Banter with copper artist Tim Church: Creativity, Curiosity and Chemistry

Speaker 1 (00:00:15):

This is art in the raw. I’m your host Ann Kelly today’s guest is Tim. Tim is an accomplished artist, medical doctor, chemist machinist, and martial artist among other things I, we may not even know about. Thanks for joining us, Tim.

Speaker 2 (00:00:33):

Thanks. Oh, wow. You did some homework. <laugh>

Speaker 1 (00:00:38):

That? I, I did. <laugh> where are you?

Speaker 2 (00:00:42):

I am in Richardson, Texas, which is basically Dallas, Texas. It’s just, um, a suburb of, of DFW.

Speaker 1 (00:00:52):

And you’re from California originally. Aren’t you,

Speaker 2 (00:00:54):

You know, uh, it’s weird. Yes, but at this point I spent so much time outside of California. You know, I went California, new Orleans, new Orleans, Denver, Denver, new Orleans, new Orleans, Dallas, Dallas, Baton Rouge, Baton Rouge, Dallas.

Speaker 1 (00:01:17):

Okay. Wow. I, I didn’t know you lived in Denver. I I’m a Colorado new native been here in New Mexico for 20 years, but been a good deal of time in Denver. Hopefully

Speaker 2 (00:01:27):

We’ll do this interview sometime in the future and I’ll be able to say Santa Fe.

Speaker 1 (00:01:31):

Yes. Yeah.

Speaker 2 (00:01:33):

Cause that’s, that’s, that’s one of my end goals

Speaker 1 (00:01:36):

And yeah, cuz you were here recently and you, that it spoke to you, you enjoyed it.

Speaker 2 (00:01:41):

You knew it’s weird. People probably aren’t gonna get this at any level, but Santa Fe really reminds me of new Orleans without the alcohol.

Speaker 1 (00:01:52):

Sure. We’re we’re not quite as tolerant with, uh, the, um, walking down the street with, with Rodes here in Santa Fe, but you know,

Speaker 2 (00:02:02):

It’s got the same art scene. It’s kind of got the same food scene that has a very eclectic vibe and it has, it’s a very accepting scene, you know, like you could just kind of tell the vibe towards others. It just really reminded me of parts of new Orleans. Um, again, without excessive amounts of alcohol,

Speaker 1 (00:02:23):

You. Yeah, no, I, I got, um, the opportunity to visit new Orleans for the first time, I think about two years ago. And, and I felt a little bit at home there. I think just also the, the history, uh, I mean both places have so much history to them that I’d, I’d never been there before, but it kind of had, um, a Santa Fe feel to it. Absolutely. Other than, uh, I was a little confused because every restaurant I went was trying to send me off with a, a cocktail into the street yeah.

Speaker 2 (00:02:52):

To go cut

Speaker 1 (00:02:54):

Is definitely illegal here in Santa Fe. <laugh>, it’s illegal

Speaker 2 (00:02:57):

Everywhere. And you live there a little while and you go into a restaurant and you walk out expecting to get it to go company, look at you like you’re from Mars.

Speaker 1 (00:03:03):

Exactly. And you work in the medium of, of copper, but in a really, really unique way. And as I understand it, it was living in new Orleans that, um, kind of partially inspired that. Am I right? Yeah.

Speaker 2 (00:03:22):

You know, it’s the weirdest thing. Like I’ve always appreciated art. I’ve always loved art. I had no formal training in at all, but I just loved it. I loved galleries. I just loved anything from costumes to beautiful food dishes to art on the walls, always appreciated art. And I was in new Orleans walking down Royal street and I saw these big Gotty copper fountains. And I’m like, that’s ridiculous. I can make that <laugh>. And I went home and I started making these huge, huge, silly copper fountains. I mean, they were copper and wine bottles and things that spun and, and, and um, and then of course I started like, okay, well there’s too much copper. I need to change the color. So I started playing with flame and then it was okay, well that’s not enough co I only even more color. So I started playing with chemicals and then one thing led to another. And next thing you know, I was making wall pieces and kind of completely moved away from the fountains.

Speaker 1 (00:04:30):

How long were you making the fountains for?

Speaker 2 (00:04:34):

You know, that’s a good question. Probably a year, year and a half, but I was pretty inducive. So I ended up with like 40 fountains in my garage. <laugh>

Speaker 2 (00:04:46):

I didn’t really have, you know, anything I could do with them. I didn’t have an outlet to sell ’em or anything. So I kept making ’em and I’m like giving ’em away to friends. And, uh, so yeah, I eventually, you know, I, I got rid of my fountains, but, but, um, it was great as it was, it, it, you know, I grew up on a farm. I didn’t grow up on a farm. I worked on a farm, real farms, like a business in California and you know, the farm I worked on, it’s called actually a ranch. And then when I worked in the sheds, basically the lettuce sheds like you do everything, no one does it for you. Like you do all your own welding, you cut all your metal, you figure out how to cut metal. You don’t cut a finger off. And so when I was doing the copper fountains, it just, it brought all that back. You know, I was cutting copper again or cutting metal again and soldering and, and figuring out ways to connect things. So it really kind of connected to all those skills that I kind of developed when I was much, much younger.

Speaker 1 (00:05:46):

Then, then you moved from the fountains to all pieces. Um, really

Speaker 2 (00:05:51):

Wasn’t my intention. As I was creating colors on copper with chemicals, with flame, I would weave the copper, you know, I would, I would make practice ones and I’d put ’em on the wall and my friends would be like, oh, that’s beautiful. And I’m like, huh, there’s no electricity. There’s no water. I like this. And so I started making, I started making wall pieces and you know, it, it really was more than anything, a giant experiment at first, you know, I was, I was, it was, it was this, all these permutations of salt and chemicals and heat. And how long do I let it sit? And then on top of that, how do I, how do I lock the colors in mm-hmm <affirmative>, you know, so you’re mixing with Laers and epoxies and, and, uh, spraying animals and, you know, these, all these different combinations, um, trying to figure out what does and does not work. I had read

Speaker 1 (00:06:54):

Somewhere, you’d said most people who are experimenting with, with copper really are only getting into maybe 3% of what’s what’s possible. You you’ve kind of pushed the boundary of, of these mediums with, with your other backgrounds.

