Matt Connarton Unleashed 11-16-24 hour 2

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Speaker 3: That is called the Florist. The band is the Gray Curtain. And we spoke with Dennis Layton a few minutes ago during the first hour about the big event tonight, night two of no Masters Fest happening in Connecticut and it's for a really great cause, so we appreciate Dennis calling in. We are into the second hour of Matt Connorton Unleashed. We are live from the studios of w m n H ninety five point three FM and Glorious Manchester, New Hampshire and joining us now in the studio. So we have Liz from the Mosaic Art Collective and Liz, this is your third time on the show.

Speaker 7: Second third, I think this is my second time.

Speaker 3: Second, okay, all right, and you've got Hannah and Atlas with you, and they are first timer is on the show. Yes, I did meet Hannah at the at the last event right last Oh that was last weekend. Actually it all becomes a blur. And I'm meeting Atlas for the first time and you are the uh I'm pretty sure you're the first individual named Atlas I've ever met, so so welcome to the show. So, uh, Hannah, what what is your involvement with Mosaic Art Collective.

Speaker 8: I am one of the resident artists. Mosaic is, for those that don't know, is a gallery with a gallery hosted inside and for artists studios. So I'm lucky enough to be one of the four, and I'm also the secretary of the Mosaic Art Collective Board.

Speaker 3: Okay, okay, and Atlas how about you?

Speaker 9: Yeah, I'm.

Speaker 3: Pull up, pull up, mic over Rett, Yeah, you gotta be right on it.

Speaker 9: I'm the head of pr for I've been with June.

Speaker 3: Lean lean over a little bit. So you're like you got to talk right good. Yeah, that's that's the worst micu Okay in the room. Unfortunately, Yeah, so I was.

Speaker 10: I'm now pead of pr for most Okay, I've been with the Mosaic since tune and I've just kin to be a part of it every way I can.

Speaker 9: It's been an awesome ride so far.

Speaker 3: Yeah, yeah, excellent. All congratulations, very good, very good.

Speaker 9: I appreciate it.

Speaker 3: So, Liz, how how's it been for you? I mean, this has really grown, right. I was commenting to Hannah that earlier off air that that was quite the turnout, Yeah, last Saturday.

Speaker 11: Unfortunately I wasn't atop oh that's right. Yeah, yeah, but I have heard it was a fabulous turnout. We've had a couple of slower months. I think in general, there was a lot going on in the art world, so probably less people were available, and I think luckily this time around, there were a number of people that were available. But also it's a larger show because it's I don't remember exactly how many artists we have, it's over sixty artists in the show.

Speaker 7: And when that happens, you end up with a pretty good turnout. All the pieces that.

Speaker 11: Are up on the wall right now or are small work, so they're all more affordable, really great gift giving sizes and prices, and so we're really lucky.

Speaker 3: When you do something like where the theme is smaller, I mean, did you put us like a size limit on that, like they couldn't be ye larger than a certain than certain dimensions.

Speaker 11: Yep, so the dimensions are smaller than twelve by twelve inches, okay, and that's in any direction.

Speaker 7: So because we do have some sculptural pieces as well.

Speaker 3: When you do something like that, do you find that you get a different submissions from people who may not have submitted before.

Speaker 7: Do you see a lot of new names sometimes?

Speaker 11: I think in the last several months we've seen an uptick in new artists, which is really cool because I think around June I started feeling like maybe we've tapped into all the artists in the area and this is this is the amount of artists that we have. And then really in the last three months or so, we've seen a huge, a huge number of new artists showing up for open calls. So I don't know that it's changed necessarily because of the sizes or if it's just that more people are finding out about us.

Speaker 10: And I would argue artists love a good challenge. Yeah, anything more restrictive in terms of theme or anything like that. It really as me personally as an artist, like, I find that very helpful because I can put more into it knowing exactly what I'm looking for.

Speaker 9: So I think the twelve x twelve sort of I don't want.

