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From YouTube: Boulder Arts Showcase Ep.1
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A
B
Hi,
my
name
is
nikita
kulam
and
today,
I'd
like
to
share
with
you
one
way
to
create
batik
effect
on
canvas
with
oil
paint,
unlike
traditional
batik
methods,
where
you
would
first
apply
wax
to
a
piece
of
fabric
submerge
the
fabric
in
colored
eye,
let
it
dry
and
then
remove
the
wax
with
heat
such
as
an
iron.
With
this
method,
you
would
first
apply
paint
to
the
surface
of
the
canvas
pour
on
wax,
while
the
paint
is
still
wet,
letting
it
dry
and
then
removing
the
wax
to
reveal
a
white
surface
underneath.
B
B
B
B
B
The
soy
wax
takes
about
10
minutes
to
melt.
I
like
using
this
wax
because
it's
inexpensive
and
it's
easy
to
remove
with
a
palette
knife
other
waxes
like
paraffin
or
beeswax.
They
tend
to
stick
a
little
bit
more
to
the
canvas
and
that
might
be
okay
if
you
want
wax
left
over
on
the
surface,
but
I
like
to
remove
it
all.
So
I
stick
to
the
soy
wax.
B
You
can
see
here
how
I'm
pouring
wax
onto
the
canvas
with
the
little
aluminum
cups.
This
definitely
is
not
the
only
way
to
do
this,
I'm
trying
to
create
splashes
and
that's
why
I'm
using
a
greater
amount
of
wax.
If
you
want
more
specific
lines,
you
can
use
the
batik
pens
and
I'll
add
a
link
to
that
below.
You
can
even
use
candles
if
you
want
perfect
little
circles
dropped
onto
your
canvas.
B
B
B
So
I
think
this
covers
most
of
the
basics.
If
you
have
any
questions,
please
let
me
know
in
the
comments
below
and
I
hope
I
have
the
answer.
I
discovered
this
through
trial
and
error
and
I'm
sure,
if
you
play
around
a
little
bit,
you
will
discover
your
own
methods
and
something
that
complements
your
way
of
working.
C
Okay,
well
without
further
ado,
I'm
going
to
introduce
tonight's
panelists
and
have
them
just
do
a
brief
introduction
of
themselves
and
then
we'll
kind
of
jump
into
the
conversation.
So
we
have
I'll
list
them
all
first
and
then
I'll
I'll
ask
you
to
introduce
yourselves.
So
we
have
danielle
c
walker.
We
have
erica
pacha.
C
D
Greetings
everybody
good
evening.
My
name
is
danielle
c
walker.
I
am
papa
lakota
from
the
standing
rock
sioux
nation,
but
reside
here
currently
in
denver
colorado,
I'm
an
artist,
a
writer,
a
mom
and
work
amongst
the
community.
My
passion
lies
within
community
work,
I'm
the
chair
of
the
denver
american
indian
commission
through
the
city
and
county
of
denver.
D
Of
course,
I'm
one
of
the
newest
board
members
of
streetwise
and
so
excited
to
be
part
of
that
boulder
community
and
I'm
also
starting
a
indigenous
creative
collective
in
the
dairy
art
center
within
boulder,
and
I'm
really
excited
to
bring
an
indigenous
centric
program
to
to
the
boulder
community.
Thanks
for
having
me
here,.
E
E
Over
the
last
couple
years,
I've
been
weaving
my
work
into
social
arts
and
social
practice,
so
working
with
communities
of
indigenous
activists
this
year,
I'm
going
to
be
working
with
undocumented
immigrants
and
with
refugees
to
create
large-scale
representations
of
their
communities
that
give
them
voice
and
give
them
a
platform
to
be
able
to
share
their
stories
so
yeah.
Thank
you
so
much
for
having
me.
F
Hey,
what's
up,
my
name
is
adrie
norris.
I
am
a
portrait
and
mural
artist
here
in
denver
for
the
last
well,
five
years
now
I've
been
focusing
on
portraits
of
women
in
history,
and
so
that
is
what
the
vast
majority
of
my
work
is
about,
because
that
is
a
subsection
of
the
society
and
half
of
our
society.
That
is
largely
ignored,
overlooked
and
so
on.
F
So
elevating
the
voices
of
women
and
elevating
the
voices
of
people
who
are
marginalized
and
putting
them
up
in
places
where
folks
can
see,
ask
questions
and
learn
things
whether
they
wanted
to
or
not.
Thank
you
for
having
me.
C
I
also
forgot
to
mention
that
you
could
also,
if
you'd
like
to
mention,
if
you
have
a
mural
from
last
year's
streetwise
folder,
where
where
people
can
find
that
and
audrey
yours
is
on
the
wall
at
lolita's,
right,
yeah,
the
wallable,
lolitas
and
pacha.
You
have
yours
on
the
fence
at
on
what
street
is
that
20
28.
unfolsom.
G
Hi
everybody.
Thank
you
so
much
for
having
me,
I
really
appreciate,
being
here,
I'm
a
mural
artist
and
a
commissioned
painter.
I
I
focus
a
lot
of
my
work
actually
towards
grow
love
international,
which
is
an
organization
that
I
founded
in
2018
to
support
mentor
female
fem,
identifying
non-binary
artists
to
be
able
to.
G
Am
co-founder
of
the
babe
waltz
mural
festival,
which
will
be
going
into
our
second
year
this
year?
And
I
I
believe
I
was
in
the
streetwise
mural
festival's
first
year
and
I
worked
with
chelsea
lewinsky
and
the
dinosaur,
and
we,
I
can't
remember
what
street
were
on.
But
we
did
a
wonderful
mural
about.
G
It
had
autumn
tear
and
greta
sunberg
in
it
and
it
was
focusing
on
climate
climate
crisis,
the
climate
crisis,
so
so
yeah,
I
think
that's
it.
I
apologize
for
my
studying
I'm
working
on
a
mural
project
right
now.
So
that's
why
I'm
in
my
car,
but
thank
you
so
much.
H
H
I'm
working
on
a
project
right
now
that
seeks
to
reclaim
space
in
gentrified
neighborhoods
in
order
to
retell
the
stories
of
folks
who
are
being
pushed
out
of
that
space
through
augmented
reality
and
street
art.
So
I'm
excited
to
be
building
that
and
using
technology
to
give
voice,
voices
back
and
power
back
to
communities
who
are
losing
it
because
of
funding,
and
I
have
murals
all
over
denver
and
I
painted
for
streetwise
on
the
back
of
the
boulder
on
the
back
of
the
fox
theater.
Excuse
me
with
just
and
our
piece
was
also
tech.
Inspired.
H
So
yeah
I
come
from
the
music
industry,
so
I've
really
just
been
doing
a
lot
of
work
for
the
last
three
years,
similar
to
grow
love
just
preparing
folks
who
are
going
to
face
some
pushback
in
their
careers
teaching
them
how
to
hold
their
ground,
how
to
carry
themselves
professionally
in
some
of
those
situations
that
they
will
inevitably
face
and
mentoring.
Young
women
entering
the
music
space
and
now
entering
the
art
space,
specifically
focusing
on
art
and
tech
in
spaces
like
augmented
reality
and
now,
with
the
craze
with
nfts
as
well.
C
Awesome,
thank
you
all.
I'm
just
so
excited
to
have
you
all
here.
You
all
are
doing
great
things
and
yeah
just
excited
to
get
into
the
conversation.
So
the
first
thing
I
wanted
to
talk
about
since
this
is
about
centering
emerging
artists
is-
and
I
feel
that
you
all
have
emerged
already
and
you're
really
out
there
in
the
community
and
and
doing
your
things.
So
I
just
want
to
start
with
what
what
was
it
like
in
the
beginning?
C
Even
if
that's
like
your
beginning
journey
as
an
artist,
how
you
came
to
art
or
maybe
when
you
started
knowing
you're
an
artist
but
really
coming
coming
out
as
an
artist
and
any
any
kind
of
personal
story,
you
have
that
you
can
share,
possibly
some
like
inspirations
or
allies
that
you
had
in
that
as
well
in
the
beginning
yeah.
If
anyone
wants
to
jump
in
or
I
can
call
on
someone.
G
I
don't
mind
jumping
in
thanks
so
the
beginning.
Well,
I
I
you
know
first
mural
I
ever
did
was
when
I
was
16
years
old
and
then
I
would
do
a
mural
about
every
two
or
three
years
for
the
last.