Speaker 2 (00:07:10):

Yeah. Not to be gross, but if I see one more exhibition that says copper and in the same sentence, <laugh> like, seriously, that’s like the silliest, most overplayed, stupid thing I’ve ever seen. And, and, and yes, too many people just like pour a chemical on they’re like, woo done. Right. And, and, you know, that’s really just the beginning, um, of, of, of the process is, is, is, is the chemicals you, you put on there. What really matters is, is temperature outside temperature. Um, I do everything outside, so everything is a hundred percent dependent on the weather. So in the winter, you’re only getting blues and Browns from me in the summer. You’re only getting oranges and reds from me in the fall. You get a combinate. So that that’s a classic kind of fall piece. It’s orangey, but it’s not ready. So like when it’s 108 degrees here, everything turns red when it’s in the hundreds, everything’s orange in the winter, everything’s blue when it’s really cold. So it’s all about controlling the chemical reactions, which involves the course, the temperature outside, and then the ox going in and out. So, but let me tell you, it was a painful process. I mean, it’s, I have, I have, I have thrown away so much art, um, and, and, you know, for, with, I can grind down. It doesn’t work, but it is, it has been a very, very iterative process. I’ll put it

Speaker 1 (00:08:41):

That way. Well, but it, it also seems to be kind of born out of curiosity and creativity. You, you wanted to know what would happen. You know, you said you’d been working with metal kind of in some format, your entire life kind of earlier on, it seems to me that there was maybe a lot of, a lot of experimenting. See, now, you know, if you’re working in one season kind of what you’re gonna get. So it sounds to me like a lot more control over it, but I’m, I’m sure there’s room for a lot of happy accidents, even. So

Speaker 2 (00:09:12):

You, you really nailed it. It’s pretty for funny you say that because, um, I kind of thought I was stuck with the pallet. I’ve got mm-hmm <affirmative> um, in terms of colors. And then about a month ago, my girlfriend says, um, who’s was a chemist back in college. And she says, well, how do they get purple and fireworks? And I said, I looks up the chemical, or you can buy the chemical on Amazon. So guess what? I got purple in my pieces now, you know, I would’ve never, it wasn’t on my pallet before. And so every time something like that happens, there’s like a thousand new trapped doors you can go down. And I, um, um, then the other thing I started doing was motion. You know, I used to put the chemicals on, I used, I’d keep it flat, put the chemicals on it. Now I got a spinning table. So I drip the chemicals on while it’s spinning. Sometimes I tilt the piece so that they all run like lava. Um, so, you know, it’s, it’s, to me the biggest challenge, isn’t the creativity it’s having enough time to flesh out every idea. Oh yeah. You know, like the motion stuff I was doing this summer, and I got sidetracked by the firework stuff. <laugh> so now I gotta go back to the motion stuff here in a, you know, in a little bit. So, uh,

Speaker 1 (00:10:33):

I love that. So yeah, time management, it’s definitely a, a factor, right. <laugh> yeah. Gonna pull up your website and look at some of the new pieces, give people an idea of what we’re

Speaker 2 (00:10:45):

We’re. Yeah. And one of the challenges about my piece is, is they just don’t photo.

Speaker 1 (00:10:49):

Well, you, you coat them with,

Speaker 2 (00:10:52):

Yeah, I have to code ’em in epoxy to stop the oxidation. And so it really, in real life, they’re thick, they’re more alive. Um, you know, we we’ve, I I’m fortunate, uh, you know, that, uh, one of the gentleman that helps me monitored, who’s actually a professional photographer. He goes to great pains to photo my, to take good pictures of my stuff, but they still, every time someone sees one live, they’re like, oh my gosh, I had no idea.

Speaker 1 (00:11:24):

Sure, no. I mean, that’s, that’s always a challenge. And, and particularly as the, the digital format of, of sharing artwork has become even more important. And I, and I have had the opportunity to see the in person. So, I mean, I always say viewing online, it’s, it’s the next best thing. It’s always nicer to be able to go to the place and, and see the actual artwork. But I feel like they’ve done a pretty good job there photographing that, especially not to get any reflection cuz with your, your surface, that can definitely be quite challenging. So you got

Speaker 2 (00:11:58):

Right to the point there. Um, the reflections that it it’s so tough, um, hence why the professional photographer has to do it. Yes.

Speaker 1 (00:12:07):

Um, you gotta collaborate sometimes. Yeah. And, and going back a step, my background is in photography. So I, I, I, I’m kind of fascinated by, you’d mentioned a moment ago that whatever you’re coding them with is actually fixing the piece. So that yeah. Brings me back to photography. Whereas if you make a photograph and you don’t fix it, it’s just gonna keep changing indefinitely. Which actually makes me wonder what, what actually does happen. If, if you don’t do that, do they,

Speaker 2 (00:12:40):

You all go to black.

Speaker 1 (00:12:41):

Okay. How long do you think that would? Something like that would take,

Speaker 2 (00:12:46):

Well, I had it here. I moved it out. So they will, the first piece I ever did with the black, I actually still have it. Um, it wasn’t here. So that’s, that’s one of the, that’s one of the things that kind of messes with your brain when you make these things. Mm-hmm <affirmative>, you’re like, it’s really good. I really like it. But if I let it keep going, well it get richer. Um, because it doesn’t just go to black. It first gets richer. Cause the colors start kind of building into each other. So it’s tough. Sometimes you are like, okay, it’s perfect. But other times you let it go. Like this is one I let go. You can tell how it starts to kind of merge into each other. And you can also see some dark spots down below, whereas the beginning of the black. Um, so when you start to see those patches is they’re almost like tiger stripes sometimes that’s it. It’s time to go. You gotta get epoxy on it. We’re also gonna keep going. But you can see how this thing at one point was really crisp. Um, I don’t always like the crisp crispness. I like it better when the, the lines start to blur like this. So this is one I like go pretty far before

Speaker 1 (00:13:54):

I APO for really any art making it’s it’s you know, where do you stop?

Speaker 2 (00:13:59):

Yep. That’s one of the things that’s really changed over time for me is having the confidence to let it go. Yes. I, I, I used to really quickly be like, oh my gosh, it can’t get any better and stop it. And then kind of over time I learned no, no like this one you can see again around, um, the moon there that’s an example, letting it go and kind of letting the chemicals fight and letting kind of be a, you know, like a dominance established between the different chemicals. Um, whereas if I had stopped this early, you wouldn’t have got any of that. Um, it, it, you know, it’s funny cuz you can’t necessarily see it when it happening, but you can see it once it’s epoxy, half is actually kind of blurs and then when you epoxy all the layers come out. Um, so again, it’s just having done it so many times. I can kind of guess what it’s gonna look like after I put the epoxy on it.

Speaker 1 (00:14:54):

So it’s a pretty slow process of the, the transformation

Speaker 2 (00:14:59):

In the winter. It is in the winter it’s days in the summer, it’s

Speaker 1 (00:15:02):

Ours. So there there’s a husband wife team of photographers that are, are located outta Arizona that work in salt prints, which is one of the earlier processes, only work during the summer actually, because really typically with salt prints, it’s a really tricky printing process, whereas unless you’re really, really good at it. So it’s, it’s a hand applied emulsion process. You mix up your own chemistry, you coat the paper, you know, taking it way back and unless you’re really good at it, or even if you are really good at it, sometimes you just get a very low contrast, almost kind of, um, tan and white image, but they somehow modified the process just a little bit. And the fact that they’re doing it in Arizona during the summer, they get these rich colors, which is unheard of. So it’s kind of, I mean, it makes sense, but it’s interesting to hear that that copper is kind of behaving the same way. Yeah.