Speaker 10: It's like more of like a challenge to try to make something beautiful out of something within that space. I think people responded really well to that.

Speaker 11: And at Lissa actually took the challenge in a totally different direction and he has a really cool piece in the show where he painted on a knife. Oh really, So that's definitely worth checking out if if you want to stop into the gallery or go online and look at our online gallery.

Speaker 3: Okay, yea, was.

Speaker 10: That difficult Alice to Yeah, it was a totally different canvas to paint on. It's not something that you would expect to have trouble with, but it was quite quite difficult. But I had so much fun doing something within that brand new medium. Yeah, it was obviously inspired by the Mosaic Small Wonders show like this, this seems like the perfect opportunity to try something new, put something new into it. And yeah, it was great and it came out with an awesome result. And I'm so happy that I was able to do that.

Speaker 3: Yeah, yeah, excellent, excellent. Now when when people submit, you know, you call it a juried a juried u what's what's the right term? A jury show, jurid show? Like who chooses? Like obviously, Liz, you're you're part of that process, but are you also both Hannah and Atlas are you both involved in that well in terms of choosing who gets in?

Speaker 8: And it's a collaborative effort. It's usually about three to four people that are selecting the work, and then we get together as a group several days after the work comes in and we collaborate once again and make decisions on how to arrange the show so that it's harmonious and each piece that is situated in a way where it really shines next to the other work. So it's it's a really interesting process not only choosing the work that is selected, but also how do you arrange such a diverse arrangement of such selected works.

Speaker 3: Yeah, yeah, as the as a number of selections, or I should say, I'm sorry, the number of submissions. Has that really kind of increased over time, because I would imagine, like the first show that you did there, I would imagine that was a significantly last number because it was the first show, or maybe not. Maybe there's such a need and demand for what you're doing. Maybe you had a lot right out of the gate. I don't know.

Speaker 11: I mean the first show was interesting because I had never done anything like this before, and really it was just a complete guess, yeah, to see what would happen. I did end up reaching out to another one of the residents at Mosaic, who has a strong connection with a number of local artists, and told her that we hadn't gotten the numbers that I had hoped, yeah, and I had to extend the deadline, and I said, can you share this with your audience? And she did, and that that brought in some more people.

Speaker 11: So we did end up at the very first show, I think we had forty or so artists.

Speaker 7: There.

Speaker 11: The work was a really interesting range of emerging to professional artists, and I think from month to month it kind of ebbs and flows. Like I truly get freaked out about a week before the deadline because most artists wait till the very last minute to submit their work,

Speaker 11: and I usually, like the week before will start like if I really noticed that we haven't had any submissions, I'll start like tapping people and being like, hey, are you planning on submitting your work? And you know, chances are some of them are, or some of them are just too busy that month, but yeah, it kind of it changes.

Speaker 3: So yeah, yeah, now that makes sense the small Wonders that's actually running for two months? Is that correct?

Speaker 5: It is?

Speaker 11: Okay, So this we have historically done a small work show in November December. Part of that is self preservation because we're getting into like the busy holiday season and I at the beginning just couldn't take setting up another show in December. But also I think it offers more time for people to shop and see the show. We'll have another opening the second Saturday, of December for Amy who runs the Seesaw Gallery, she'll have a a name of her show presently, I think is what her show is called. That's another open call and she'll have an opening that night as well, and we're hoping that there'll be another good turnout.

Speaker 11: And then I think we're also planning on doing a closing on December twenty second, so we try to like keep you know, movement.

Speaker 7: In the gallery, get people in and.

Speaker 11: Of right now, we had been doing almost month to month shows, and I think going forward after November and December, we're planning on doing bi monthly shows instead. Okay, we needed a little more time. I think all of us just from an organizational standpoint, needed.

Speaker 7: More time to.

Speaker 11: Rest and then also be able to bring in some workshops and stuff like that. We'd really like to do more community outreach, and it's hard when you're either setting up or taking down.

