In this episode of Creative Guts, co-hosts Laura Harper Lake and Sarah Wrightsman chat with Jenny Tibbits. Jenny is a multi-disciplinary artist and tribal elder for the Newichawannock tribe, which is a subtribe of the Pennacook and part of the larger Abenaki diaspora. As an artist, Jenny primarily works in torchwork glass, photography, fashion design, and fiber arts. In this episode, we’ll talk about “No More Stolen Sisters”, which features red dresses to honor murdered and missing Indigenous Women and Girls. Jenny is also an electronic music producer, DJ and a singer (we kick off this episode talking about their music)! You can find Jenny Tibbits on Instagram at www.instagram.com/buffalospirit86 and follow the links to their work from there! You can find Jenny’s music by searching for DJ Ghia on streaming services. Listen to this episode wherever you listen to podcasts or on our website www.CreativeGutsPodcast.com. Connect with us on Instagram, Facebook, LinkedIn, and Discord. Creative Guts recently moved our newsletter to Substack, and you can find us at creativegutspod.substack.com. If you love listening, consider making a donation to Creative Guts! Our budget is tiny, so donations of any size make a big difference. Learn more about us and make a tax deductible donation at www.CreativeGutsPodcast.com. Thank you to our friends at Art Up Front Street Studios and Gallery in Exeter, NH and the Rochester Museum of Fine Arts in Rochester, NH for their support of the show! We’d also like to thank The Currier Museum of Art in Manchester, NH for their support of our recent Tiny Art Exchange Zine; Red River Theatres in Concord, NH for collaborating with us on the Creative Guts Short Film Festival; and Creative Co Op as a sponsor of the film festival. We appreciate all the folks and organizations who give support to Creative Guts.
In this episode of Creative Guts, co-hosts Laura Harper Lake and Sarah Wrightsman chat with Jenny Tibbits. Jenny is a multi-disciplinary artist and tribal elder for the Newichawannock tribe, which is a subtribe of the Pennacook and part of the larger Abenaki diaspora. As an artist, Jenny primarily works in torchwork glass, photography, fashion design, and fiber arts. In this episode, we’ll talk about “No More Stolen Sisters”, which features red dresses to honor murdered and missing Indigenous Women and Girls. Jenny is also an electronic music producer, DJ and a singer (we kick off this episode talking about their music)!
You can find Jenny Tibbits on Instagram at www.instagram.com/buffalospirit86 and follow the links to their work from there! You can find Jenny’s music by searching for DJ Ghia on streaming services.
Listen to this episode wherever you listen to podcasts or on our website www.CreativeGutsPodcast.com. Connect with us on Instagram, Facebook, LinkedIn, and Discord. Creative Guts recently moved our newsletter to Substack, and you can find us at creativegutspod.substack.com.
If you love listening, consider making a donation to Creative Guts! Our budget is tiny, so donations of any size make a big difference. Learn more about us and make a tax deductible donation at www.CreativeGutsPodcast.com.
Thank you to our friends at Art Up Front Street Studios and Gallery in Exeter, NH and the Rochester Museum of Fine Arts in Rochester, NH for their support of the show! We’d also like to thank The Currier Museum of Art in Manchester, NH for their support of our recent Tiny Art Exchange Zine; Red River Theatres in Concord, NH for collaborating with us on the Creative Guts Short Film Festival; and Creative Co Op as a sponsor of the film festival. We appreciate all the folks and organizations who give support to Creative Guts.
EPISODE 218
[INTRODUCTION]
[0:00:00] LHL: I'm Laura Harper Lake.
[0:00:01] SW: And I'm Sarah Wrightsman.
[0:00:02] HOSTS: And you're listening to Creative Guts.
[0:00:18] SW: Hello, listeners. Thanks for tuning in to this episode of Creative Guts.
[0:00:21] LHL: On today's episode, we'll be talking with Jenny Tibbits. Jenny is a multidisciplinary artist, primarily working in torchwork glass, photography, fashion design, and fiber arts. In this episode, we'll talk about No More Stolen Sisters, a temporal exhibition which features red dresses to honor murdered and missing indigenous women and girls. Jenny is also an electronic music producer, DJ, and singer.
[0:00:46] SW: So, as you heard, Jenny does a lot of things. We have a lot to cover in this episode. Let's jump right into this episode of Creative Guts with Jenny Tibbits.
[INTERVIEW]
[0:00:58] LHL: Jenny, welcome to Creative Guts.
[0:01:00] JT: Thank you very much. Appreciate being here.
[0:01:03] SW: Yes, we're excited to have you here. So, why don't we dive in with you introducing yourself and sharing a little bit about you as a creative?
[0:01:10] JT: [Speaking in Abenaki 0:01:10]. It's about as close as I can get to, hello, my name is Jenny. I live in Dover, New Hampshire.
[0:01:22] LHL: Excellent. And what language was that in?
[0:01:25] JT: That was in Abenaki.
[0:01:26] LHL: Wonderful. Thank you for sharing that.
[0:01:29] SW: The word I understood was Cocheco.
[0:01:34] JT: It's taken quite a few years to get to that point.
[0:01:36] SW: Yes, I bet, I bet. So, will you tell us, our listeners, a little bit about you? Like we can read your bio, but –
[0:01:45] JT: Yes, anyone can read my bio. I've kind of simplified it now on the social media feed, basically, Newichawannock Tribal Elder. That encompasses a lot. I primarily identify as an artist, musician, and healer, medicine carrier, that kind of person advocate.
[0:02:04] SW: That's great. That's great. So, when you say artist, will you talk a little bit more about what you do?