G
You
know
20
years
up
until
about
four
years
ago.
I
I
liked
doing
murals,
but
I
hadn't
really.
I
hadn't
really
found
a
big
ins,
inspiration
for
it.
Until
a
friend
of
mine
took
me
into
the
wynwood
district
in
miami,
I
was
just
down
there
for
actually
a
consciousness.
G
Healthcare
training
that
I
was
attending
and
she
just
brought
me
into
the
wynwood
district
and
it
completely
changed
my
life.
I
I
had
no
idea
that
murals
on
that
scale
and
that
technicality
really
existed-
or
at
least
maybe
I
just
wasn't
my
eyes-
weren't
open
to
it
and
and
really
from
that
point
on.
So
that
was
2017.
G
I
that's
all
I
wanted
to
do
so.
I
taught
myself
how
to
spray
paint
and-
and
it
was
it
was
rough
in
the
beginning,
it
was
hard
to
get
places
to
paint
to
practice
painting.
G
It
was
hard
to
get
people
to
you
know
to
show
you
a
technique,
but
but
I
was
able
to
to
find
some
friends
in
the
community
and
but
for
the
most
part
you
know
it
was
really
a
lot
of
it
had
to
do
with
my
own.
G
My
own
drive
you,
you
know.
If
you
want
to
get
into
it,
you
really
you
gotta,
want
it
really
badly
and-
and
you
also
you
do
need
friends.
So
that's
why
I
started
the
girl
of
international
was
because
you
know
they're
just
first
of
all,
there
aren't
a
lot
of
females
in
the
industry
and
we
need
more.
We
need
far
more
females
and
non-binary
people
working
in
the
industry,
and
so
that's
why
I
started
that,
but
also
because
sometimes
people
just
don't
want
to
share
their.
G
G
Everybody
should
know
how
to
paint
on
walls
I
feel
like
that
is
one
of
the
most
beautiful
expressions
that
we
we
are
capable
of
as
human
beings
and
so
and
so
yeah
the
beginning
was
rough,
but
but
definitely
find
your
find
your
you
know
find
people
who
who
want
to
help
you
and
I'm
that's
that's
why
I'm
here
and
I
teach
workshops-
I
taught
a
workshop
for
streetwise
last
year
and
I
am
hoping
to
do
the
same
this
year.
So
yeah.
C
E
I
started
doing
photography
when
I
was
in
high
school
and
when
I
was
in
my
early
20s,
I
lived
down
in
what
is
now
called
the
rhino
district.
But
then
it
was
just
a
bunch
of
old
warehouses
and
super
run
down
and
we
would
run
around
with
stickers
and
papers
and
like
pace
things
up
and
paint
things
and
put
symbols
everywhere,
and
it
was
just
an
incredible
way
to
just
get
our
expression
out,
especially
as
young
artists
and
and
that's
when
I
really
fell
in
love
with
this.
E
This
aspect
of
art
on
the
streets
and
how
art
is
available
to
everybody
and
it's
it.
It
really
created
the
foundation
of
how
it
is
that
I
live
my
life
and
that
creating
art,
that's
like
accessible
like
turning
turning
alleys
into
galleries
and
turning
the
the
community
spaces
into
this
form
of
expression,
and
so
about.
Six
years
ago
I
learned
how
to
start
printing
my
photographs
really
large
and
printing
them
in
sections
and
it's
kind
of
like
glorified
wallpaper
pasting.
E
But
at
the
same
time,
what
it
did
for
me
is
like
take
these
very
intricate
photographs
that
are
double
exposed
in
camera
and
and
blew
them
up
so
big,
where
all
of
a
sudden
there
was
all
this
new
texture
and
details
and
things
that
I
couldn't
see
in
the
smaller
image
and
these
worlds
that
people
could
step
into,
and
it
became
this
this
portal
into
into
these
worlds
of
communication,
where
I
would
have
dialogues
with
people
and
and
just
people
coming
across
it
on
the
streets
and
and
just
having
this
this,
this
way
of
being
able
to
create
a
connection
with
people
that
I
didn't
even
know
and
and
that
it
was
accessible
to
everyone.
E
That
was
like
one
of
the
big
things
that
I
was
getting
out
of
it
at
the
beginning
of
these
larger
murals
that
I
was
printing,
and
so
I
too
feel
the
same
way
about
you
know
like
as
gross
said
girlov
said
that
you
know
it
was.
It
was
difficult
to
like
find
walls,
I
mean
honestly,
I
actually
still
have
kind
of
a
hard
time
finding
walls.
Sometimes
you
know
it's
it's
building
relationships.
E
A
lot
of.
That's
what
I
found
it
is
is
like
getting
to
know,
building
owners
being
able
to
like
go
and
knock
on
people's
doors
being
able
to,
like
you
know,
reach
outside
of
your
comfort
zone,
in
order
to
develop
these
these
connections
with
people
and
and
for
them
to
trust
you
putting
something
up
on
on
their
walls,
and
so
something
that
I've
been
really
finding
as
the
scene
is
growing
and
as
streetwise
is
happening,
is
like
how
to
weave
in
the
social
conversation.
So
before
it
was
like.
E
You
know,
as
building
beautiful
images
of
of
women
in
in
their
you
know,
deeper
divine
expression
and
and
then
starting
to
bring
that
into
these
deeper
conversations
with
communities
that
don't
have
a
chance
to
speak
about.
You
know,
what's
happening
in
the
world
as
much
and
what
I
was
finding
in
that
was.
E
There
was
just
a
deeper
level
of
meaning
that
was
starting
to
show
up
meaning
for
them,
meaning
for
me,
meaning
for
the
people
who
were
viewing
it,
and,
and
so
that's
how
it
or
that's
why
it's
become
important
for
me
to
to
have
this
opportunity
to
weave
into
the
social
conversation,
and
it's
brought
up
all
sorts
of
things
like
talking
about
social
issues.
Isn't
just
like
all
glorified.
I
mean
people
have
issues
around
these
issues
and
I've
been
challenged
and
pushed
and
put
down.
E
And
you
know,
people
don't
always
understand
why
you're
speaking
about
some
of
these
things-
and
so
you
know
a
lot
of
it-
is
like
a
constant
learning
experience
on
my
end
to
really
like
learn,
be
open
to
learning
be
open
to,
like
maybe
not
hearing
things
or
hearing
new
things
that
I
didn't
know
about
before
and
being
willing
to
like
look
at
parts
of
myself
as
like
a
privileged
white
woman
in
america,
and
you
know
how
it
is
to
bridge
the
conversations
into
people's
worlds,
and
so
I
just
feel
like
this
is
an
awesome
opportunity
for
all
of
us
to
create
more
conversation
and
be
willing
to
look
at
ourselves
and
see
ourselves
and
and
create
more
conversation.
C
Yeah,
I
think
that's
a
good
question.
I
feel
like
pacha,
touched
on
that
or
will
touch
on
the
journey
of
that.
Just
in
her
youth
was
not
getting
paid
to
do
it.
It
was
just
for
fun
right
like
it
was
absolutely
not
a
paid
thing,
but
obviously
we're
with
these
professional
artists
we're
now
in
that
realm.
So
if
anyone
wants
to
speak
to
that
as
well.
F
Sure
I
can
go
there.
Well,
I
kind
of
want
to
roll
back
to
the
earlier
question,
because
my
approach
to
especially
mural
work
is
very
different.
F
I
grew
up
as
a
kid
in
the
bronx
in
the
80s,
and
you
know
I
saw
like
the
graffiti
and
stuff
all
over
the
place,
and
you
know
me
and
my
friends
used
to
write,
do
bubble
letters
and
you
know
try
to
figure
out
like
what
our
style
would
be,
but
I'm
also
you
know
the
child
of
immigrants,
and
that
was
not
something
I
was
gonna
be
allowed
to
do
and
so
getting
caught
up
into
that
space
of
you
know
like
respectability
politics,
especially
that
affects
black
people
in
the
us,
but
if
you're
an
immigrant,
it's
like
doubly
or
tripoli.
F
So
I
knew
that
like
running
the
streets
and
painting
on
walls.
You
know
in
that
way
that
a
lot
of
folks
find
it
organically
was
not
going
to
be
an
option
for
me,
but
it
was
something
that
I
was
kind
of
kept
track
of.
You
know
something
I
was
always
fascinated
by.