Speaker 2 (00:15:59):

That I love that story. I’ve never heard of such a thing and yeah, that’s very, very, very similar.

Speaker 1 (00:16:04):

Yeah. I’ll send you information about them later. I think you just enjoy checking that out. And so you, I said, when you start making the fountains at that time, you didn’t have any gallery representation. You were just making them because you love to make them. And that was the whole motivation. But you do have gallery representation now. How, how did you get there? That’s always a, a kind of a mysterious well process for a lot of artists. Yeah,

Speaker 2 (00:16:35):

Man. I could write a book. Like I think every artist could get abused a few times. You end up trading out art for money. They owe you a few times. So my path’s also kind of weird because there’s a gentleman named Aaron Young. Who’s a wildly successful artist, international artists who I went to high school with. So when I took up art Aarons in Manhattan and at the time was represented maybe by GGO and I don’t know one of those people. Exactly. And it was interesting because it’s like having tiger woods teach you how to put mm-hmm <affirmative> you know, I mean, he, he was nice to me. He giggled at my stuff, but he, he, he saved me a lot of pain and suffering with some very good insight about dealing with galleries and, and, and people paying money for your art. Initially, I, it was one of those deals when you almost you rent space and a place. And they were very, very nice to me. I went space in there and I sold some Martin there, but there was a big, you know, every town’s got ’em, you know, one of those white light nights, they said, Hey, you need to go out here. We got a space for you. And it was really a Sentinel event for me because I took quite 17 pieces and sold every piece.

Speaker 1 (00:17:54):

Wow. That’s huge.

Speaker 2 (00:17:55):

And I was like, maybe I’ve got something here.

Speaker 1 (00:17:59):

<laugh>

Speaker 2 (00:18:00):

Yeah. Yeah. And so then I went to, uh, new Orleans and went into gallery after, after gallery, after gallery, after gallery and not only rejected me, they typically rejected me pretty rudely. It’s just a fairytale story. I literally was about to give up. And I go into this last gallery, actually the ironically the gallery that had the Cockle fountains, where I started doing this years before. And it ends up that strangely enough, the wife and co-owner was from my hometown, Salinas, California. <laugh>

Speaker 2 (00:18:40):

Love that. And I think she did it to humor me and she says, well, we’ll put ’em out in the courtyard. And then I brought ’em in and she says, oh no, those are going the gallery. Mm mm-hmm <affirmative>. And um, they were, they, they, they did well almost right off the bat. And then I had two couple other galleries that didn’t work out so well. I was in Santa Fe for an art thing. I walked in the Whiteford saw what they had going on, walked away, meeting lunch, Mike man, life’s too short. I walked back in there, showed ’em my phone. If this is what I’m doing, they just said, we love it. Can you get us some pieces? I said, I got three in my car handed. ’em three pieces, no contract, nothing. They sold the three pieces, like in two weeks, that was four years ago. And they’ve been a easy to work with ever sets.

Speaker 1 (00:19:33):

And that is not always a thing that works. So no Bravo, no,

Speaker 2 (00:19:37):

It doesn’t work. And I’m a pretty bold person. And I had been beaten up so much. Even that last ask was a pretty painful ask. Um, cause you know, you live in it. I mean, yeah. They’re not kind when they reject and um, and I get it, I get it. They’ve got their group. They don’t want grow one more, but you know, it’s, it’s so about how they represent you. Mm-hmm, <affirmative>, there’s so much great art out there. If they don’t buy into you and your process, it doesn’t matter how many galleries have your stuff in it. They’re not gonna sell a

Speaker 1 (00:20:15):

Piece. No, it’s not good for anybody. It’s, it’s a relationship like any other type of relationship. So while maybe some galleries might be willing to consign some work, if they’re not gonna represent your work in, in the way, um, just if you just kind of don’t vibe together or it’s just not a good fit having, you know, your work in the back of a gallery, getting gusty, isn’t doing anybody, you know, any good.

Speaker 2 (00:20:44):

And Tim Whiteford a wife in galleries and, and the different sales people, like the tough love was amazing. Especially in the beginning, they just, they told me a few things that are just, I mean, it might have been hard to hear, but looking back at it, I’m like, man, I really needed to hear that. Sure. And a lot of it was just about tightening up the process, tightening up the work, you know, if you know, just simple stuff. Like I was so concerned about the front, I didn’t pay attention to the back. And they’re like, no, both sides represent you. You know, when somebody takes the picture off the wall, I see the back and it’s, it’s a mess, then they’re gonna think you’re a mess. And so it was putting some time and energy into the whole package. Um, that really, really helped me kind of figure out the gig. And now, you know, now you get, it’s kind of obvious, but at the time it’s not obvious.

Speaker 1 (00:21:40):

Well, right. And then you being receptive to that. Cause sometimes I have those conversations with people and they just, they, they, they don’t want to hear, hear it. I mean, not that the, the gallerist is always right, but they probably have, you know, some insight or understanding of, of their client base. And of course I have people walk in all the time that wanna show me where, try to be nice about it. Sometimes it’s just not a good fit. You, you just happen to walk into the right gal at the right time. Oh my gosh. That, and, and they’re pretty, I mean, they don’t have a huge, uh, stable of artists there really. Oh, it was all timing. They know what they like. And, and that is, and that, that is what they do. Oh

Speaker 2 (00:22:24):

No, even it was timing too. Cause they just lost copper artists. So they were oh, open to that idea. It was, it’s all, it’s all timing. I mean, I see these other people I’ve talked to, they’re like, no, we just were too full right now. If we talked to you six months ago, it would’ve worked, but it’s all timing.

Speaker 1 (00:22:42):

Sure. I mean, a lot of times maybe for example, we’re having a show of somebody that does storm photography and then I’ll have a 10 to 50 other people email me and say, I also do storm photography and that’s something to understand of. Okay. I’m, I’m probably going to enjoy looking at your pictures, but we’re, we’re not trying to bring in 50 people who make storm photographs because you know, that’s actually kind of disrespectful to the one person we represent that does that and think it’s kind of those little details of, of galleries that, um, I, I went to art school myself and it wasn’t really, until I was working in a gallery that I had the understanding that, that I do of that. So it’s, it’s a, it’s a mysterious thing for a lot of people. Well,

Speaker 2 (00:23:28):

Art tumbling, I mean, Hmm. You know, I, I’m very blessed in it. I found it at a time when the internet existed. Oh yeah. So I mean, I can sit here, look at thousands of pieces of art tonight. And I did mm-hmm <affirmative> I mean thousands and there’s some funny stories behind that. Um, I thought I found Jackson not had ever heard of him realize evidently he’s pretty famous. <laugh>

Speaker 1 (00:23:52):

Many people have heard of him. Yeah.

