own life and so that’s led him

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to be very interested in um in edmonton in particular in the river valley and

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how that sort of outdoor idyllic space

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is used um for for leisure but is also used um for living in that there’s lots

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of folks that kind of make uh their home in camps along the river valley and so looking at this sort of strip of

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land from these very very different perspectives this also led him to be very interested in um

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backyards i think he has uh just a very kind of genuine appreciation and love of

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people that um tend to their gardens and but there’s also something in that um

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you sort of how you’re creating a space for yourself and sort of carving out

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what you might imagine as your own utopia and how you’re able to to produce that

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so i think we’ll just head over um to have a look at uh some video work

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that’s in the exhibition

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so this is a work by taran kanederman taryn often works in print making in

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installation and in video as you can see here so this is one of two works

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and she’s really kind of adopting the visual language of popular videos we might see on youtube

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so the kind of getting ready video or personal routine

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or the how-to video which are really popular like how to boil an egg or how to cut an onion

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but as you watch there’s this really kind of surreal element so in one video she’s cracking and

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frying an egg and as she cracks the egg a little

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the yolk is in the shape of a human brain and then in the next film um she’s drawing a bath

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and the bath bombs are the form of an anatomical heart so for

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each of these she actually made the objects cast them and made them for the videos

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and so a part of her interest is this kind of popular culture of self-care but thinking about how to

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actually get into our interiors or into our bodies

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so they have this really kind of surreal quality to them and kind of comic um as well

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so here we are in um the installation by dwayne martino

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um so here you kind of walk into a darkened room in the gallery and

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you’ll see um this circle of new strange looking

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figures so what you see in the images are actually images of

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trees and so there are two images that have then been paired together

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in the the middle that kind of give sort of this mirror like image on either side but what that

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effect does is also kind of create

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faces that you see within these trees and the trees themselves sort of become

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these kind of spirits um or spirits of the the forest or kind of individuals um

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so dwayne is really interested in our interaction with the natural

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world um so he is sort of fascinated by

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this world um you know kind of in air codes natural world that’s sort of all around us

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and that’s kind of functioning in in tandem to our everyday lives that we very rarely

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stop and take notice of um so like emmanuel uh dwight is quite

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interested in uh the river valley and so is often taking um walks through the river valley um but

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yeah sees kind of the natural world or the nature that he

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he sees and what he encounters as both fascinating and terrifying

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um and this kind of part of the world that um you know he’s not really

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kind of equipped to fully understand or even come close to be able

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to comprehend so the work itself is also called strange jury and the installation it’s really

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designed for interaction um pretty much with with one person at a time

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where you would kind of be drawn into the circle of figures as you’re standing inside you can then

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sort of turn around and see and really be watched by this

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this sort of strange jury and it’s this kind of uncomfortable sense of of this

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jury that’s you know probably also judging you um at the same time

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so in this section of the gallery there are several works by morgan malenka um so everything that’s

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around me now is is from morgan so morgan is a printmaker but she really kind of tests the

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the limits of what printmaking could be she’s really interested in contemporary

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building materials and so often materials that are quite flimsy or plastic

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or some sort of plastic composite that has um a more luxurious material

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um actually printed on top of it she’s also interested in kind of

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architectural details in our contemporary built environment that often would go unnoticed

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so one of the works that i find that the most interesting of hers are the gate posts and so those are these

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larger works here and so they’re they’re modeled after um

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a fairly common um architectural flourish um that you might see out front

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of a strip mall um or you know kind of at the edge of a parking lot and there are

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these these details that are that are quite familiar um but really finding um

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the history of them um is a little bit difficult and so she’s interested in those kind of

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elements of our everyday that are really everywhere and are recognizable but

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we’re not really paying any attention to them and so what she’s wanting to do is really draw attention to them and

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monumentalize them so what she’s done with the the gate post she’s actually made smaller

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versions of them that we have over here

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and so she’s turned these gate posts into um keychains and so she’s taken

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um you know what you would imagine as you know you can you kind of imagine

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that you would very commonly find such a thing of the eiffel tower

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and things like that and those sort of monumental um recognizable and memorable elements and

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kind of take it this detail that we don’t really think of and

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kind of placed it within the same visual language as that