Speaker 7: A show with like a week or two of the show there.

Speaker 11: So we're hoping with the extended shows that we'll have some more time to do that kind of stuff.

Speaker 8: Yeah, that makes sense, and it also gives artists the opportunity to bring in more of their friends and family a month is a really tight turnaround.

Speaker 3: So yeah, the.

Speaker 9: Great opportunities.

Speaker 3: Yeah, yeah, that makes sense. Yeah, I remember, uh, Jenny and I attended an event that you had had about I don't remember the gentleman's name, forgive me, but about AI in art that was really interesting.

Speaker 4: Yeah.

Speaker 7: He that's Carl.

Speaker 11: So he was fast this it's interesting because like AI has just exploded now, so but at the time it was like this fairly new thing that was sort of like freaking all the artists out. And I think because of his background, he comes from a tech background. He calls calls his or called his job an ethical hacker for IBM, so he would look for the weak points in the system and try to try to break it so that he could learn how to fix it. So he did a ton of research on AI and brought that workshop to us, which was super awesome, and we would like to offer more of that kind of stuff.

Speaker 12: I know.

Speaker 11: We were in talks with Karen Jerzyk, who's an installation artist. She is not an AI artist at all, and she gets called that a lot. She's a photographer.

Speaker 3: Why why does she get called an AI artist?

Speaker 7: Her artwork is pretty surreal.

Speaker 3: Okay, it's okay, her artwork.

Speaker 11: Is surreal, so it has a vibe that kind of lends itself to looking like it's computer generated.

Speaker 3: That's interesting to me.

Speaker 11: Yeah, but her she does She actually doesn't even use like photoshop all that much, which most photographers these days, I would say at least use a little bit of touch up at points in their process. Yeah, but she does not, and she's actually had a lot of success with what they called NFTs and stuff.

Speaker 3: Yeah. Yeah, So we're.

Speaker 7: Hoping to get her in and have her do an artist talk and sort of, yeah, talk a bit more about that.

Speaker 3: That's that's interesting to me.

Speaker 13: You know.

Speaker 3: The subject of AI comes up a lot on the show, and it's interesting, you know, because we talk about people looking at art and not knowing or other or any kind of image and not knowing whether it's real or AI generated, and we worry about people looking at things and assuming that they're not AI generated when actually they are. But her art work, you say, like people accuse her of using AI and she's actually not. That's interesting. So the impest can also be a pitfall. Yeah, I wouldn't have expected that.

Speaker 3: Wow, that's fascinating.

Speaker 7: Yeah, definitely somebody to check out.

Speaker 3: Yeah, yeah.

Speaker 7: What was her name again, Karen Jersik. She's right in Manchester too.

Speaker 3: Okay, okay, wow you do Do you do any kind of classes there or do you have plans to do in the future for people who think they might have ability but want to kind of expand on it.

Speaker 7: I don't know that we're looking to do. I mean maybe maybe.

Speaker 8: At some point I think once we get our heads wrapped around the scheduling and have a little bit more time to think about what kinds of programs we're looking for, what kinds of classes would really benefit the community the most, and just seeing what people are interested in.

Speaker 11: Right. We have done some like workshop style classes. Jackie Hansen did an erase or printmaking workshop a couple times. We had somebody do a terrarium building workshop. I think there was actually a word press workshop at some point.

Speaker 3: Really yeah, on how to build a website. Okay, I it.

Speaker 11: Was interesting because it was it was attended by artists and then who don't use word Press, and myself who uses nothing, and my husband who is a web developer and uses web WordPress all the time. Yeah, so it you know, WordPress is really hard to use. That's what I what I've come to learn, so it's not the most like artist friendly, still helpful, development helpful.

Speaker 9: Yeah, anythink we can offer really yeah?

Speaker 3: Yeah, no, that makes sense. Yeah, that makes sense. When did When did Mosaic first open? It's been at least what has it been two years? Has it been longer?