Speaker 2 (00:23:53):

Yeah, no. At the time I thought I was the first to find him. Um, but when you do that, you realize there are so many talented people out there. I mean, it’s, it’s, it’s, it’s an endless amount of talent. And so I think you do have to get lucky to kind of find the right avenue at the right time. Who again, who are willing to get behind you. Um, mm-hmm, <affirmative>, it’s, that’s, that’s the humbling part of it to me is man, the stars gotta align for you. It’s such a blessing for me to find this at this point in my life, because I’m never gonna stop making art. Mm-hmm <affirmative> I mean, even if I gotta give it away, I’m never gonna stop doing this. I mean, sure. It’s just my passion, my, my doctoring life. It’s pretty intense. My life is pretty intense.

Speaker 2 (00:24:45):

So to come do this where there’s no expectations is something I do for me. And, you know, I create things that make people provoke emotions in people. And I do it because I’ve truly enjoying doing it. I’m never gonna stop doing it. I mean, I can’t, I mean, all I think about is like, okay, the next house I buy, how big is my art room gonna be? Cuz right now my dining room is my art room. My studies, my art room, my garage is my art room and I have a shed. That’s my art room. So, you know, it’s this, this is how I’m going to spend my life. Hopefully it’s Santa Fe at some point. But yeah, I just, I, to say, I have a passion for is, is, is as about as accurate as it gets.

Speaker 1 (00:25:30):

So you probably haven’t been in Santa Fe long enough to experiment with any actual making of any pieces here, have you? No,

Speaker 2 (00:25:38):

No, I can’t wait.

Speaker 1 (00:25:40):

It takes a little while it, I mean, you’re not just tossing some chemistry on there. It’s acids and bases and, and you’re letting them compete and then there’s elements. And so, I mean, you would have to actually live here to actually make a piece in Santa Fe. Is that accurate?

Speaker 2 (00:25:59):

Yeah. Yeah. And, and you know, that’s, that’s a great point in lead. Um, I was gonna mention this making stuff in Dallas is very than making stuff in Southern Louisiana. Mm-hmm <affirmative> the humidity in the air. Um, really impacted all the chemical reactions. So when I moved here, um, I kind of had some change, some things and some colors I lost and then here, because we have the extreme temperature, both the winter and summer, that’s a plus. But then also when the humidity occasionally kicks in here, it, it reminds me, oh, this is what it was like when I was in Southern Louisiana. I I’ve often thought about actually having a studio there because of the humidity creates such crazy colors. It might be worth having a studio there. So yeah. So Santa Fe altitude, the dry air, I would love the challenge of it.

Speaker 1 (00:26:51):

You’re just gonna have to travel all around the country and experiment and see what happens, where, and then <laugh>

Speaker 2 (00:26:58):

So thanks again to my girlfriend who came up with this genius idea. So we were in Moab mm-hmm <affirmative> and she looked at the dirt and she said, you know, there’s a bunch of iron in that dirt. And I’m like, it’s just dirt. She says, no it’s dirt full of iron. So she said, take some home and mix it up with the chemicals and see what it does on the, on the, on the copper genius, bright blue color I’ve never seen before. So I’m every place I go. I want to bring some dirt

Speaker 1 (00:27:25):

Back. There you go. So, I mean, that’s a good idea to, uh, kind of do what I’m talking about, but not actually live in those places for weeks or months. Yeah. You’ve just gotta collect your samples and bring

Speaker 2 (00:27:38):

’em back. I, I, I

Speaker 1 (00:27:39):

Like it. Yeah, no, um, I, I’m happy to send you some dirt. Uh <laugh>

Speaker 2 (00:27:46):

I’ll come back to Santa soon

Speaker 1 (00:27:48):

Or just come back and visit, maybe get some of that dirt from that, um, church in, uh, Chama with the holy dirt. Ooh, I like that. Who knows? Who knows what? That, that does. Yeah. <laugh> so you’re you, you can drive back, but if you need some dirt, uh, let me know. I’ll <laugh> oh, well I’ll, I’ll help you out there. So, um, in terms of working with, with copper, just generally in, in art, I mean they found copper in the oldest civilizations back to 9,000 BCE in the middle east. Something I, I, I was reading about last night, so I mean, copper it’s everywhere. People have experimented with all of it, you know, with it in all of these different ways. You see it often in, in print making. When I, when I was in art school, I did a liberal arts degree. So we got to play with all of the different needy. So that’s, that’s an interesting process in that it’s reductive where you’ve coded a copper plate and then you’ve etched away the parts that you want the acid to etch and you throw it in the bath and then you make prints from that kind of the way you’re working is, is, is similar. But it’s not, I mean, I don’t know how far it’s etching into the plate. It doesn’t etch away way in the same way. It’s etching away in a different way. Am I right? Am I wrong again?

Speaker 2 (00:29:12):

Very insightful. So it can, it can be everything from full blown etching. Mm-hmm, <affirmative> where you can scrape everything off from the cos in the copper mm-hmm <affirmative> to like the Moab dirt, where it’s almost like paint, it’s sitting on top the, but there was a chemical reaction that changed the color to stuff in between. So depending on the particular process I’m doing, um, sometimes it’s, it it’s like a, it’s like a patina on steroids sometimes. Not sometimes it’s, it’s, it’s a cake that films on top of the, that develops on top of the copper. When that happens, you gotta be really careful cuz you can scrape it off really easily. So, uh, again, you know, that goes into a account as you make your piece and, and how you’re gonna handle it because when it, when it’s sitting on top, um, it’s beautiful, but it’s really tricky to epoxy and it’s kind of taken me a while to figure that out without the whole thing, like sliding off the edge of the copper <laugh>. Um, but yeah, that’s, that’s very insightful sometimes it’s, it’s basically like an etching sometimes it’s basically like you’re forming crystals on top of the copper and then you’re gonna lock those in.

Speaker 1 (00:30:28):

But I guess we would never actually see the etched aspects of it because you’re essentially varnishing it in the end. So that would be filling or maybe it’s just subtle enough that you,

Speaker 2 (00:30:40):

You can, if you look at the pieces, you can kinda see it, cuz one will be super smooth. Then the other one will look like it has. I mean, it’s almost 3d.

Speaker 1 (00:30:52):

I’m gonna have to, I mean, I’ve, I’ve been over to yr and, and looked at the actual pieces, but next time I go in, I’ll have to, oh yeah, you’ll pick it out fast close. And I’ll, I’ll look at it from, at angle. How only people, uh, in the arts or, or makers do where you looking at the back

Speaker 2 (00:31:09):

And oh, I know. It’s so funny. I go tap on people’s epoxy. I look for air bubbles,

Speaker 1 (00:31:15):

You go to museums and you’re like, oh, what’s what’s going on with that? Uh <laugh> that epoxy.