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okay so this is a video work by gabriel molina and gabriel is really interested in the

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mediation of our experiences through technology so this work was made

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while he was in iceland uh doing a residency and he was spending a lot of time in the

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beautiful outdoors of iceland and filming the world around him and streaming it back home

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using regular social media apps like instagram and twitch but then he became quite

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fascinated in how those apps um distort our imagery by

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their algorithms are compressing and distorting the images we take um so they become

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they become actually these really sort of inadequate ways of documenting and sharing

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our experiences in nature specifically but also more generally um and then he was also i think he’s

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commenting a little bit about um the tourism industry particularly iceland and the

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hashtag my stopover which was quite prevalent a few years ago

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promoting iceland as a place to visit and as a place to stop while you’re flying somewhere else

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and how these tourism campaigns that are really aggressively

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promoted through social media actually really impact our choices and what we decide to do in

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the world okay so this is a work by tiffany shaw collins

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and tiffany is an artist in the city but also an architect so she’s someone that’s quite interested in the built environment and she has

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quite a bit of public art in the city these are works where she is looking

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at familial sites so this example is her mother’s house and

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then we have another set of similar work that’s her grandmother’s house so she has pinpointed these locations that are

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meaningful to her um and her family um in google maps and then used a series

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of computer programs to make these layers

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of images so the nice thing in this exhibition is we are actually showcasing a part of the

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process of the making so here you have the digital image and then she uses a cnc router to make

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this final three-dimensional image in wood um and what’s interesting about tiffany

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is she actually considers those technologies such as the cnc wood router um as a kind of collaborator

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so she doesn’t have full control of what the final image will look like but that

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technology um is a part of kind of has a say in what the final image will turn out so there’s two examples of

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the um digital image and then the final wooden piece

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and in this room um we have two other artists who are also

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using the grid as a kind of thinking about the grid as a formal and conceptual tool

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tool um so we’re gonna go look at some of those now with kim mccollum and april dean

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all right so in this space also um sharing space with tiffany in this room

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of the gallery is april dean on my left and uh kim mccollum has has several works um here

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as well so um yeah as danielle mentioned i think there’s something really interesting

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happening here um with a kind of interest in the grid um so kim is a weaver

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um and uh so we do have some actual weavings of hers and these are our

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paintings and so through her painting she she’s looking at um

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historical weaving patterns and kind of translating them into these monumental um paintings and i

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think offering a really interesting um both archive as

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well as monumentalization of that work that often really goes on

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unnoticed and april here i don’t know if you can see the sort of grid in these

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works um from there but they do have this grid that overlays the

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the entire image and it’s related to the screens that um you would have it in

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like a screen door or in a window on your home so she’s interested in our separation

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as well as interaction with the natural world what you see in the images are plants

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propagating in jars and so april she’s kind of really interested in

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the phenomena of house plants i think is something that um is often sort of

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formatted or described as kind of a typically millennial pastime of um

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having house plants but i think is also something that you’ve seen a real rise in through the pandemic of

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people buying plants for their homes and having more of an interest in their homes but

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also more interest in um caring for for something i suppose

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and so april is propagating plants and sort of sees that

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propagation and also their distribution to friends and family and loved ones

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as kind of an anti-capitalist gesture because the plants of course are like printmaking that

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she’s she’s working with are kind of infinitely reproducible um but then sort of overlaid

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um with that very kind of domestic grid um conveying kind of

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our our own interaction with with plants whether it be within our our own home sort of sitting

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on a windowsill or you know in a garden as you’re sort of peering out

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um into your kind of pseudo-natural environment

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so here we’re just standing in front of a couple of works by tamira’s prayer um so she has several works in the

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exhibition um she is i guess um maybe quite similarly

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to um lauren crazy bull kind of interested in um the history of painting um

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within sort of a western art historical sort of lens and looking at it as something that

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is primarily dominated by um men um and within uh the concepts of

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western art history uh by white men and so she’s interested in kind of

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taking those tropes um of historical and references to historical painting

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where you know you might see some references to uh caravaggio or bacon um

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and kind of those um individuals in in our street and and kind of playing

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with that a little bit yeah so in tamarissa’s painting she’s often painting herself

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or other women she’s met and spend time with um as a kind of response to