Speaker 11: It's been so two and a half fish, I mean yeah, I think we opened in uh September of twenty twenty two, okay, and after a year of being an LLC, we transition to a nonprofit model, okay, and then we've been a nonprofit for just over a year.

Speaker 3: So yeah, what was that always the goal to become a nonprofit?

Speaker 11: Or I think for me, when I was originally dreaming up Mosaic, I mean I was really young. Mosaic was something I wanted to do when I was like fresh out of college. I graduated and was just lacking art community and couldn't figure out where I belonged. So in some ways, I think I didn't really know what it would totally look like, and once I started doing it, it just became like a larger thing than I could do by myself, and the community aspect of it was so important that I felt like I was already reaching out to people and asking their advice or asking how to do something.

Speaker 11: So the nonprofit just sort of like naturally made sense, right.

Speaker 7: So I don't know that it was like.

Speaker 11: Necessarily like the thing I thought would happen, but it made sense when we went.

Speaker 7: In that direction.

Speaker 3: Yeah, yeah, of course, of course you're not from Manchester originally, correct.

Speaker 7: I actually am from hooks It.

Speaker 12: Oh.

Speaker 7: I went to Central Oh okay. Yeah, so I grew up here.

Speaker 4: Oh you did?

Speaker 3: Okay, Okay. Did you move away at one point and move back? I did? Maybe that's what I'm thinking of.

Speaker 11: Yeah, okay, I lived So I went to art school down in Baltimore, Maryland, Okay, And then after Baltimore moved back here for a very brief time, and then up to Vermont. And then I lived in Burlington, Vermont for fifteenish years. Oh okay, and then moved back during the pandemic.

Speaker 3: Gotcha, gotcha? Yeah, Burlington's got a not a bad little music scene there.

Speaker 7: It's just a fabulous music so good.

Speaker 3: There's some good bands up there that kind of, you know, that a lot of people around here might not know about because Burlington it seems like it's so far, but it's really not. I mean, how far what is it?

Speaker 7: Two and a half hours?

Speaker 3: Two and a half That's what I was thinking. Yeah, yeah, yeah, there's some cool place. Is higher Ground still there?

Speaker 7: Oh yeah yeah yeah yeah, that's a cool venue.

Speaker 3: Yep. I haven't been there in a very, very long time.

Speaker 7: We should take a field trip.

Speaker 3: Yeah, yeah, yeah, it's a cool place. Not in the winter though, No, we'll do that.

Speaker 7: Well, I love it.

Speaker 3: Yeah, yeah. If you are just joining us, we have Liz, Hannah and Atlas from the Mosaic Art Collective here with us live in studio on this Saturday morning. Do you do you work with other studios as well, Like do you have these relationships where you kind of I don't know because you did.

Speaker 11: Refer to is it seesaw Seesaw on Hanover. Yes, So Seesaw is sort of similar to Hannah. You want to explain, like they also rent space in the gallery or in the studio and rent rather than use it utilizing it as a studio, they.

Speaker 7: They use it as a gallery.

Speaker 3: Okay.

Speaker 11: Amy Reagan, who runs Seesaw, is also one of the founders from the Rochester Museum of Fine Art, and she runs sort of like a boutique Style Gallery, So it's usually like two to three artists from the region. Okay, Yeah, But we also have worked with an h a A. We've worked with Queer Elective, We've worked with the Women's Caucus, the Women's Caucus for the Arts. This year we kind of took a slower role on partnering, just to see, like get our feet wet and see what it was like to be a nonprofit. Right, But I'd like to do some more partnerships going for Yeah.

Speaker 8: And speaking of partnerships, many months at the gallery we choose a cause to support, Okay, And this month we are gathering art supplies for the Webster Webster House Okay Webster No, well we're okay.

Speaker 7: So we did Webster House last year.

Speaker 3: Okay.