I
would
watch
videos,
learn
the
skills,
but
not
actually
be
able
to
apply
them
until
very
recently,
and
it
was
really
my
studio
artwork.
That
became
the
segway
into
the
mural
space.
F
By
that
time
you
know
which
is
really,
I
would
say
I
did
the
first
one
in
about
2018,
but
really
got
going
last
year.
You
know
I
was
already
a
professional
artist.
I
was
already
selling
artwork.
I
was
already
making
money
off
of
my
art
and
so
being
able
to
expand
into
the
space
of
you
know
doing
these
large
pieces
on
walls
doing
murals.
F
That
was
something
that
sort
of
came
as
part
of
the
business
aspect
of
me
doing
that
kind
of
work,
and
so
you
know
I've
been
very
fortunate
in
that
the
messaging
of
my
art
was
something
that
people
wanted
and
they
wanted
to
see
blown
up
at
a
time
that
everybody
is
was
looking
for.
Murals,
you
know
during
the
pandemic,
everybody
wanted
outdoor
things
because
we
couldn't
be
inside.
F
We
couldn't
be
in
galleries,
we
couldn't
be
in
museums,
we
can
be
in
coffee
shops
in
the
ways
that
we
were
accustomed
to,
and
so
you
know
I
was
actually
able
to
just
really
take
advantage
of
the
circumstances
that
led
to
the
sort
of
rise
in
the
desirability
of
murals
and
as
for
being
paid.
You
know
like
I
was
already
accustomed
to
setting
rates
for
things
for
my
artwork,
and
so
I
just
continue
doing
that.
F
I
moved
to
colorado
because
well
I'll
just
give
you
a
very,
very
brief
overview
of
my
past,
born
in
barbados,
moved
to
new
york
moved
from
new
york
to
new
mexico.
When
I
was
12.
went
from
new
mexico
to
the
military.
While
I
was
in
the
military,
I
was
stationed
in
hawaii
when
it
was
from
there
that
I
decided
that
when
I
went
out
got
out,
I
was
going
to
go
to
art,
school
and
colorado.
F
C
Great
well,
daniella
and
ali.
If
you
want
to
speak
to
the
beginning
of
your
your
artistry
or
the
next
kind
of
thing
that
we're
gonna
jump
into,
which
is
just
building
a
body
of
work.
So
if
either
of
those
things.
H
I
went
to
school,
for
I'm
from
grew
up
in
washington
dc
also
immigrated
into
the
u.s
when
I
was
five
lived
in
colorado
very
briefly,
at
a
time
where
my
parents
accents
were
not
very
accepted
in
the
town
that
we
lived
in,
so
we
moved
to
a
more
culturally
diverse
city,
washington
dc
and
I
went
to
school
for
other
things
and
then
found
myself
kind
of
in
a
space.
H
H
Building
sets
turned
into
a
desire
for
me
to
continue
canvas
painting.
I
became
the
art
coordinator
for
a
lot
of
large
electronic
musicians,
took
me
around
the
country
and
it
was
a
wonderful
experience.
But
at
some
point
I
felt
like
I
wasn't
being
paid
my
worth
and
I
experienced
a
lot
of
pushback
because
I
was
a
female
in
the
industry
where
just
people
didn't
want
to
listen
to
my
ideas.
H
And
then
two
years
ago
I
got
started
painting
murals,
because
I
went
to
california
with
anna
charney
for
a
music
event
that
I
was
working
watched.
Her
paint
a
mural
and
she
kind
of
just
showed
me
a
couple
of
can
techniques
and
then
from
there
I
just
came
back
to
denver
and
started
painting
non-stop
and
I
did
paint
a
few
walls
for
free.
H
You
know
just
doing
what
I
had
to
do
to
show
people
a
couple
of
things
and
then,
once
I
had
a
couple
things
under
my
belt
to
show,
I
knew
that
it
was
time
to
start
charging
for
what
I
was
doing
and
that's
how
I've
slowly
been
able
to
build
it.
I
think
it
can
be
intimidating
for
artists
that
are
young
to
see
people
charging
a
lot,
but
you
have
to
remember
they
started
charging
very
little
and
they
worked
really
hard
to
have
proof
that
they
deserved
that
higher
pay
grade.
C
D
Sure
I
I
feel
like
I'm
an
emerging
artist,
so
I'm
learning
so
much
just
by
listening
to
other
finalists,
I'm
not
a
trained
artist.
I'm
self-taught!
I
come
from
a
family
of
artists.
My
father
was
an
artist.
We
were
all
self-taught
and
so
I've
always
I
even
as
a
I've,
been
a
creative
person.
D
Since
probably
since
the
beginning
of
my
existence-
and
I
can't
think
of
a
time
where
I
wasn't
always
creating
something
in
some
way-
and
I've
been
a
very
quiet,
a
quiet
person
vocally
but
a
very
loud
thinker,
and
so
the
and
I
come
from
a
culture
in
a
community
where
we
don't
express
emotion
to
each
other.
We
don't
localize
that
so
my
outlet
has
always
been
to
like
express
that
through
art
and
I'm
a
multimedia
artist.
D
J
D
By
a
friend
romell,
you
guys
might
know
who
romelu
she's
a
denver
based,
abstract
artist
and
asked
me
hey.
Would
you
be?
Would
you
be
open
to
doing
a
mural
with
me
and
I'm
like
I
don't
know
I
don't.
I
don't
even
know
where
to
start
or
where
to
begin,
but
the
beauty
of
babe
walls
is
what
I've
learned
in
that
journey
was
not
only
connecting
with
women
but
women,
helping
and
supporting
one
another
and
really
just
helping
to
god.
I
know
I've
taken
some.
D
Some
a
spray
can
workshop
with
grow
love
before
I've
even
brought
my
son,
and
it's
just
really
about
attaching
yourself
to
people
around
you
to
help
support
you
and
and
get
out
of
your
comfort
zone
and
challenge
yourself.
I've
only
been
doing
you
know
like
studio
work,
small
thing
small,
you
know
canvas
things
like
that.
So,
but
I
will
say
once
you
do
a
mural
at
me:
it's
addicting.
I've
done
several
several
other
murals
since
then,
and
I've
been
fortunate
enough
to
be
paid
on
all
of
those.
D
I
kind
of
the
approach
that
I
take
to
a
lot
of
my
art
is
inspired
by
my
culture,
inspired
by
my
identity
as
a
woman
as
an
indigenous
woman
as
a
person
of
color,
and
then
this
kind
of
walking
between
two
worlds.
You
know
growing
up
and
living
on
a
reservation,
which
is,
I
kind
of
compare
it
to
living.
D
You
know
in
a
third
world
island
among
the
biggest
economy
on
earth
to
now
residing
in
a
urban
setting
and
having
to
navigate
kind
of
both
those
worlds
and
my
identity
and
what
that
means
and
how
I
keep
my
culture
and
traditions
intact
while
residing
in
this
contemporary
space.
D
So
a
lot
of
my
art
is
inspired
by
that
and
I
I'm
always
experimenting.
I
do
bead
work.
I
do
leather
work,
I
work
with
bone.
I
work
with
all
kinds
of
kind
of
traditional
materials
and
I
like
to
fuse
the
two
and
kind
of
play
around
with
that
and
right
now,
I'm
really
inspired
by
storytelling
on
based
on
historical
things
that
have
happened
within
american
history,
particularly
indigenous
american
history,
and
so
I'm
doing
a
series
of
women
and
telling
stories
through
each
of
these
pieces.
D
Most
recently
I
did
one
about
the
decimation
of
the
america,
the
buffalo
and
how
there
was
only
24
left
when
there
was
millions
at
one
point
and
I'm
also
working
on
a
lot
of
activism
in
terms
of
missing
and
murdered
indigenous
women,
and
that's
something
that
I'm
strongly
passionate
about.
I've
always
grown
up
wondering.
Is
it
going
to
happen
to
me?
Am
I
going
to
be
kidnapped?
Am
I
going
to
be
murdered?
One
in
four
indigenous
women?
D
Will
murder
go
murdered
or
missing,
so
it's
a
very
high
rate
and
I'm
very
strongly
passionate
about
that
and
I'm
actually
curating
a
missing
and
murdered
indigenous
women
and
girls
exhibition
that
will
open
in
may
at
the
derry
heart
center.
So
I
hope
everybody
can
maybe
keep
pocket
that
information
and
check
that
out
to
learn
a
little
bit
more
but
yeah,
I'm
still
on
a
journey.