Speaker 2 (00:31:21):

I look at their colors. I’m like, okay, are those store bought or did they make ’em mm-hmm <affirmative>

Speaker 1 (00:31:26):

Exactly.

Speaker 2 (00:31:28):

I can pretty much tell you which catalog they picked them out of if they’re store bought.

Speaker 1 (00:31:32):

Right. And your yours do not come from a

Speaker 2 (00:31:34):

Catalog. No, no. And that’s, you know, that’s one of the, the good and bad things about my piece is, is that there’s only one for each piece. There’s never gonna be another never, ever, ever, ever. They can’t, you know, people see a piece they’re like, oh, I love that. Is it available? It’s gone. Um, I can make something vaguely in that direction. If you really like that piece, you better get it. Cause it’s it’s there’s never gonna be another one.

Speaker 1 (00:31:58):

Exactly. You could do something inspired by it, but yeah, maybe, maybe you have a kind of recipe for purple now, but it’s gonna be a different purple every time. No.

Speaker 2 (00:32:10):

Yeah. And it’s gonna be interacting differently with what’s next to it. Mm-hmm <affirmative> um, because you know, the day I make it, the humidity was different or the temperature was different or

Speaker 1 (00:32:20):

Whatever. So, so you mentioned Jackson, is, is he an influence? Do you have other influences?

Speaker 2 (00:32:29):

You know, it sounds so range predictable and stereotypical it’s okay. Uh, I like Jackson park cuz I like the magnitude of it. I love the huge pieces and I think a lot of people don’t get that. They’re like, no, it wasn’t what he did. It was the scale he did. It was it’s. I mean that’s and I know this is super obvious and predictable. The other person I really gravitated to immediately with RO was Rothko. And again, I thought I invented him too. I’m looking at his pieces. Like I want that piece and I looked it up like that’s 2.5 million. I’m like, oh, okay, well I guess people know who he is. And at first I didn’t get him at first. I was like, this is silly it’s colors. And then the more and more of his work I looked at I’m like, this is genius.

Speaker 2 (00:33:15):

You know, it’s, it’s colors that evoke and emotion and some of this stuff is just, okay, you can see where he didn’t quite get it. Now this stuff I’m like, wow, he got it. But man, I look at everything I look at. So I look at sculptures, I’ve been doing, looking at a lot of photography recently. I just like to be inspired. You know, I, I tell people, I can look at a carnival line, be like, oh, I love the pattern. Take a picture. I’m gonna go put that on a piece of art. I just love looking at art. I don’t care what the format is or the genres. I mean, I buy the craziest street arc for like a dollar, you know, when I’m, <laugh> something sketchy and I’m like, oh that’s cool. Can I buy that like five bucks? Okay, perfect. It’s it’s sitting in that. So yeah,

Speaker 1 (00:34:01):

Fire. I mean that’s all that matters.

Speaker 2 (00:34:03):

Yeah. I get inspirations from everywhere.

Speaker 1 (00:34:06):

Mm-hmm <affirmative> and that’s what it’s all about. So, so you collect a bit of art yourself. I

Speaker 2 (00:34:12):

Love to support random street artists. That’s my thing. I mean, and not necessarily like the $25 ones all by really expensive pieces from these guys. If I like it, especially new Orleans, you know, when they have a new Orleans flare to ’em. So yeah, I definitely like to collect, I definitely like to kind of support people that are up and coming and it’s awesome to see ’em five years later own the gallery, you know, I’m like I should have bought 10 of their pieces. <laugh> <affirmative>

Speaker 1 (00:34:42):

But if you got the one or, or even if you just talk to them long enough to inspire that person, to keep doing what they’re doing, I feel like that’s

Speaker 2 (00:34:50):

That’s I need, if I 10 of their pieces, I would never sell ’em anyway, but you know

Speaker 1 (00:34:54):

Sure, sure. Yeah. I mean, there’s, there’s collecting artists because they’re well known or collecting artists just because you authentically love the work, which is

Speaker 2 (00:35:04):

Yeah. I like stuff that speaks to me. And I mean, if it doesn’t really speak to me, like really evoke and emotion, I’m just not interested and care who it is or how famous it is. It it’s gotta, it’s gotta speak to me. Correct. It’s gotta be something, doing something that that’s, that, you know, you can feel like they’re not going through the motions. You know, they they’ve asked a little bit more of their peace in themselves. That’s the stuff that speaks to me.

Speaker 1 (00:35:31):

Definitely. So, um, a question I, uh, have been into asking all the guests on the show is if they, if there’s anything else interesting that they collect, not that art is an obvious thing, but I’ve I found a lot of creative people have interesting collections that maybe they hadn’t even thought about.

Speaker 2 (00:35:52):

I co I already kind of alluded to this, like don’t ever go to home D Ikea or any junk store with me. <laugh> um, because I will walk out of there with the strangest arrangement of things and because I think they could somehow work into one of my pieces <laugh> and then after they fail 90% of the time I give ’em the Goodwill mm-hmm <affirmative> so good. I mean, Goodwill must think I’m loony the big boxes of brand new stuff I bring ’em. Um, because it just didn’t, you know, I’ll see a bat, I’ll see a bath mat with a weird pattern, you know, I’ll see like a wrench that’s like this. And at all, we definitely collect things which may potentially end up in my art.

Speaker 1 (00:36:44):

Right. I, I bet when you show up at Goodwill, they’re excited. They’re like, yeah, well it’s all brand new. I bet they’re like, oh, this is gonna be interesting. What what’s what’s in there now? <laugh>

Speaker 2 (00:36:57):

It? I knew it just, I, it didn’t work for art. So I’m like, oh, that’s perfect. Good. I don’t need it. Here we go. Good. Will

Speaker 1 (00:37:04):

<laugh> sure. <laugh> I, I love that.

Speaker 2 (00:37:07):

It’s funny because that’s also such a fun creative process. Cuz you’ll come across something. You’re like, oh my gosh, this is going to be the, and then you use it and you’re like, Hey, and then there’ll be something else. You’re like, I really shouldn’t get it. You get it, you use it. You’re like, oh wow. This is like a game changer. This is the coolest thing ever. I didn’t ever think this is gonna work. I think that’s part of the treasure hunting journey part of it, you know,

Speaker 1 (00:37:37):

Maybe that would be a good extra size. Next time you go to home Depot, pick out the thing that you think is gonna be the most useless and, and get that and just see what happens. <laugh> the

Speaker 2 (00:37:48):

Problem with how Depot at this point, I own one of everything in the store. <laugh> so yeah, I need to, I need to yeah. Expand my horizons.

Speaker 1 (00:37:58):

Maybe you’re gonna start collecting dirt.

Speaker 2 (00:38:00):

Yeah, no that’s that, that was a, that was a big win for sure.

Speaker 1 (00:38:04):

So if you could travel anywhere right now, perhaps internationally, somewhere you couldn’t drive to that. You can’t get to. Where would that be?