Speaker 7: This year we're hoping to donate to Waypoint, but we don't have we haven't heard.

Speaker 3: That, oh okay, Okay, so that's kind.

Speaker 8: Of And we're also having a weekly raffle of all sorts of community restaurants, artists and other other prizes and things like that to benefit.

Speaker 11: It's, yeah, the Reproductive Freedom Fund of New Hampshire. Okay, Yeah, We're just wanting to do whatever we can to help out our community right now.

Speaker 7: And I think that's a good way to do it.

Speaker 3: Yeah, Yeah, No, I think that's I think that's great. Yeah, yeah, I seem to remember. I think I think maybe the last time you were on you might have talked about Webster House and are you are you trying to do something different each time, like to help a different organization.

Speaker 11: Or Yeah, I think I just wanted. I think we were hoping to like spread the love around as much as possible.

Speaker 9: It's kind of nice.

Speaker 8: It's a way where we can say, hey, we're seeing you do some great work and we'd like to we'd like to benefit you.

Speaker 3: Yeah.

Speaker 11: And I think, you know, as far as like the donation, like the art donation, the supply donations. For a lot of us growing up, art was incredibly important in our lives that we recognize, like the need for kids to have access to art supplies, and there are a lot of art are a lot of kids who don't, right, and it doesn't seem like the immediate need, but I think to express your yourself definitely helps make situations feel less overwhelming.

Speaker 3: Sure, yeah, yeah. Well, you know something that we talk about a lot on the show, and it's we talk to a lot of musicians, so it tends to be more in that modality. But we talk about and I was talking about it with Dennis actually from the Gray Curtain during the first hour a little bit too, the event that he's doing tonight in Connecticut. We were talking about, you know, taking taking traumatic events, or taking problems that you have or you know, mental illness or whatever it may be, and any time that you can create something from that, you know, take it, but create something, create art, create whether it's visual art or music or whatever it is, or write a book or you know.

Speaker 3: That to me, that's the best therapy, right when you can take something negative and do something creative and productive with it. And and I assume, now I have no you know, I'm a music but I have no ability whatsoever for visual art. I can't paint or anything like that, so so I'm kind of a no trust me it is. But but I assume a lot of visual artists, you know, they they put that into their uh into their their paintings. I would imagine, you know, as an expression of of that that pain and that trauma.

Speaker 3: And stand up comedians are really kind of famous for that. Like any stand up comedian you talk to. It's like they've they've had like major trauma and the way that they deal with it is learning how to make people laugh, whether whether they're actually making jokes based on what they've been through or not. But that's like that's their therapy.

Speaker 13: You know.

Speaker 3: Stand up comedians are almost always you know, like just messed up people in some way, you know what I mean? But no, but I think that's I think that's so important. And you know you mentioned too developing that in kids.

Speaker 13: Is that.

Speaker 3: Is that something that is lacking in our rules?

Speaker 4: Do you think?

Speaker 3: I mean? I remember, you know, I went to a private school from grade two to grade eight and we had art class and that was that was where I learned that actually, no, I have no visual uh visual ability art wise, I have no art artistic ability in that sense. But do you think that's something that's lacking? Is that something that where parents need to really kind of encourage that and foster that because I don't know, I don't know if our schools are doing that at all or not.

Speaker 8: I'm a public school teacher, an art teacher.

Speaker 3: Oh so you okay, great.

Speaker 8: And I know that or at least I believe that New Hampshire public schools are required to offer art and music. Okay, kindergarten through high school.

Speaker 3: Oh good, Okay, I didn't know that. So they're required a lot to do that. Yeah, oh that's excellent. Okay, I didn't know.

Speaker 8: However, with different towns receiving different funding, some programs don't have don't have as much to offer as other towns.