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the the patriarchal society she’s grown up in and that has shaped her world view

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um often times the paintings also have this element of violence

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i think speaking to her experiences and to other women’s experiences um and

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kind of undermining what lindsay was talking about these art historical tropes so kind of taking control of their own

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message and story and identity okay so this is the final artist in our tour of the scene this is work by

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casey campbell and casey campbell um often works in

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sculpture and performance um so this work is a little bit different but it’s photographic documentation

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um from work that was happening the very beginning of the pandemic so

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she had a newborn and was also dealing with the grief of the loss of her mother

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and the beginnings of the pandemic and the anxieties around that um so she was

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nursing her child and her regular kind of postpartum anxieties are really exasperated

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by the unknown conditions of the pandemic so worrying about having enough to feed

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her baby if she got sick would her baby have enough nourishment

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so she started pumping and saving that milk in these bags and then using the bags as a kind of

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visual daily diary um so sometimes she’s documenting more mundane things about

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breastfeeding so here you have all the feeding times of the day but then some of the other bags are

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commentary on perhaps the pain after birth or how she’s feeling physically

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or more personal and kind of poetic messages things to her mother for example one of them says when you

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were dying i decided i was going to have a baby so i think with this she’s really mourning the loss of her mother

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the absence of her child’s grandmother so we have just a selection of the few

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months that she was doing this for

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okay so thank you so much for joining lindsay and i on the tour of the scene and we’re going to

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now move into a question and answer period and hope you can stick around

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all right thanks a lot um and yeah i’ll just point out that denial was putting all of

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the artist’s names in the chat so if you are kind of having

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or wondering about the names of the artists they’re all there for you um and yeah if anybody has any any

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questions for danielle and i are questions about the work um please just put it in the chat

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uh and we’ll try to address them as best we can um yeah i guess one of the things that

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um i kind of mentioned in the intro um was that

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uh danielle when you and i were kind of putting together this exhibition i think one of the things that we

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kind of purposely didn’t want to do was sort of define like this is an edmonton style

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or you know this is the only thing that’s happening um in edmonton uh but we were wanting to really kind of

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um you know give a taste of all of the really exciting things that

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that happen here but of course a lot of similarities did come out and so

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yeah i’m wondering danielle if you could share just some of the maybe themes that emerged in the show

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that you found were particularly like exciting or surprising

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i think one for me was a focus on screens and grids um

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so you had talked about in the tour like the relationship between um kim and april but i think there’s

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also a really nice connection between april and gabriel in terms of this sort of technological

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mediation of our experiences of nature um and how um

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using viewing things through screens and devices becomes this kind of imperfect way of recording

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and sharing um our experiences but then also um i think tiffany’s work

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uh is quite interesting because she’s looking at mapping which is this constraining device and especially in edmonton where we are

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a lot of the city is on this grid um but then really kind of undermining that grid

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through these 2d and 3d processes into this final object which i think is

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a bit of a decolonial act when you’re thinking about mapping um but then there’s this relationship too

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with um kim’s work who’s also interested in the grid as this kind of conceptual and

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visual tool um but then she is translating the grid through painting and

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weaving which is ultimately a hand done activity so the grid is then again this not this

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perfect constraining device um so the grid and the screens i thought was really interesting um

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and i really love that one room uh with those three together yeah i don’t know is there anything for

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you yeah well i think like with i think definitely this like mediation through

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screens um and i guess like when i was listening to you on um the tour when you were talking about

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um taryn’s work which i actually hadn’t really kind of put in that sort of category

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um but it’s definitely an aspect of her work as well that i i really didn’t think about until today that you know she’s

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looking at you know kind of the language of youtube videos and and things like that and i think it’s

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super interesting um like we did start planning this

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exhibition and start working on it before the pandemic um it’s been kind of

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postponed and it was supposed to be up a while ago um but i think that you know it’s kind

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of the pandemic has made those elements of the show maybe a little bit more

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urgent feeling and a little bit more important where you know of course i think you

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know before the pandemic you know we did of course also experience a lot of our lives through

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screens and kind of have that kind of play with mediation but i think it comes up um

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especially now that like the majority of our life is getting kind of experienced through

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screens yeah see we do have a question so how much work did you have to select from how many

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artists in edmonton did you get to explore so yeah