I
think
I'll
always
be
on
a
journey
of
learning,
exploring
understanding
what
it
means
to
be
an
artist.
I
never
really
fully
feel
like.
D
I
I
still
I
I
still
get
like
I'm
still
in
awe
when
people
are
like.
I
want
to
buy
your
piece
because
I
just
don't
feel
like
I'm
like
mine.
Why
am
I
I
don't
know?
I
just
don't
fully
feel
like.
D
D
It's
going
to
open
on
may
8th
for
a
private
viewing
for
people
that
have
been
personally
affected
and
then
it'll
be
open
to
the
public.
After
that,.
C
Does
anyone
else
want
to
speak
about
kind
of
building,
a
body
of
work,
and
I
love
what
danielle
is
talking
about?
C
Just
like
your
own
context,
like
your
relationships,
like
all
of
the
things
that
make
you
who
you
are,
who
you
are,
is
what
makes
you
an
artist
as
well
and
like
so
just
kind
of
what
else
has
have
you
had
to
do
to
kind
of
get
your
together
for
lack
of
a
better
expression
and
build
a
body
of
work,
because
I
think
that's
something
that
we
don't
talk
about
as
much
is
how
that
happens,
and
I
think
that's
probably
because
it's
it's
not
like
a
linear
process,
it's
very
it
can
be
slow
and
it
can
be
like
these
different
directions.
C
G
Yeah
I'll
speak
on
that,
so
when
I
decided
I
knew
that
I
just
wanted
to
do
murals.
I
I
moved
to
a
studio
space
that
had
a.
G
Shed
in
the
back
outside,
and
I
asked
the
owners
of
the
studio,
if
I
could
utilize
the
walls
and
the
sheds
so
that
I
could
practice-
and
they
were
more
than
happy
to
allow
me
to
do
that.
So
I
felt
very,
very
fortunate
to
be
able
to
be
in
that
situation
where
I
could
do
that,
and
I
feel
like
that.
G
Oftentimes
is
a
huge
barrier
is,
is
having
a
space
where
you
feel,
first
of
all,
as
a
as
a
woman
where
you
feel
safe,
painting
and
and
no
one's
gonna
bother,
you
and
you're,
not
you
know,
you're
not
gonna
get
in
trouble
for
it,
and
that's
you
know.
G
That's
where
I
just
I
I
painted
probably
you
know,
10
to
20
different
murals
on
that
thing
and
practiced
with
letters
and
graffiti
work,
and
did
that
for
a
long
time
and
always
took
pictures
of
it
and
then
just
kind
of
just
saw
how
how
my
work
was
progressing
and
and
and
learning
from
from
from
what
I
was
doing.
Every
time
that
I
worked
and
then
also
yeah.
G
G
I
was
not
invited
to
be
there,
but
I
did
get
permission
and-
and
I
did
my
my
largest
my
first
first
large
scale
piece
ever
and
I
did
it
in
like
four
hours
and
I
was
so
nervous
and
I
used
like
three
cans
of
spray
paint
and,
and
so
it
wasn't
good.
But
I
also
think
that
you
know
you
get
creative.
G
You
get
really
creative
when
you,
when
you
just
want
it
so
badly,
but
I
think
that
you
know
having
these
discussions
about
how
to
support
emerging
artists
is
really
important,
because
I
feel
like
a
lot
of
the
time.
G
You're
you're
so
self-involved
when
you're,
when
you're
first
starting
that
you're
really
not
thinking
about
the
responsibility
of
being
in
in
spaces,
and
you
know
that
that's
been
a
personal
journey
of
mine
which
I'd
like
to
you
know,
really
relate
and,
and
that's
why
I
like
to
mentor
other
other
artists
too,
because
first
of
all,
like
you
know,
if
you're
painting
in
a
festival,
you
know
you
know
there
has
to
be
some.
G
There
has
to
be
a
lot
of
respect
around
around
participating
and
also
you
know
you
should
get
paid
like
no
matter
what
you
should
get
paid.
You
know
supporting
artists,
no
matter,
you
know
where
they're
coming
from
to
to
get
them
from
the
net.
G
From
this
point
to
the
next
step
is
really,
I
feel
like
really
really
important,
and
I
know
that
we
focus
that
on
that
and
babe
wells,
we
pair
us
kind
of
senior
artists
with
with
emerging
artists,
so
that
so
that
the
the
the
mentorship
and
the
the
ingrained
you
know
people
are
learning
from
each
other.
People
are
teaching
each
other
stuff,
it
just
happens
so
naturally
and
then
and
then
people
are
getting
paid
for
their
time.
G
So
so
yeah,
I
you
know,
you
know,
I
just
opened
a
new
studio,
that's
a
warehouse
where
I
finally
have
space
to
be
able
to
have
my
own
workshops.
I've
been
doing
workshops
all
over.
You
know
the
city
for
for
about
a
year
now,
and
now
I'm
gonna
really
start
bringing
people
into
the
studio
regularly.
G
That
way,
you
know
there
a
lot
of
people.
You
know
really
can't
invest
in
the
expensive
paint,
so
the
paint
is
provided
the
the
walls
provided,
the
mentorship
the
the
teaching
is
in
you
know,
all
of
it
is,
is
a
part
of
you
know,
kind
of
the
responsibility
of
being
a
senior
kind
of
person
in
the
mural
arts.
G
I
feel
at
this
point,
but
yeah
just
finding
wall
finding
a
wall
and
just
saving
saving
as
much
money
you
can,
if
you
can
put
towards
spray
paint
or
or
even
reaching
out,
say
I
really
want
to
do
this.
I
can't
you
know,
I
can't
really,
you
know
flip
the
bill
for
for
the
cost
of
this.
Like
you
know,
people
people
donate
paint
to
me
all
the
time
too,
because
they
know
they
know
that
how
I,
how
involved
I
am
in
mentorship
and
how
important
that
is
so
just
reach
out.
G
C
Yes,
I
love
that
the
mentorship
aspect
of
babe
balls
and
of
what
you're
doing
with
your
work
absolutely
necessary
and
can
be
a
part
of
your
building,
your
body
of
work
and
practice.
So
does
anyone
else
want
to
speak
to
kind
of
like
what
your
practice
has
looked
like
as
an
artist
and
how
that
came
to
be
maybe
involving
spaces
or
someone's
asking
about
music
festivals?
C
H
Can
speak
on
music
festivals,
especially
so
oh
and
mural
festivals,
so
so
for
music
festivals
in
particular,
there
is
a
lot
of
live
painting,
so
many
incredible
artists
in
the
world
have
begun
their
painting.
Journeys
live
painting
at
festivals.
You
do
do
it
in
exchange
for
a
ticket,
but
you
can
bring
your
own
merchandise
and
sell
it
there.
H
I
think
it's
an
excellent
way
to
get
your
name
out
and
honestly
they're,
one
of
the
best
networking,
like
just
opportunities
that
you
can
have
people
there
are
in
they're
in
a
positive
mood.
They
want
to
learn.
They
want
to
experience
art
and
they're
so
willing
to
patronize
artists
in
those
spaces,
so
definitely
just
apply.
Just
like
for
perspective.
When
I
first
started
my
first
my
first
year
I
applied
to
76
things.
H
I
knew
I
wouldn't
get
into
any
of
them
and
I
got
into
one
and
the
year
after
that
I
applied
to
every
single
one,
the
second
time
and
I
got
into
six
and
last
year
I
applied
as
an
artist
that
with
a
portfolio
I
applied
to
34
festivals
and
I
got
into
five.
So
it
really
just
is
that
hunger
that
grow
love
mentioned.
You
have
to
want
it
really
bad,
and
you
have
to
understand
that
rejection
is
not
personal.
It's
just
an
opportunity
to
grow
within
that.
H
To
this
final
narrative,
and
how
can
I
tell
that
story
in
pockets,
and
then
I
start
thinking
about
how
do
I
build
the
network
to
do
that?
Is
it
a
music
festival?
Is
it
a
mural
festival?
Is
it
working
with
a
partner
like
a
brand
that
tells
that
story
or
with
a
group
that
are,
you
know,
telling
stories
in
the
way
that
people
are
in
this
group
so
to
push
that
forward?