Speaker 3: Yeah, because uh, I know that. You know, these school budgets tend to be tight, and it seems like when you hear about budget cuts in public school it's usually you know, the the sports are protected and everything else kind of is on that second tier where they think, oh, maybe we can get rid of this, we can get rid of that. But but you so, you're you work in public schools and you're an art teacher, so your a proof of concept that this is this is still happening in New Hampshire where we have the arts being hot.

Speaker 7: So very much so.

Speaker 8: New Hampshire has one of the strongest art programs, i'd say in the country, Elastic Art Awards, which is the largest and most prestigious high school art show in New Hampshire. We're number two in terms of the size and scale of net right behind New Jersey NOKID and it's all volunteer.

Speaker 3: That's great. So that's great. Yeah, it makes me proud to be a New Hampshire Rite. Oh that's really good. I had no idea.

Speaker 11: I mean, I think in general from I have three kids in the school system, I think in general they have had a phenomenal arts education.

Speaker 7: But also, I mean art school is what you put into it, and if the parents aren't willing to.

Speaker 11: Foster a love of art or culture, they're only going to get what they get at school, right. So I feel like, you know, especially looking at my kids now, go to the schools that I went to as a kid, and one of the teachers is one of my teachers. It's just been there forever. And I think like in terms of I think think, you know, she's doing a good job. I think the younger teachers that are coming through you not that young, but you've been teaching a long time. But I like Hannah does a great job. But I think, you know, the younger teachers that are coming through have a different concept of how to teach art, and I think that that can be kind of interesting to watch.

Speaker 11: I think they are not too long ago when I was teaching. There was this method called teaching for Artistic Behavior, which is more of a choice based learning, and I think that what not?

Speaker 3: But what does that mean? Choice based learning?

Speaker 7: So it's not like.

Speaker 11: Here's a picture of a snowman, and this is how you make this picture of a snowman. It's more like, here are the materials that you might need.

Speaker 7: This is what I did do?

Speaker 3: What how you do it?

Speaker 11: That everyone sees differently and everyone's going to create a little bit differently.

Speaker 3: And intuitively that makes more sense to me.

Speaker 7: It does, and it gave it.

Speaker 11: I feel like it offers students a chance to delve into the arts where they are most interested, because some kids aren't really interested in getting their hands dirty, right right, but they are really interested in puzzles and building and that kind of thing. And so I think, you know, offering as much as we can do our kids is really what it's all about. And I think in New Hampshire they are doing a pretty bang up job.

Speaker 3: Yeah, yeah, no, it sounds like it sounds like it. Yeah, do you do you have do you have students submit?

Speaker 13: Like?

Speaker 3: Do you have like high school students and younger submitting.

Speaker 13: To we do?

Speaker 8: One of my favorite submissions for this last show is was mother and son. Her son builds these lego worlds and she photographs them, and so she's new to the area and found out about this call and submitted one of the photographs of her son's lego build and was just so excited to bring him to the gallery and share that with him and you know, to be embraced.

Speaker 3: So that was really really cool. That's very cool.

Speaker 8: And we also at Mosaic we have an art intern who comes in and he submits quite a few pieces to the different shows as well.

Speaker 3: Okay.

Speaker 8: In addition, last year there was a show to Manchester with Love, which featured works from all of the Manchester Public High School. So it was an opening dedicated just to the students and their teachers and that was really really cool.

Speaker 3: Yeah, oh wow, oh very good, very good. Are there more? Because I feel like you knows as you're as you're talking about these different these different places that are involved in art, Are there more? Is there more of an art scene than people realize? I guess is what I'm asking Because I feel like you know, as you're mentioning, you know different like you mentioned Seesaw and these other places like them, like I wonder if and I guess Atlas, this is part of where you come in, right, making sure that people know that there is all this, you know, like because I didn't even realize sitting here, you know, I'm asking you about you know, do they even teach art in schools anymore?

Speaker 2: I had.

Speaker 3: I had no idea that New Hampshire is doing such a great job with that. Is there more of an art scene than people know about?

Speaker 9: Yeah?

Speaker 10: Absolutely, I'd say that, like in the past two years, it's really blossomed.