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you mentioned this show has been probably two over two years in the making it was supposed to be up about a year ago

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and then was delayed um we probably met with like

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we were just at the time meeting with a lot of edmonton artists um i don’t know probably a lot

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yeah i think it’s a it’s a good question and i mean many many many many artists that

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we’ve met and and i think that there is um i mean there are so many interesting

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um artists working in the city and lots of interesting um practices and you know lots of

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lots of artists that we met that you know they may not have been in the show but you know they’re

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artists that we kind of use that to build a connection with and you know kind of engage with

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with later so yeah we did we did a lot of um a lot of studio visits

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for sure what was i mean of course there were so many people i’d love to have in the show

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um but i think what was nice about what we did was each artist in the show has a lot of

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space um and for some of them they’re working on a greater scale than maybe

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they were before i think like april’s photographs um and casey’s i don’t think had ever

35:15

been that big and dwayne’s installation was quite large even though he’s done similar work before so um while there aren’t a ton of people

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in the show in the end everyone really has you can really see a lot of quite a bit of their practices um from the space

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they have in the exhibition yeah i think like you know when you mention dwayne’s um

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especially i think like that for me was one of the most um kind of like surprising or like

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exciting studio visits that we did um i really wasn’t familiar with duane’s work um before we set out to do

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this show um and yeah i’ve become a huge fan um and i think it was it was nice to

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be able to give um give his work that entire um space and so he could have that

36:04

entire installation really have kind of room to play around

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i should say with that installation that there’s also um you can’t really get it from the the

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video but there is a sound component as well and so it really does kind of make

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um this really kind of like immersive environment and the

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the audio component is is um just found footage from from just found outdoor footage

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that he’s um slowed down and so it kind of adds to this sort of like

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discomfort or creepiness that you might have in that space

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um i have another question so you were talking about screens and

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tech not like thinking about how that has sort of shifted a little bit in the context of this year is there any other work for you that has

36:57

um you’re thinking about differently because we selected it all before the pandemic

37:03

yeah um

37:09

i guess i mean maybe morgan’s a little bit i think like

37:17

you know um there’s also this like huge explosion of

37:22

building happening now and you know like even like the the price of of

37:28

and demand for like all of our building materials has get just like gone through the roof and i

37:33

think so her kind of interest in um cheaper building materials i i think maybe i

37:41

kind of think of her as like a little bit different as well um

37:46

so i have a question here do you think that there is an edmonton

37:52

style or a general direction um in the work you see

37:58

um you stumped

38:11

i do think that there is definitely like an interest in connection to

38:18

a natural world um and i think that that’s that’s not coming out in all of the

38:24

artists but i think that it’s in a lot of artists practices um

38:30

that are in this show but but also you know that are just kind of working in edmonton and i think even you know

38:36

the amount of artists right now that are interested in plants or planting or

38:44

you know as we see with like emmanuel here backyards and back alleys and the river

38:49

valley and um and things like that so but if that’s a style i’m not i don’t

38:56

think so no um yeah one thing i mean this doesn’t have to do with style necessarily but we

39:03

asked quite a few of the artists or we asked all of them and some of them responded about sort of what the edmonton art scene was

39:10

to them and so many people just talked about the community um so the people and the resources

39:19

and the fact that we are you know sort of away from what we might consider more of the big

39:24

art centers and just how much community was important and i and a lot of the artists we chose are

39:29

really kind of important community leaders like april dean running snap or

39:35

kim has a a weaving space on the north side of the city um and so they have these art practices

39:41

but are also just so involved in furthering the arts in the city in other ways through teaching

39:47

and running spaces so again that’s not a style but just something that really came through

39:52

um in this show so um okay we have a question

40:00

um any advice for an early career artist or curator when it comes to navigating through the

40:05

current state of our environment um pandemic do you both have a new perspective

40:11

or new considerations of your curatorial practices that you will continue to consider moving forward

40:18

um i don’t know if this is going to be like a complete answer to your question but i i think

40:25

one of the things that um i was kind of

40:30

maybe surprised by in our like research phase of this exhibition was a lot of it um happened on

40:38

instagram uh and i think you know there is like probably once a

40:44

time where you needed a website as an artist to kind of be visible and and be seen um but