Speaker 2 (00:38:18):

Boy, that’s a phenomenal, you know, probably Polynesia Fiji or something like that. Just something way out there. Way extreme. Hang out. Surf. <laugh> eat fish. Oh yeah. So, or just go experience other cultures in particular, anything in Asia mm-hmm <affirmative> I’ve never been to Asia. I really, really, really wanna go, go hit up. Some, some cities in Japan

Speaker 1 (00:38:45):

I’ve always wanted to go there to snowboard <laugh> on my high, on my radar. I’m a, it’s

Speaker 2 (00:38:52):

So wild there. The way it’s so low out to two, it looks really fine.

Speaker 1 (00:38:56):

It’s amazing. I’m I’m gonna make that happen. And then in terms of places you have been able to go that you’ve been in your lifetime. Do you have a favorite?

Speaker 2 (00:39:05):

So outside of the us it’s yeah. It’s stereotypical Portugal. Mm-hmm <affirmative> Costa Rica spoke. The people spoke me. The kindness spoke to me the way a life spoke to me. But in terms of like cultural enrichment, Portugal blew me away. I, I, you know, you, I, I had heard about it and I’ve been to the Parises and London and all the other big places. And there just was something about, I mean, I found how old it was. I’m like really old <laugh>

Speaker 1 (00:39:42):

Right. We’re talking about Orleans and Santa Fe.

Speaker 2 (00:39:45):

Yeah. We’re talking like 400 BC old mm-hmm <affirmative> and, and um, the people and they just had a, there’s a lot of inspiring elements to it. And I go back there in a second.

Speaker 1 (00:40:00):

Did you check out port, um, Porto while you were there? I’ve I’ve been told Porto is kind of like the, the Santa Fe of, of Portugal Santa Fe. What was it about Santa Fe? It’s calling you.

Speaker 2 (00:40:15):

I ha I cannot live some point that doesn’t have spectacular food. Um, it’s a total food stop. Yes. New Orleans wrecked me. I, I just I’m a food stop. So there’s that, uh, people are important to me. I love the eclectic nature of the people. I, I just, that, that to me is important. And of course the arts scene, I mean, just seems to me like you could never run outta galleries to go to, um, and never lack for inspiration there. And so, I don’t know. There’s just for certain places you go and I would love to be able to quantify this where you can just feel it in the air. Mm-hmm <affirmative> like, you can just physically feel in the air. I love Manhattan. A lot of people don’t I love it. I love you can feel the chaos in the air, new Orleans. Of course, it’s the humidity, but the second you get off the plane, you can feel it in the air. Santa Fe is one of those places to me that like, when you get outta the car, you’re like, oh, I’m back. You know? And it’s, it’s who I, I think there’s something to it, but there is, there’s definitely a vibe to different cities. Good and bad. And I just, I know Santa Fe in those places and it’s like, uh, it feels good here.

Speaker 1 (00:41:31):

Did you bring any green Chi home?

Speaker 2 (00:41:34):

<laugh> we did. <laugh>

Speaker 1 (00:41:38):

Good.

Speaker 2 (00:41:38):

We, we, we, uh, uh, yes, we did. We, <laugh> all kinds of stuff.

Speaker 1 (00:41:45):

That that’s one. I mean, I love all of the seasons in Santa Fe, but that’s one of my favorite parts of, of fall is just driving around and you can smell all the green chili roasters everywhere. And you can, you can bring a whole bag home with you. And if you live here, you the little bags and your freezer, and then you have it all year.

Speaker 2 (00:42:04):

Those are the things that make places great. Mm-hmm <affirmative>, I mean, it really is. It’s this, it’s this thing. That’s always there. It always predictable. It’s unique to there, but that’s what makes some places great is I don’t call traditions or, but it’s just, it’s just, it just grounds you them and their culture and their life. And after you’ve lived through a couple cycles of that, it’s, it’s becomes part of who you are.

Speaker 1 (00:42:33):

Yeah. I, I gotta admit, like in terms of Santa Fe, the green chili is one of the reasons I officially cannot leave or I leave, I would need chili and,

Speaker 2 (00:42:43):

Uh, bet you could buy it on Amazon these days.

Speaker 1 (00:42:45):

There there’s some restaurants in Santa Fe that will ship to you. So if you run out, we, we may have

Speaker 2 (00:42:49):

Done that. Uh

Speaker 1 (00:42:51):

<laugh> if you run out and, and they go, let me know, <laugh> a few weeks ago, I had a friend on the show who is an attorney and musician. Some people had kind of said, oh, that that’s like an interesting combination of things she was saying, no, I think there’s actually a lot of people who are attorneys that are also musicians, cuz you kind of need that, that, that balance you work in, in the medical industry. So is, is it a little bit like that for you as well?

Speaker 2 (00:43:21):

It’s a difficult balance. Um, so there’s like the business side of it because in the beginning I’m like, I’m like, am I an artist or I’m a doctor, am I a doctor artist? Right. And my friend Erin, the professional artist said, not Tim, you’re not a doctor. You’re an artist, be an artist don’t that don’t confuse the two it’s too gimmicky, be an artist. And, and that really resonated with me kind of empowered me too. I have very little crossover in my life. It’s pretty fascinating. Like my friends at Eric that I know well, but they’ll know I’m an artist, but probably never been to my website. Mm-hmm <affirmative> um, and I, I do that fairly intentionally. Art’s mine, it’s me. I spend so much of the rest of my life doing things for others. And I love it. I’m a blessed human being with a blessed life, but art’s mine.

Speaker 2 (00:44:13):

Yes. You know? And, and I don’t, I don’t want other people’s expectations on it. I don’t want to be trying to make other people, you know, meet their expectations per se. I don’t wanna meet my expectations. You know, I like to look at a piece I’m like, yeah, that’s the emotion I wanted. And sometimes frankly, I make a piece, my friend says, I hate it. I’m like good. Cause I would expect you to hate it. You know, <laugh>, it wasn’t meant for you, you know? And it’s just cuz I know what they like and I know what I wanted to make. So, um, it is a weird balance, but I think it’s a healthy balance for me, but I’ve always been that way from the beginning. I was always like, I’m always doing this for me. The second I start. Cause in the beginning, when you start doing this, you’re like, oh, people love Florida to leaves. I wanna make Florida leaves. Oh, copper flowers. I wanna make a bunch of copper flowers and coloring em. And it was just, it was very artificial mean it’s fun. It was artificial. It was, it was kind of, I reached a point I’m like, no, if it doesn’t really challenge me in really kind of evoke an emotion, then I don’t wanna do it. Mm-hmm <affirmative>

Speaker 1 (00:45:22):

Well, or how long are you gonna keep doing it? Maybe you make a few and then you’re done.