Speaker 9: Quite a bit and just receiving.

Speaker 10: The inter network of knowing about the art has gotten a lot more prominent, I would say as somebody who's fairly new to the art scene in Manchester. Yeah, definitely feels like it's blossomed in the past two years.

Speaker 3: Yeah absolutely. Oh that's great.

Speaker 10: Yeah, awesome to see the festivals that are out there, all the events that are going on, and Mosaic being part of that.

Speaker 3: Yeah absolutely.

Speaker 10: Yeah.

Speaker 3: Yeah, Oh, that's that's great. That's great. That's really good to hear.

Speaker 11: Ultimately, I think the art scene has been here all along. I think that it's just sort of more out in the open, I would agree.

Speaker 3: Yeah, it's it's.

Speaker 8: Morphed a lot. I feel with the closing of traditional galleries there's more room for alternative spaces and people are getting really creative and open minded. Places that come to mind are like Pillar Art Project, where they have a small gallery front up and conquered with a ghost kitchen in back, and Outer Space Gallery, which is hosted on the second floor of a Victorian office building.

Speaker 3: Oh wow.

Speaker 8: So I mean there's these these pockets that are opening up and people are getting much more creative and it's less about profit and more about community and getting the art work out there.

Speaker 3: Okay, okay, that makes sense. Why have you reference traditional art student or art galleries rather? I want to make sure he's the right term closing? What why is that?

Speaker 12: What?

Speaker 3: Why is this? It sounds like there's been a shift in that sense.

Speaker 8: Yeah, there has been a shift. Some of the shift is a lot of art has gone online, rents have gone up. It is difficult to sustain a gallery model where you know you're relying on foot traffic and you know whether or not your audience is going to be receptive to the work, whether or not they have the means to purchase the work. So so yeah, a lot of places, especially when COVID hit had to close their doors.

Speaker 3: Yep, Yeah, that makes sense. So it sounds like so the traditional gallery model is more just you have it's almost you know, like a like a retail store in a sense. Right, You've got art just hanging and people walk in. You hope somebody walks in and buys something. So it sounds like there's been a need, especially after the pandemic, to be more creative with how you do things. And like you're you know, you're very creative with how you're doing things at Mosaic, and you know, you've got all these things going on.

Speaker 3: So so that makes sense.

Speaker 10: Say, like in the wake of tragedy, like in terms of the COVID pandemic, a lot of people who are around community organization tend to be like, Okay, this is the time to dig it in, roll up our sleeves. Yeah, this is what we need to do for the people in our community because they really really need it. Yeah, And I would say that it's definitely evident in the wake of a pandemic that really rocked everybody.

Speaker 9: Yeah, especially people in places I need.

Speaker 10: Seeing that come from that, right, it was so apparent and it's very lifting, and it's very enlightening.

Speaker 9: It's a wonderful. It's wonderful to be a part of it. Yeah, sure, absolutely, Yeah.

Speaker 3: Well, something I always say too about the pandemic is as awful as it was for for so many reasons, we also have to try to find those silver linings where we can, you know, speaking of dealing with trauma, right, And something that this also comes up a lot on the show is that it kind of forced people to be more creative in ways that maybe they hadn't considered before. You know, you see it a lot with me. You know, like during you know, when everybody was staying home. For example, with music, you saw a lot of these bands, you know, doing live performances where they're all you know, they're all connected on zoom and they're they're doing these live performances online things like that.

Speaker 3: But uh, you know, but it affected everyone and obviously you know, it affected visual art and I think it it sounds like it it did kind of force people to to be more creative with that as well. And and and how they how they show the art to the world and uh and all of that. Uh, what's what's kind of the what's kind of the future trajectory for for Mosaic. I mean, you talked about some of it, but is there anything you have planned that we didn't mention that we should know about.