40:51

more and more i think you know and of course now that we’re in a pandemic that you can’t go to

40:56

museums or galleries that everything is also moving um online but yeah like i found that

41:03

you know a lot of even just like finding artists um

41:10

a lot of it did happen like on social media and in instagram in particular

41:17

yeah and i think right now in terms of curatorial practices

41:22

because things are still so unknown i think the sort of doing a lot of large international

41:28

things is more difficult right now and a lot more unknown so i think

41:33

um for me it’s it’s really unfortunate the gallery is closed because almost the

41:38

entire gallery is artists from the city and it really is showcasing how much amazing art we have so um i’m really excited for it to open

41:45

and i think that that is definitely something to consider

41:50

moving forward so um royden mills asked us did the artists

41:55

get to have time together discussing the work as a group and

42:01

so far not really we have done we have gotten together once digitally or

42:06

virtually um kind of as a meet-and-greet but um unfortunately all the things we would

42:12

have done such as an opening and other kind of public events haven’t been able to happen

42:18

um but it would be a really great conversation to hear more the artists and maybe some of the

42:24

connections that they didn’t think of before um yeah and i think that was one of one of

42:30

the things that i kind of appreciated that um in non-pandemic time

42:37

um that we normally we probably wouldn’t have done was like to just get together with just

42:42

the artist like danielle said we had a meet and greet that was online but it was just um just us so typically you know you

42:50

would have a public opening um and have everybody together but it was it was nice to kind of just

42:56

sit down for for a little bit with just the artists

43:02

um did any of these artists study

43:09

in the same place are they self-taught or schooled

43:14

yeah that’s the question well i think several studied at the u of

43:20

a um i’m trying to think of everyone’s biography

43:26

[Laughter] um

43:35

uh yeah i mean several would have studied at the u of a um emanuel right now is currently doing

43:41

his mfa in guelph so i think he’s actually the only artist who isn’t currently in edmonton

43:47

morgan oh yeah morgan i know morgan’s left us

43:52

um yeah so a lot of them would have studied together

43:58

um so you have a question from carolyn how do you curate a show um do you select a topic and then

44:05

artists submit and then you choose

44:11

so some shows are different than others so in this case

44:16

um we were wanting to just do a show about edmonton artists so there wasn’t a theme in mind um which

44:23

i think we kind of discussed and um so it was just about meeting with lots of people and of course we were

44:29

always meeting with local artists but um and then we

44:35

really in this case we really want to show a diverse array of practices so you know we have photo video

44:42

print sculpture painting installation um and then the themes kind of emerged

44:48

from the artists who were really interested in and some of the themes come together when we then placed the work

44:54

um but in this case it wasn’t uh it didn’t start out with a strong

44:59

kind of concept or theme um but yeah i think talk about other shows

45:04

maybe yeah i think every show is curated a little bit differently um

45:11

yeah like sometimes you would kind of start with a theme and then go from there um sometimes you know like with this one

45:18

you start with you know just a region or area where you’re wanting to draw artists from

45:24

or um just the artists themselves and and the theme sort of comes from them

45:32

um yeah i think we’re kind of approaching the end of our time

45:40

um danielle did you want to add anything more about

45:47

any of the artists in the show or um not really i mean i really want to

45:54

say congratulations to all of them i’m really excited about their practices

45:59

and really hope that people can see the show i think um we’ll be sharing

46:04

we all have all these installation shots now so i think a lot of this will be shared more so people can see them

46:10

um but yeah i don’t really have much more to add how about you um no yeah i just

46:17

also would like to congratulate everybody congratulations to you too danielle nice work

46:25

um yeah and so i guess with that we’ll just kind of wrap it up for the day um

46:33

thank you everybody for joining us um i just wanted to draw your attention

46:38

to to one thing we do have a survey um helen is gonna put the survey

46:44

in the chat um for us and if you you know want to offer us any

46:50

feedback um of our events um what more you’d like to see um

46:57

you know times of days days of the week that sort of work for you uh better or worse um you can all you

47:03

can put that in um that google doc um that helen has just put the link for there so please

47:09

if you have a few more minutes um to kind of offer us a little feedback to help us uh with future programs

47:17

and other than that um thanks everybody and enjoy your saturday

47:22

thank you

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