Speaker 2 (00:45:27):

No. How many Florida leads can you make? And, and it, yeah, it wasn’t rewarding. Sure,

Speaker 1 (00:45:35):

Sure. So, I mean, I think there’s just kind of that within making and then I think there, and then there’s also that difference between being an artist that puts himself out there and shows the work being kind of a, a closet artist where you come home and, and you make the work and show it under the bed and, and never show it to anybody. So there’s, I don’t know. There’s that and just kind of the, where, where you’re driven to take it. Do you wanna, do you wanna share it with people? I know a lot of talented artists and musicians that, that don’t share it. And I think that’s an interesting thing.

Speaker 2 (00:46:12):

It is. And you can jump into psyche of that. Um, for sure, man. I, I, I can’t share enough of it to me. That’s the best part of it, sharing in the process, sharing in the art, um, you know, listening to what people see in it. That’s fascinating to me it’s and I’ve, I’ve had to learn to like be quite, I listen because often what they say is very different than what I saw, but it’s cool. It’s part of the journey. I, to me, it’s all, it’s why I have a website that all every piece on their soul, but I love sharing it. Um, so, you know, and I think you’ll get this particularly for people who appreciate there. Just some people who are like, <affirmative>, they really, really appreciate, and it’s, it’s fun to share with them. So that’s, to me is the best part of it is, is the sharing of it. I, I keep almost nothing. Mm-hmm <affirmative> I learned early on not to fall in love with your pieces.

Speaker 1 (00:47:11):

And that could be a challenging thing where the, they become like, like babies or something or, or you just get connected or attached how I,

Speaker 2 (00:47:20):

I struggled with that in the beginning. Mm-hmm <affirmative> hundred percent struggled with that. And then eventually I, I learned, no you’re gonna end up with 200 babies in your house. Right. <laugh> that’s not gonna go, well, it’s like 200 puppies.

Speaker 1 (00:47:32):

You’re gonna have to buy another house or a few more houses to play all of, all of them. And there’s

Speaker 2 (00:47:39):

An element too. If you’ve got the old stuff around, it’s not inspiring you to create new creative stuff. Mm-hmm <affirmative>, you know, I, I think you, if you got the old stuff around, you tend to kind of gravitate towards doing that style again. You don’t have it around. Cause I love it. I keep pictures of her. I’ve kept pictures from the beginning and I love to go look at my old stuff. I’m like, oh my gosh, I forgot. I went down that path and boy, I’m glad I left it. <laugh> you know? Yeah. Um, but at the time it was pretty satisfying anyway.

Speaker 1 (00:48:09):

Well there’s a few photographers. You may not know that. I think you’d enjoy. So later on, I’m gonna email you links to them. I think they would inspire you. I would

Speaker 2 (00:48:18):

Love that.

Speaker 1 (00:48:20):

And then I, and then I have to ask, I mean, you’ve done so many interesting things and it seems like you’re kind of all in martial arts. Is that still something you, uh, participated?

Speaker 2 (00:48:31):

Oh no. I, I was in Portugal to compete in the European championship. So that was in January pre COVID.

Speaker 1 (00:48:37):

So yeah. That’s recent. That’s huge.

Speaker 2 (00:48:38):

Yeah. No, I, I, I, I, I, I’m a competitive jujitsu person. I fight on an international level. I’ve won the world championship the last two years. I haven’t been on the for five months because of COVID. I love it. It’s another part of creating balance in your life. And again, none of them even know, none of them know I’m an artist help. Most of ’em a doctor for me again, you can probably figure it out. I’m pretty high strung. It’s it’s it’s I, I have to work hard to have balance. So I got, I got my family, I got my work, I got my art and I got my jujitsu and that’s, that’s kind of my life. I don’t really watch TV <laugh> I don’t, I don’t really time. Um, you know, cause cuz I’m either doing stuff with my kids or, or making art

Speaker 1 (00:49:27):

And your, and your kids or one of them. Yeah,

Speaker 2 (00:49:30):

They are are, they’re both in high school and you know, the, the main reason I, this is again, I’ll show you, this is one of my art rooms. You can see a piece right there on the tabletop. Oh cool. That one’s cooking right there, right there. So the main reason I do this at home is to share it with my family. You know, if I had a studio elsewhere. So like my daughter, um, some of the pieces they need, they need some things sprinkle off.

Speaker 1 (00:50:11):

Sorry, dogs. These are my children.

Speaker 2 (00:50:15):

Yeah. I was gonna say it’s all part of the family thing.

Speaker 1 (00:50:17):

Yes. This is my family. You were talking about your family. I wanted to introduce mine and um, I think there’s a bird. There’s a bird. Go ahead. Okay. Sorry. I think we’ve got them under control. <laugh> um, what you were saying <laugh> yeah, well

Speaker 2 (00:50:34):

They’re very much part of it, especially my daughter. So, you know, when I was talking about like watching pieces and knowing when to epox I’ll call her and say, Hey, can you come downstairs and look at this one? And I’ll be like, is it ready yet? And she’ll be like, no, and or yes. Or then other pieces I’ll be like, Hey, um, you know, does this need some rocks in there? Does this need some gold flake? And she’ll be like, no. Or if it does just a little bit. So like she’s my official gold flake. If you ever see my pieces that have some gold flakes in there look like stars. She does all my gold flaking. Um, so having it at home makes the it part of the process, but it’s also important to me, for them to see me engaging creative stuff. You know, if I had a warehouse, a mile away and I disappeared with my warehouse and made art and I never saw any of it, I, I think there’s a valuable life lesson missed there. It’s important for me to do that stuff at home. Hence why this is my, this is technically my office. And then I don’t have a dining room. <laugh>

Speaker 1 (00:51:34):

<laugh> well, the, the art and the raw studio is kind of taking over my backyard right now, but that’s perfect. Yeah. So I’m, I’m filming outside as long as I can, until it gets cold. I kind of joked with, um, some other snow enthusiast friends that I, I might be out here during the winter when it’s snowing with a, a jacket and hat on, I think I’ll at least have to record one w episode while doing that. Um, we we’ll see, but <laugh>, but I might have to take over one of the rooms in the house when it gets up bit colder.

Speaker 2 (00:52:10):

I think the snow would be awesome.

Speaker 1 (00:52:13):

I’m kind of obsessed with snowboarding. And if, if I can be out on the mountain in subzero temperatures, uh, I I’ll just get off to get, um, I don’t know. I’ll make it work. I’ll make it work. So you said you didn’t really watch a lot of TV, but I, I am curious if you have a favorite movie,

Speaker 2 (00:52:33):

You know? Cause I used to have to, when I, I used to travel a lot. So when I travel and I’d, I’d watch movies on the plane and um, probably not surprised. I like movies that challenge your mind in terms of art and, and philosophy. And this you’re gonna think I’m a total freako, you know, I like things like apocalypse now and the movie seven with Brad pit and then, oh yeah. You know, fight club. That’s two, the three are Brad pit movies. That’s interesting. You know, things like that, that just that they always, they have to have a good soundtrack. Mm-hmm <affirmative> they have to be visually stimulating. I me think about like apocalypse now. I mean the photography’s unbelievable. They have to make you think. I, I, this is not a great ha not a great quality in me, but I don’t, I’m better at it now, but I used to not like mindless movies. I wasn’t interested in turning my mind off. I wanted to be sure. Now I’m more interested in turning my mind off now I’ll watch a silly comedy and enjoy it, but

Speaker 1 (00:53:41):

Yeah, stay pretty busy so I could see going, okay, I don’t really have time for something like that, but

Speaker 2 (00:53:48):

It’s not so much time. It’s like, what do you want at it?