H
I
think
just
the
key
within
that
space
is
is
try
just
apply
to
everything
and-
and
you
never
know
where
your
first
opportunity
is
going
to
come
from
and
as
long
as
you
show
up
to
every
single
opportunity
with
a
hundred
percent
and
you're
professional
and
you
are
available
whenever
they
need.
You,
then,
more
often
than
not
a
lot
of
these
people
will
accept
you,
because
you
are
easy
to
work
with
rather
than
the
very
best
in
the
world.
I
know
within
my
own
curation
experience,
especially
within
festivals.
C
Thank
you
for
those
insights.
I
think
audrey
had
her
hand
done
yeah.
F
Yeah
so
originally,
I
was
going
to
speak
to
the
idea
of
building
a
portfolio,
and
that
was
something
that,
especially
when
I
was
in
art
school
that
was
definitely
drilled
into
us,
like
we
had
to
have
a
portfolio
and
a
demo
reel,
because
I
studied
animation
by
the
time
we
graduated
and
the
thing
that
I've
learned
over
the
years
is
that
it's
always
well
and
good
to
say
that
I'm
gonna
have
a
portfolio.
But
the
question
is:
what
do
you
want
to
work
on
like?
What
do
you
want?
F
Your
actual
work
to
be
because
when
I
was
an
animation
student,
my
portfolio
was
full
of
life,
drawings
and
figures
studies,
and
it
was
full
of
you
know,
just
like
character,
designs
and
things
of
that
nature.
But
ultimately
I
wanted
to
be
a
fine
artist
and
I
wanted
to
be
a
portrait
artist,
and
so
I
had
to
shift
gears.
F
You
know,
after
doing
a
bunch
of
work
that
I
didn't
actually
enjoy
and
start
actually
building
a
portraiture
portfolio
which
then
led
to
you
know
me
doing
portrait
work
for
people
and
so
like
painting
a
family
members
or
couples,
or
you
know
whatever
the
case
may
be,
and
so,
when
I
got
to
the
place
where
I
am
now,
which
is
where
I'm
predominantly
working
on
images
of
you
know,
women
in
history,
my
portfolio
was
basically
me
booking
an
art
show,
and
so
once
I
book
a
show,
then
I've
got
to
create
a
whole
new
body
of
work
in
order
to
fill
the
show,
and
so
that's
actually
how
I've
been
portfolio
building
over
the
years.
F
I
just
basically
book
a
show
and
then
have
to
create
a
new
body
of
work
or
add
to
an
existing
body
of
work
in
order
to
be
able
to
have
something
to
hang
out
the
walls
because
they're
expecting
me
like,
I
am
one
of
you-
know-
they're,
usually
one
a
month
in
the
coffee
shops
that
I
show
at
so
I'm
one
of
12
artists
who
gets
to
show
in
this
space,
and
I
better
do
the
thing
that
I
said
I
was
going
to
do,
and
so
that
is
the
the
route
that
I
took
and
the
thing
that
I
think
is
really
valuable
about.
F
F
That's
number
one,
but
number
two
is
I'm
also
very
much
in
control
of
how
I
choose
to
work,
and
so
the
murals
that
I
get
to
do
now
are
very
much
based
on
my
most
recent
portfolio
building,
which
is
the
series
that
I
did
called
women
behaving
badly,
and
so
everything
that
I
get
to
do
moving
forward
has
to
do
with
that
work
because
I
built
it
up
and
so
even
segwaying
from
studio
work
into
mural
work.
I
didn't
have
much
mural
work
to
show,
but
I
could
show
that
I
could
paint.
F
I
could
show
that
I
could
nail
a
likeness.
I
could
show
that
I
could
put
ideas
together
in
an
interesting
way
that
people
wanted
to
see,
and
so,
although
I
didn't
have
walls
to
practice
on
necessarily
I
just
kind
of
hit
the
ground
running,
I
did
have
the
ability
to
at
least
put
together
the
concept
of
being
able
to
do
murals
and
the
other
thing
is,
I
don't
use
spray
cans.
F
I
use
brushes,
just
as
I
do
with
my
studio
work,
just
much
bigger
brushes,
and
so
that
was
an
easier
segue
for
me
to
get
into
that
space.
But
you
know
that's
my
personal
choice.
If
you
want
to
use
cans,
use
cans,
if
you
want
to
use
brushes
use
brushes
if
you
want
to
use
stencils
use
stencils,
do
your
thing.
C
Yes,
I
love
that
you're
speaking
to
just
kind
of
creating
accountability
processes
for
yourself
where
it's
like
you
apply,
and
you
have
to
do
it
because
you
know
you're
holding
yourself
accountable,
yeah.
Anyone
else
want
to
speak
to
yeah
pacha
awesome.
E
So
I'm
gonna
hit
on
all
of
these
things.
First
around
the
funding
question
that
came
up
earlier,
so
I
have.
I
have
an
interesting
view
on
funding
and
I
think
we
can
all
relate
as
artists
that
for
and
I
can
speak
for
myself
that
as
an
artist
I
I
wear
a
different
hat
every
day
like
some
days,
I'm
hustling
this
and
some
days,
I'm
hustling
that
and
it
just
depends
on
what
kind
of
gigs
that
I
have,
and
so
at
least
that's
been.
E
My
arts
career
is
that
I
do
a
lot
of
different
things,
and
so
I
started
out
in
the
underground
arts
and
I
was
all
about
community
building
and
then
in
my
early
20s
I
I
wanted
to
become
an
artisan
because
in
in
my
early
years
of
the
underground
arts,
I
just
didn't
really
like
understand
how
to
how
to
sell
work,
and
I
didn't
want
to
become
a
part
of
like
the
art
scene.
E
I
was
like
you
know
more
rough
and
tumbly
with
it,
and
so
I
became
an
artisan
and
I
started
making
clothing
and
creating
one-of-a-kind
clothing.
That's
when
I
got
into
the
festival
world
I
started
selling
at
festivals
and
and
that's
when
I
also
started
becoming
a
part
of
building
installations
and
doing
large-scale
art,
and
you
know
plugging
myself
into
all
these
different
platforms
and
so
up
until
last
year.
Any
given
time,
I
would
be
like
running
clothing
production
for
companies,
I'd
be
running
my
own
clothing
production
and
selling
at
stores.
E
I
haven't
been
doing
festivals
for
many
years,
at
least
in
clothing,
but
I've
been
doing
murals
at
festivals
and
but
then
a
big
part
of
how
I
also
work
as
a
photographer
is.
I
do
client
work,
and
so
that's
a
big
part
of
how
I
fund
my
life
and
then,
when
it
comes
back
into
doing
murals.
Like
you
know,
I
I
now,
if
I'm
getting
a
professional
gig,
I
definitely
ask
for
funding.
E
If
there's
you
know
a
building
owner,
if
somebody
asked
me
to
put
something
on
a
container
anything
like
that,
it's
like
getting
the
funding
to
fund
the
project,
but
I
also
still
hit
the
streets
pretty
regularly
and
put
up
free
art
all
over
the
place,
like
I'm
all
about
putting
art
out
into
the
world
like,
yes,
I
believe
in
artists
getting
paid
for
their
work,
but
I
also
believe
in
putting
free
art
out
on
the
streets
and,
to
be
honest,
there's
certain
things.
E
E
So
that's
something
that
I'm
really
interested
in
right
now
is
I'm
about
to
launch
my
first
nft
and
the
the
main
reason
I
want
to
use
that
platform
is
to
take
a
percentage
of
that
to
be
able
to
fund
mural
projects,
because
I
know
that
there's
a
lot
of
people
out
there
building
owners
who,
don't
necessarily
you
know,
maybe
they
have
the
money
to
fund,
but
they
don't
necessarily
have
the
the
ability
to
or
they
want
to
put
money
into
it.
And
so
that's
one
of
the
things
that
I
really
love
about.
E
What
leah
is
doing
and
what
I
love
about?
What
the
festivals
are
doing
is
they're,
really
making
that
conversation
happen
of
like
how
important
it
is
to
actually
fund
the
arts
and
fun
the
artists,
and
so
that's
one
of
the
things
that
I've
gotten
from
all
the
music
festivals.
I've
worked
at
and
any
of
the
mural
arts
festivals
is
that
they
always
fund
every.
E
They
always
pay
the
artist
and
really
speak
to
how
important
that
is
and
have
created
more
of
a
conversation
around
that
so
one
I
just
thank
you
leah
and
and
those
who
are
putting
that
conversation
out
there
and
then,
as
far
as
building
a
body
of
work
like,
I
think,
there's
so
many
different
ways
of
doing
it.