Speaker 11: Or we do have a new show going up in January. It will be one of our two months another two month shows, Okay, and I can't recall what the name of it is. Yeah, yeah, yeah, But the show itself is op art, so optical illusions and black light art. Oh cool, sort of like I think, kind of like Creatures of the Night sort of a thing we figure with the darkness happening at like four o'clock, we're going to take advantage of the darkness outside and bring it inside and and let the gallery the artwork kind of illuminate the space.

Speaker 3: Oh that's cool. Yeah yeah, I like that concept. Yeah. Well, I talk about taking something negative and creating something that I I hate it when it's dark at four in the afternoon. Oh I dread it. I dread it. Does anyone like it? Really?

Speaker 7: I don't think.

Speaker 3: I don't think even people. I don't think even people, because some people are weird and they actually enjoy winter. No offense if any of you are like that personally, I think enjoying winter is very strange. But uh, but I've never heard anyone say, yeah, I like it when it's dark at four in the afternoon that I've never heard. No, it's yeah.

Speaker 9: I feel like every single day it's like, is it really dark this suit?

Speaker 11: Yeah?

Speaker 3: Yeah, you don't really get used to it. It's you're right, yeah, Like every every day it's like, oh, it's it's dark again at four in the afternoon. Yeah, it's it's not great. It's not great. Well, listen, thank you all for coming in. This has been wonderful. And what should people know about? You know, you should probably mention the website and anything else people should know about what's happening at Mosaic right now and of course how they can submit for a future Oh so, visit.

Speaker 11: Our website that usually has up to date information Mosaic Arcollective dot com. We're also on Instagram under Mosaic Art Collected, and any of the open calls are always listed on our website and on Instagram. And then we also have a mailing list that you can sign up for on our website and that will also send out the calls for art.

Speaker 3: Okay, yeah, all right, perfect, perfect and congratulations again. On last weekend, it looked like a really good I know you weren't able to be their list, but it looks but it looked like it was very successful. And you know, Jenny is so proud to have you know, multiple pieces hanging there, and it's just, you know, she hasn't I don't think she'll mind me saying that she hasn't been an artist for that long in the grand scheme of things. I mean, it's been maybe five years, yeah, since she first picked up a brush and said, I think I want to try this.

Speaker 3: And I'm just, like I said, as someone who doesn't have that ability, I'm just I'm just amazed at how much she creates and how amazing it is. And you know, I'm just I'm just in awe. You know, she's got she's got her artwork hanging at home of course too, and so I see it every day. But I'm just you know, every new piece she creates, it's like wow, Like how to even do that? You know, It's just amazing to me. And to see how farther she's come with it, you know.

Speaker 7: Yeah, and a lot of the artists at Mosaic, I mean, well, i'd say some.

Speaker 8: Yeah, a lot of artists that we are the first venue where they show, and you know, I remember the first show that I was in and what an exciting event it was and how cool it was to be up on the wall with all these other artists. And at the same time we have artists that show nationally, so it's a really really great range of different artists, art styles and everyone is welcome.

Speaker 3: Yeah, yeah, oh that's fantastic. All right. Well, Liz Hannah Atlas, thank you all so much. Thank you, and we'll do this again soon, I'm sure. And if you are listening live on Saturday, coming up in the third hour, we're going to be remembering our departed friend Brooks Young and so stick around for that. And I'm also gonna play another track in the meantime from the Gray Curtain to close out the segment because Dennis has that fantastic event going on in Connecticut tonight a night too of the No Masters Fest.

Speaker 3: So if you're if you are in the area, if you're in that part of the of New England, I should definitely check that out. It's for a great cause. But here's a little more from the Gray Curtain.

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Speaker 13: Can anyone in apathy hear me?

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Speaker 4: I need you to listen to me carefully.

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Speaker 12: Rismas Please.

Speaker 3: When is time?

Speaker 6: Quass Jones?

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Speaker 4: Is there lasting love.

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Speaker 4: The losing.

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Speaker 2: Lising.

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