Speaker 1 (00:53:50):

Sure, sure. You know, and I,

Speaker 2 (00:53:52):

I guess making

Speaker 1 (00:53:55):

Or

Speaker 2 (00:53:55):

Yeah. You know, something to challenge you’re thinking on things mm-hmm

Speaker 1 (00:54:00):

<affirmative>, mm-hmm <affirmative> but there’s a time in, in a place for that. Okay. Maybe you just want a really like, no, for sure. You wanna zone out a little bit. That’s I balance

Speaker 2 (00:54:10):

And I’ve worked really hard on that. <laugh> so yes. I’ve come to appreciate such things.

Speaker 1 (00:54:17):

And how about music? Do you have a favorite mm-hmm <affirmative> band or style of music or, or everything?

Speaker 2 (00:54:24):

No, I, listen. They’re really loud, out really violent, really, really people <laugh>, people always freak out. When I hear my music, I listen the nineties nails in ministry and um, I mean, system of the down and sound dust and you know, and if I’m not listening to that, I’m listening to like super, super duper, um, cheesy stuff like the cure, the P mode or Smither reigns, or it there’s no in between it’s the two extremes.

Speaker 1 (00:54:56):

Sure. And music’s so important, I think. Are you usually listening to music when you’re I listen to when you’re making art or 20?

Speaker 2 (00:55:06):

Yes. I never turn it off. I mean, if I’m on a zoom meeting, I turn it off. I sleep to it. I, I XM radio satellite radio is the greatest invention ever. And I, I, I like my brain’s not happy unless it’s going in the background. Mm-hmm <affirmative> so I’m, I’m listening to it at all times. That’s

Speaker 1 (00:55:23):

One thing about zoom. I feel like music is missing. The next thing zoom needs to work on. So

Speaker 2 (00:55:29):

Yeah, no, it does. That’s why zoom makes your mind tired. It’s okay. When there’s only two of us, but you know, zoom will only pick up one voice at a time. Yes. So we can’t argue over each other cause only one of our voices is gonna win and it actually irritates your in mind. Mm-hmm <affirmative> so that’s why these big zoom meetings gives people headaches.

Speaker 1 (00:55:52):

Yeah. I’m I, I feel pretty lucky that most of the time I’m using zoom it’s well, not for big work meetings, conversations with interesting people, which is what art and the raw is. And this is the eighth episode so far at, uh, photographers, painters, sculptors, musicians, DJs. We’re gonna have, uh, the gold leaf frame shop on here. Soon, mixing it up. Some of the episodes are gonna have multiple disciplines of artists within the show. So I’m bringing some artists back. One of the things I’ve always loved is introducing people that were different that I thought would appreciate each other. So that’s, that’s something I’m kind of trying to incorporate. You may hear from me in the future.

Speaker 2 (00:56:43):

What, what, now I wanna ask you a

Speaker 1 (00:56:44):

Question. Yeah, please do. What

Speaker 2 (00:56:46):

Is something you learned from one of your guests or a couple of your guests where you’re like, huh? Didn’t see that coming,

Speaker 1 (00:56:57):

You know, if anything, I’m finding just a very common thread between all of the guests, even if they’re working in totally different mediums, a lot of the intentions are the same, or I’ve started looking at these parallels between different processes and being fascinated with that. And like I said, I was wanting to introduce previous guests and future episodes. And I just keep having these ideas of, oh, probably before I started recording this show, it would not have even occurred to me to introduce, for example, you, to person X, it just, that connection would not have been there. And then as you kind of picked up on and I, I, I do a fair amount of research in advance and, and I’ve just learned all of these fascinating things. Like I, I now have, uh, I could tell you about the history of UK ukuleles. And if you see the fountain behind me, that’s a Greg Robertson piece. He was on the show earlier on. And, and so I read up on the history of, of fountains and I think I’m just by nature, uh, a researcher, I can’t help it. So all of a sudden I have the excuse to research things that I would not have normally just come home from work and sat down and thought I’m researching ukuleles tonight. This is kind of served as a catalyst for that.

Speaker 2 (00:58:29):

That’s super cool.

Speaker 1 (00:58:31):

So I’m feeling inspired. I mean, the world is crazy and weird right now and I feel like just sharing people I feel are inspiring with other people is inspiring me. <affirmative> so I’m, I’m feeling good about it.

Speaker 2 (00:58:50):

Amen. To that. Share some inspiration. <laugh>

Speaker 1 (00:58:55):

Mm-hmm <affirmative> that’s all about,

Speaker 2 (00:58:57):

Oh my gosh. <laugh>

Speaker 1 (00:59:01):

So thank you for, for making art, the time to meet with me. Uh, we gotta give a little shout out to my brother, Steve Kelly, who introduced us. He works at Whiteford and he made it happen. So,

Speaker 2 (00:59:16):

Yeah. No, thanks to Steve. I love working with your brother, so, um, that’s great. He’s great. Yeah. Thank you for meeting many reasons.

Speaker 1 (00:59:25):

Do you have any, any shoutouts on no, I

Speaker 2 (00:59:28):

Actually think I mentioned most of ’em. Um, cool. You know, I, I mentioned most of ’em and I thank you. Thank you for the opportunity. I mean, it’s, it’s fun to talk and share. I said, I said before, stuff’s all the about sharing and, and, you know, thank you for giving me the platform to share my views.

Speaker 1 (00:59:45):

Absolutely. Well, I, I will let you get back to your family. I’m gonna go have a talk with my dogs about <laugh> shows and

Speaker 2 (00:59:55):

<laugh>, Hey, it’s not, it’s not a quarantine zoom without a dog barking. So

Speaker 1 (01:00:00):

No, no, it’s, it’s just, it’s what it is. Um, it is what it’s today let’s document. This is October 7th and the Sunday, the first episode is gonna air. We’re gonna do one per week after that. I think Sunday is the day we’re gonna go for that. See how that works out. And if you enjoy this conversation, go back, watch the other conversations like comment, subscribe. Thank you for listening. Thank you, Tim. Really appreciate your time. Have a great evening. Thank you.

Speaker 2 (01:00:33):

You too.

Speaker 3 (01:01:00):

Yeah.