E
And
you
know
one
of
the
the
things
that
just
feels
important
to
say
is
just
to
to
just
make
as
much
work
as
you
can
and
just
to
keep
like
churning
it
and
putting
it
out
there
and
trying
new
things
and
then
then
like
slowly
through
that
you
start
collecting
like
things
that
start
to
match
each
other
and
starting
to
put
it
this
way.
In
that
way,
and
to
me
it's
like
a
puzzle
piece
and
it's
always
changing
and
growing,
and
I
have
work
that's
in
there.
E
That's
like
from
you
know,
10
years
ago,
but
that
influence
is
now
and
then
take
that
one
out
and
now
this
one
goes
in
and
now
it's
starting
to
turn
into
all
murals.
And
you
know
so
it's
if
anything.
I
find
the
body
of
work
thing
to
be
just
really
inspiring
and
to
just
kind
of
like
help
me
reference
where
it
is
that
I'm
going
and
growing
and
how
it
is
that
I
can
actually
and
feel
inspired
by
putting
my
work
out
into
the
world.
J
C
Maybe
we
can
just
talk
a
little
bit
about
community
because,
as
you
mentioned,
pacha
there's
kind
of
this
growing
scene
in
boulder
and
in
denver
and
maybe
about
some
of
the
struggles
you've
had
or
just
great
partnerships
you've
had
anyone
want.
You
want
to
shout
out
in
the
community,
but
I
think
we
talk
about
community
a
lot
and
it
gets
a
little
bit
lost
as
like
this
bigger
community,
but
a
lot
of
times.
It's
it's
really
about
these
like
personal
relationships.
So
there's
something
to
be
said
about
that
as
well
and
yeah.
G
I'll
touch
on
that
a
little
bit,
you
know,
networking
is
really
important
and
just
you
know
showing
up
like
I
remember
when
I
was
first
starting
really
getting
out
there.
I
was
going
to
like
every
single
possible
arts
event
that
I
knew
of
so
like
on
the
first
friday
art
walk.
I
was
going
to
like
five
or
six
different
spots
around
town
and
everything
that
I
heard
about.
I
would
go
to
and
really
trying
to
find.
G
You
know
find
my
people
find
other
people
who
were
working
in
in
the
mirror
arts
field
who
who
you
know
because
everyone
we
talk
about,
what
we're
doing
and
what's
going
on,
what's
happening
and,
and
so
that
was
really
really
helpful
for
for
getting
my
face
out
there
too,
I
know
that's
a
little
bit
more
difficult
in
the
pandemic
right
now.
So,
but
there
still
are,
you
know,
gallery
openings
and
things
like
that.
K
G
That
really
helped.
What
else
was
I
gonna
say.
G
Well,
I
can't
remember
now,
but
that
for
like
a
year,
I
did
that
for
an
entire
year
and
I
was
exhausted
after
that
year
I
was
completely
spent,
but
it
you
know
that's
kind
of
like
the
way
that
I
work
as
an
artist.
I
I
kind
of
like
put
things
in
little
boxes
where
I'm
like.
Okay,
this
is
I'm
gonna.
G
Myself,
I'm
gonna
focus
on
this
and
do
this
for
a
year,
that's
usually
my
time
frame
that
I
work
from
so
like
when
I
was
learning
how
to
spray
paint.
I
knew
that
I
need
to
just
kind
of
stop
working
with
brushes
to
really
dedicate
myself
to
learn.
So
I
told
myself
I
wouldn't
pick
up
a
paintbrush
for
a
year.
G
I
would
only
use
spray
paint,
even
though
I
wanted
to
so
badly
and
take
the
easy
route
out,
because
I
was
you
know
I
was
a
great
painter
with
brushes,
but
that
was
my
way
of
being
like
okay.
This
is
how
I'm
gonna
get
good.
This
is
how
I'm
gonna
really
build.
My
body
of
work
is
to
to
you
know
really.
G
Myself,
so
it's
like
it's
finding
the
things
that
you
believe
will
help
and
really
dedicate
yourself
to
that
as
much
as
you
possibly
can.
What
was
the
other
thing
that
you
were
talking
about.
G
Yeah,
so
when
you're,
I
wanted
to
just
say
you:
can
you
know
if
you
have
something
in
your
mind
that
you're
envisioning
just
just
talk
to
other
people
about
it
slightly?
G
There
are
other
people
thinking
the
same
thing
so
when
I
met
alex
alexandra
pengburn
who's,
the
other
co-founder
of
babels,
I
I
remember
she
had
hired
me
to
do
this
project
with
the
rhino
arts
district,
and
at
that
point
I
all
I
was
talking
about
was
about
how
all
the
female
and
non-binary
artists
in
denver
needed
to
get
together
and
and
paint
together.
G
Together
because
because
there
was
an
accessibility
issue
that
I
was
seeing
coming
up
and
a
lot
of
a
lot
of
artists
were
talking
about
this,
and
I
was
I
was
listening
because
you
know
usually,
if
you're
finding
trouble
with
something
you're,
not
the
only
one
who's
experiencing
this.
So
I
literally
would
tell
anybody
who
would
possibly
listen
to
me.
We
need
to
get
all
of
us.
You
know
female
artists,
all
of
us
non-binary
artists,
and
we
need
to
start
working
together
because,
right
now
we
we
felt
divided.
G
G
So
at
that
point
I
said:
okay
for
a
year,
I'm
only
doing
work
where
I'm
collaborating
with
other
artists.
I
wasn't
doing
any
of
my
own
work.
I
was
only
doing
work
if
it
was
the
collaboration
with
somebody
else
and
that
I
recommend
doing
that
as
a
practice
anyways,
because
that's
a
beautiful,
that's
a
beautiful
practice
in
in
collective
consciousness
and
how
to
really
take
your
ego
out
of
out
of
design
word.
Take
your
ego
out
of
you
know,
application
method.
G
You
know
final
product,
you
it's
it's
a
beautiful
practice
in
in
letting
go
of
of
expectations
and
really
and
really
learning
from
other
people
too.
So
so
yeah,
just
talking
like
whatever,
whatever
you
feel
like,
you
think
needs
to
happen.
Just
say
it.
You
know
because
likely
there
are
going
to
be
people
around
you
who
feel
the
same
way
who
want
to
be
involved
in
the
same
thing
so
find
your
people.
You
know.
C
Awesome
I
feel
like
that
leads
really
well
into
just
the
idea
of
art
and
activism
and
there's
something
interesting
that
I
wanted
to
bring
up
from
our
last
panel,
where
greg
diehl,
an
indigenous
artist
had
said
that
he's
an
artist
first
and
then,
when
I
have
an
opinion.
Suddenly
that
makes
me
an
activist.
He
said
what
one
person
calls
an
activist.
The
other
would
call
an
adult
with
an
opinion,
and
I
could
you
could
elaborate
that
to
say
like
an
adult
with
any
kind
of
struggle.
So
I
just
think
it's
interesting.
C
This
idea
of
the
accidental
activist-
and
I
feel
like
maybe
you
all,
can
relate.
F
Yeah,
so
I
also
kind
of
stumbled
into
activism
and
really
it's
because
you
know
I
enjoy
educating
people
I
always
have
when
I
was
what
second
grade
I
learned
where
babies
come
from,
and
then
I
told
everybody
in
my
class,
so
you
know
I've
always
been
that
kid
who
was
like
hey
I've
got
some
information
to
share.
Let
me
share
it,
and
recently
I
started
using
my
artwork
as
a
way
of
doing
it
and
all
of
a
sudden
people
see
me
as
an
activist
I'm
like.
Oh,
I
was
just
sharing
some.
F
I
learned,
but
all
right.
Let's
do
this
and
you
know
I
love
that
idea
of
yeah
just
falling
into
it,
but
once
you
fall
into
it,
then
you
you
have
to
take
the
choice
and
embrace
it,
and
I
think
that
especially
as
artists,
we
have
this
responsibility
to
really
look
at
the
world
around
us
and
either
reflect
it
back
or
envision
a
different
one,
because
that's
the
ability,
that's
our
superpower
right,
because
other
people
don't
necessarily
have
that
level
of
vision,
or
at
least
not
in
that
literally
visual
way.
F
You
know
they
can
talk
about
a
better
future,
but
we
can
actually
show
people
what
that
looks
like,
and
so
that's
something
that
I
think
we
should
really
think
about,
and
you
know
ideally
embrace
as
artists,
and
so
when
I
made
my
shift
from
just
doing
client
work,
you
know
and
showing
people
what
they
thought
they
wanted
to
showing
people.
What
I
felt
was
important.
F
It
took
a
little
while
you
know
like
I
did
this
whole
body
of
work.
I
did
10
pieces
and
then
I
stopped
for
the
better
part
of
a
year,
because
I
had
jumped
back
into
client
work
and
I
was
like
yo.
I
gotta
make
this
money,
but
then
I
realized
that
I'd
ignored
that
whole
body
of
work
for
so
very
long,
and
so
I
said
okay.
Finally,
I'm
just
gonna
do
this,
I'm
not
gonna.
Do
anything!
F
That's
not
this
and
that's
where
a
shift
in
my
career
took
place
like
I
took
a
financial
hit
for
a
good
chunk
of
time
in
that
transition.
F
But
once
I
came
out
on
the
other
side,
it
was,
you
know,
a
whole
new
game,
and
so
that's
something
that
I
recommend
for
people
as
well
as
they're,
developing
their
bodies
of
work
as
they're
building
communities.
You
know
with
my
work.
F
I
realize
that,
because
I'm
educating,
then
the
people
that
I
need
to
speak
to
are
educators
and
it
kind
of
happened.
Naturally,
where
I
have
friends
who
are
teachers,
they
would
come
to
my
shows
during
my
shows,
I
would
speak
about
my
artwork
and
they
were
like
hey.
Can
you
come
and
do
that
with
my
kids?
You
know
in
the
classroom
and
then
that
turned
into
giving
talks
that
turned
into
being
on
podcast.
F
That
turns
into
all
kinds
of
different
ways
of
doing
the
exact
same
thing
that
I
was
doing
just
standing
in
front
of
you
know
my
audience
at
my
art
show,
and
so
that
allowed
me
to
get
into
spaces
and
to
network
in
ways
where
now
I
get
to
show
in
museums
which
are
also
places
of
education,
and
so
like
it's
expanded
my
world
because
once
I
said
this
is
my
group,
this
is
my
people.
I
realize
that
my
people
are
more
places
than
I
originally
thought.
D
I'll
speak
to
activism,
I
I
think
we,
you
know,
I
some
people
have
said
that
they
are
an
artist
first,
an
activism
sec,
an
act
of
a
second.
I
think
it's
the
other
way
around.
For
me.
I
think
I
grew
up
around
activists.
I've
been
on
the
front
lines.
I've
been,
you
know,
protesting
all
kinds
of
things,
my
entire
life
and
still
am
and
have
realized
that
through
art,
you
can
actually
gain
a
wider
audience
to
spread
your
message,
and
so
I
have
found
kind
of
the
opposite.
It
was
through
activism.
D
I
found
art
and
how,
especially
on
a
larger
scale,
muralism
things
like
that.
You
can
really
capture
audiences
that
maybe
wouldn't
have
otherwise
been
exposed
to
certain
topics
or
certain
pieces
of
activism,
and
so
I
kind
of
mentioned
I
was
working
on
missing
and
murdered
indigenous
women
and
I've
been
doing
a
lot
of
that
through
my
art.
D
A
lot
of
my
other
art
is
just
has
messages
and
almost
all
of
the
pieces
that
I
create
have
some
sort
of
intent,
particularly
some
type
of
activism,
behind
them
and
inspired
by
them
and
sorry
my
screen
went
blank.
I
don't
know,
is
it,
are
you
guys
still
there.
D
Whoops
anyway,
so
yeah,
I
guess
that's
really
just
what
I
wanted
to
say
about.
That
is
that
I
kind
of
it
was
the
opposite.
For
me
was
that
activism
has
kind
of
been
at
the
first
and
forefront
of
my
existence.
I
mean,
I
think
my
existence
in
general
is
a
piece
of
activism
right.
My
people
shouldn't
even
be
here
today
so
and
my
one
thing
that
has
stuck
with
me,
my
entire
life
is
that
my
dad
has
always
told
me
danielle.
D
If
you
don't
speak
up,
nobody's
gonna,
do
it
for
you,
and
so
that
has
really
really
stuck
with
me
and
has
really
inspired
my
activism.
C
I
love
that
I
love
you.
Both
you
and
adrie
both
have
these
kind
of
vice
versa
journeys,
but
it's
still
like
a
transition
towards
your
purpose
and
really
just
going
for
that
when
you
know
it,
you've
been
in
one
thing
for
a
long
time,
it
doesn't
mean
you
have
to
stay
in
that.
Would
anyone
else
like
to
speak
about
art
and
activism
for
them?
C
H
H
That
didn't
shame
me
for
the
way
that,
for
what
I
had
struggled
with
and
really
embraced
me,
and
so
that's
what
I
fell
in
love
with-
was
people
who
had
built
a
space
so
safe
that
for
the
first
time
in
my
life,
I
got
to
be
myself
and
that's
what
I
my
quote-unquote
activism
within
that
space
started
with
just
building
a
safe
space
for
people
to
come
and
feel
like
they
could
release
themselves,
because
no
one
would
hurt
them
there.
H
No
one
would
judge
them
there
and
then
that
later
transitioned
into
me,
seeing
you
know
working
within
that
space,
then
I
saw
this
need
for
okay.
Now
we
need
to
find
representation
for
visual
artists,
and
then
that
became
kind
of
my
focus
and
then
later
watching
how
other
females
are
being
treated
within
the
space
or
people
of
color
within
the
music
industry,
how
they
were
treated
differently
than
others.
Then
I
kind
of
expanded
even
further
into
that.
H
I
think
you
know
it
can
be
something
if
it's
deeply
rooted
within
you
and
your
culture
that
can
come
very
early
or
it
can
be
something
that
just
builds
within
your
experience.
I
think,
if
you're
working
with
intention
and
that
the
intention
of
your
work
is
always
to
just
leave
a
space
or
leave
a
community
more
beautiful
than
when
you
came
in
then.
H
Naturally,
everything
you
do
is
activism,
because
you're
standing
up
for
hope
and
for
love
and
for
choosing
to
do
the
good
thing
or
the
right
thing
instead
of
the
wrong
thing
and
naturally,
then,
without
even
trying
you're
building
communities
you're
bringing
people
together
who
think
like
you
do
and
and
later
on,
in
my
work
within
murals
and
stuff
and
just
art
in
general,
I've
shifted
again
to
speak,
continue
to
just
speak
for
women
and
make
space
for
women
who
maybe
otherwise,
are
being
silenced
or
being
treated
in
a
way
that
I
think,
is
different
than
others,
and
so
that's
also
just
been
supernatural.
H
It's
been
easy
for
me.
It's
what
I
believe.
Anyone
who
will
listen.
I
will
always
preach
equality
for
all,
especially
within
the
arts,
and
so
it
just
really
felt
natural
for
my
art
to
also
have
that
message
and
at
the
end
of
the
day,
I
don't
believe
that
anything
is
created
for
art's
sake.
I
believe
that
the
act
of
creating
for
art's
sake
is
rebellion.
E
I'll
speak
to
activism,
so
the
way
that
it
showed
up
for
me
is
when
I
was
young.
I
I
think
it
was
more
of
like
that.
Punk
rock
side
that
just
like
had
something
to
say,
was
pushing
against
the
world
and
it
was
pushing
against
me
and
it
was
a
lot
about
like
identity
and
self-discovery
and
so
hitting
the
streets
at
a
young
age,
and
you
know
putting
things
on
the
walls
and
and
communing
with
the
community.
E
E
So
that's
one
thing
to
just
to
to
to
create
something
beautiful,
but
what
is
it
to
like
actually
create
something
that
has
meaning
that
speaks
to
this
greater
message
and
use
these
platforms
use
our
voice,
use
our
energy
use
our
drive,
and
so
that's,
where
a
lot
of
that
fuel
started
to
come
up
inside
of
me.
Is
this
like
bridge
to
to
speak
about
things
that
were
happening
in
the
world
and
and
part
of
that
started
to
come
up
initially
in
injustice,
like
speaking
about
all
the
things
that
are
happening
in
the
world
night?
E
I
feel
like
that's
important,
but
now
I'm
also
starting
to
realize
that
it's
important
to
to
use
those
platforms
to
celebrate
so
to
celebrate
how
people
are
living
their
lives
like
not
just
about
the
things
that
are
going
wrong
with
them,
but
the
things
that
are
going
right
and
like
and
that's
where
the
empowerment
piece
came
in
and
and
and
the
more
that
I
stirred
that
empowerment
in
myself
and
in
other
women
and
and
then
all
of
a
sudden.
It
was
like.
E
You
know
that
frequency
vibration
started
growing
and
and
so
it's
using
activism
as
a
a
way
to
inspire
and
to
create
change
through
this.
This
aspect
of
empowerment-
and
so
I
I
try
to
like
weave
both
in
where
it's
like
the
stories,
definitely
speak
to
the
the
issues
that
are
going
on,
because
I
feel,
like
that's
super
important
and
simultaneously.
E
The
beauty
of
these
women,
the
beauty
of
these
cultures,
the
beauty
of
these
gifts
that
people
have
to
share
and-
and
I
feel
like
part
of
that-
has
been
at
least
inspiring
for
me
in
that
like
sometimes,
I
think
that
our
whole
world
is
inundated
with
so
much
like
negativity
that
it's
almost
difficult
to
like
understand
or
realize
like
what's
happening,
but
to
use
beauty
or
creativity
as
a
platform
that
then
like
seed
messages
in
so
then
people
start
to
like
they're,
like
kind
of
like
opened
up
in
awe
and
then
inside
of
that
aw.
E
C
C
C
F
I
tell
this
to
every
parent
who
tells
me
that
their
kid
loves
art.
I
tell
them
yes,
that
is
amazing.
F
That
was
when
things
shifted,
and
I
get
to
do
this
full
time.
I
know
that's,
not
everybody's
pathway,
but
if
you
want
it
to
be
your
path,
learn
business.
C
G
Sure
I
definitely
I
second
bet
take
some
business
marketing.
Anything!
That's
gonna!
That's
gonna
really
really
help
you
because
you
know
for
the
most
part,
if
you
doing
everything
and
and
having
the
having
the
knowledge
is
really
important,
you
know
or
you
could,
you
know
stumble,
and
you
know
I
think
all
artists
stumble
their
way
through
being
a
working
artist,
but
if
you
can
make
it
make
it
a
little
easier
for
yourself
and
do
things
like
that,
I
definitely
recommend
it
training
workshops.
G
You
know
any
any
little
thing.
That'll
just
give
you,
you
know
take
a
couple,
maybe
a
year
or
two
off
of
your
own
personal
learning
curve.
Do
it
invest
in
yourself.
It's
huge.
I
mean
it.
Sometimes
it's
really
hard
to
to
rationalize
spending.
Money
on.
You
know
on
things
like
that,
but
you're
gonna
get
it
back
tenfold,
you're
going
to
get
all
that
back
tenfold.
So
so
it'll,
you
know
it'll
it'll
work
for
you
other
things.
I
just
want
to
say
the
last
little
note
is,
you
know.
G
Sometimes,
artists
naturally
kind
of
feel
outcasts
that
can,
when
you're,
really
when
you're
starting
something
new
or
or
not
new
and
you're
stumbling
through
it.
You
can
feel
that
way.
So
so,
just
just
remember
that
that
you're,
you
know
you're
here
in
a
divine
form,
you
were
given
the
gifts
that
you
were
given.
G
You
were
given
the
knowledge
and
the
willpower
to
do
what
you're
doing
for
a
reason,
so
trust
that
within
you,
love
yourself
put
yourself
first
above
above
all
other
things,
you
know
don't
work
yourself
to
death.
G
You
know
really
take
care
of
your
body,
wear
protective
gear
that
you
need
to
if
you're
using
spray
paint
you're
using
oil
paint.
You
know
you
know
where
you
know
take
care
of
your
body,
because
this
is
you
know,
mural
art
being
doing
public
art
is
is
grueling.
It
can
be
very
grueling,
so
take
you
know,
do
sign
up
for
your
yoga
classes.
Do
do
whatever
you
need
to
do.
Take
care
of
your
back,
your
bones.
Your
health
eat.
Good
food.
Don't
eat
crap!
You
know,
I'm
like
a
mom
too.
G
So,
like
obviously
I'm
gonna
say
this
kind
of
stuff,
but
but
yeah
love
yourself
take
care
of
yourself,
like
you,
would
your
your
best
friend
or
your
mom
or
your
sister
or
your
brother
or
whoever
you
don't
take
care
of
yourself
like
that.
First.
D
Yeah
I
mean
I,
I
echo
everything
that
that
bro,
love
and
audrey
said
especially
the
business
aspect.
I'm
still
learning
the
ropes
on
that.
But
one
thing
I
wish
I
would
have
told
myself
you
know
a
decade
ago
or
even
when
I
really
started
getting
serious
about
art
is.
I
wish
I
would
have
put
myself
out
there
more
and
maybe
networked
with
people
and
wasn't
afraid
to
just
ask
for
advice.
I
kind
of
kept
to
myself
and
and
had
this
mindset
of
you
know.
D
Oh
wow,
I
really
admire
all
these
community
artists
and
all
these
great
organizations,
but
you
know-
and
I
wish
I
could
pick
their
brain
well.
I
wish
I
would
have
just
done
that
and
reached
out
and
did
that
sooner
than
later,
because
what
I
found
since
I've
done
that
has
just
opened
so
many
doors
and
people
are
willing
to
help
you.
People
are
willing
to
mentor
you.
D
People
are
willing
to
want
to
help
uplift
you
and
if
they're,
not
they're,
not
the
right
people
you
want
to
be
around
so
people
that
really
truly
are
good.
People
will
want
to
help
you,
and
I
just
encourage
that.
I
mean
I
don't
I
feel
if
anybody
that
wants
to
reach
out
to
me,
I'm
happy
to
help
in
any
way
that
I
can,
and
I
know
everybody
on
this
call
is
willing
as
well.
So
that's
one
little
tidbit.
I
would,
I
would
say.
C
I
love
that
it
can
be
so
scary
to
reach
out,
but
I
think
that
sometimes
we're
most
scared,
that
something
is
actually
gonna
happen
and
we're
gonna
have
to
like
work
for
it
and
learn.
So
a
lot
of
people
do
want
to
help.
So,
thanks
for
speaking
to
that
ally,
any
final
thoughts,
yeah.
H
H
H
H
We
still
are
blessed
to
get
to
do
that,
and
so
I
I
and
on
top
of
everything
everyone
else
has
said,
I
would
say
practice
gratitude
for
yourself
for
your
body,
for
your
mind,
for
the
opportunities
that
you
have
and
and
take
every
opportunity
you
can
to
pay
it
back
because
there's
a
little
kid
out
there
who
was
just
like
you
at
the
beginning
and
and
they're
just
looking
for
that
one
person
to
give
them
a
shot
and
that's
it.
E
Yeah
I
say
the
same
as
as
everyone.
I
think
these
are
all
super
key,
important
pieces,
business,
self-care
gratitude,
love,
community
connection,
and
I
think
I
just
want
to
add
to
it.
Just
the
the
the
art
is
is
an
experimental
and
experiential
practice
and
to
just
be
willing
to
try
new
things
to
step
into
the
unknown,
to
like
push
against
the
threshold
of
of
what
you
think
is
possible
because
it
just
like
keeps
taking
us
places.
E
It's
the
imaginal
realms
like
anything
is
possible
and
the
more
that
we
push
into
these
spaces
and
places
the
more
we
find
our
voice.
The
more
that
we
find
our
inspiration,
the
more
that
we
connect
to
people
and-
and
I
know
that
that's
a
huge
journey-
I
mean
like
just
being
able
to
find
confidence
in
myself
and
my
journey
has
taken
most
of
my
life
and
and
yet
it
comes
through
stepping
into
the
unknown
and
being
willing
to
try
things
that,
maybe
I
didn't
try
before
and
each
time
I
do
it.
E
I'm
like
wow,
it's
amazing
and
to
me,
that's
like
one
of
the
most
incredible
parts
of
creating
and
getting
to
do
what
any
of
us
get
to
do.
Is
we
get
to
like
create
awe
in
the
world
and
we
all
got
there
by
trying
new
things
and
pushing
ourselves
and
stepping
into
new
territory?
And
so
that's
that's
the
that's.
The
like
seed
nugget
that
I
really
you
know
pass
on
is
is
just
be
willing
to
press
the
threshold.