[0:02:09] JT: Multimedia, primarily glass, torchwork glass right now, just to finish a very large fiber art installation in Dover, New Hampshire, which I'm sure we will talk about. Primarily, those are the two big draws I've been experimenting and a lot of other media formats, though.
[0:02:27] SW: Very cool.
[0:02:29] LHL: And you're also a musician?
[0:02:31] JT: Correct. I create electronic music, and I also sing.
[0:02:35] LHL: Oh, that's awesome. Do you think we'd be able to play a short clip of one of your songs, maybe?
[0:02:39] JT: Oh, definitely.
[0:02:41] LHL: All right. Listen up, folks. Here it is.
[0:02:43] JT: It's on the Spotify.
[0:03:11] LHL: That was so cool.
[0:03:12] SW: It was so cool. So, let's start with music, then. So, you're producing electronic music, and a DJ, and a singer.
[0:03:21] JT: Correct.
[0:03:22] SW: Will you tell us a little bit about your creative process of making music?
[0:03:25] JT: It's definitely expanded in the last two plus years. I took part in what's called Record Production Month, which is in February.
[0:03:32] LHL: RPM.
[0:03:34] SW: We love RPM.
[0:03:35] LHL: We're big fans. I participated.
[0:03:36] JT: It started in this area, just history buffs.
[0:03:39] LHL: It sure did.
[0:03:40] SW: Yes. Well, did we already talk to Dan Blakeslee?
[0:03:44] LHL: Yes.
[0:03:45] SW: Okay. Because this came up in our episode with Dan Blakeslee a couple of weeks ago or last week. And my husband does RPM most years, definitely not all of them, and Laura's done some RPMs.
[0:03:59] LHL: Like four, five, or six. Definitely a while ago. I haven't done it in a few years, but I done it with bands, and then on my own, but I love it. I've met friends through it. It's just such a great community builder and celebrating musicians.
[0:04:14] JT: Absolutely.
[0:04:14] SW: Cool.
[0:04:15] JT: It's been really fun.
[0:04:15] LHL: Yes. Was this your first year doing it?
[0:04:17] JT: It was two years ago; I put out my first album as part of that experience. I had been dabbling here and there about 10 years prior to that, had entered a couple, but they weren't in my own works, and that kind of shifted obviously within the last year. So, two years ago, we went to Costa Rica, came back, and I wrote my first album; it was in February.
[0:04:41] SW: Wow, that's amazing.
[0:04:42] JT: Two years ago.
[0:04:43] LHL: Talk about jumping right in.
[0:04:46] JT: Yes. So, you'll hear a lot of, like – it's on Spotify, and you'll hear a lot of the influences from that area in that particular album. I started to record every month, so that's one track every month, and I've been doing that pretty religiously now for the two years.
[0:05:01] LHL: What a great exercise.
[0:05:02] JT: It is a huge exercise, because you can just do whatever you really want. In the electronic format, I've been really just experimenting here and there, really trying to find my own sound now that I've kind of figured out where I want to like balance this, careful, what I call traditional, and really going after this is a more modern feel. So, really harking back to the original hip-hop space, and going all the way back into soul. Like two years ago, we went to Memphis and I got to tour with Snacks Records, and we got to like – I was just like in 7th Heaven in that particular space. So, some music came out of that, an EP came out of that, I think, after that trip.
Then, within the last couple months, I upgraded my gear finally in January, and I've been going to town. This February, I wrote my second, my sophomore album, that was done in basically 48 hours. I wrote that entire 10 tracks –
[0:06:03] LHL: Ten tracks?
[0:06:04] JT: In 48 hours. I would not recommend it.
[0:06:06] LHL: I have like really strong memories of like the last day of February. Finish it, finish it, edit it, submit, submit. Like 11:58, oh my goodness. That sounds amazing. Is it sort of like a stream of consciousness, like coming out in that?
[0:06:22] JT: It was definitely in that album, where it was just, once I got into the mode of writing, I couldn't – like more ideas just came, kept coming, and kept coming. I'm like, well, we just need to keep going to see what happens. Then, two days later, and a whole lot of not sleeping later, the album was done. I was like –
[0:06:46] LHL: That's brilliant.
[0:06:48] JT: – "Oh my gosh." Then, definitely within the last couple of months, writing has picked up significantly. With my partner now in, in my space, and we're kind of navigating that very new relationship. I'm writing a lot more music for her.
[0:07:06] SW: Oh, I love that.
[0:07:08] JT: And I've not done that to date, like, at all.
[0:07:11] LHL: Really? So, she's a muse for that?
[0:07:14] JT: Yes, I could say that.
[0:07:16] SW: I always get one song out of the RPM.
[0:07:18] LHL: Aw, stop it.
[0:07:21] SW: I don't think I told this story when we talked to Dan Blakeslee. So, I will tell it here. My favorite RPM story is, my son was born on March 1st. My due date was February 28th, and my husband did RPM that year, thinking like he's got to get it in like before I go into labor. This is very serious. We ended up scheduling a C-section for, like, in the afternoon on March 1st. So, my husband's like perfect. I'll submit my RPM in the morning on March 1st. No big deal. I'll be all good to go.
But I ended up going into labor on my due date, February 28th, and my son was for in like at midnight on March 1st, and my husband had to leave the hospital on March 1st to go home to submit his RPM on March 1st. So, he left Everette and I in the hospital and went home to go.
[0:08:10] LHL: Listen.
[0:08:10] SW: So, some serious commitment.
[0:08:10] LHL: Dedication.
[0:08:11] JT: It is dedication.
[0:08:13] SW: He worked hard.
[0:08:18] JT: I ended up writing an EP after that album, after the whole 48 hours of writing an entire –
[0:08:24] LHL: Wow.
[0:08:25] SM: Oh my gosh.
[0:08:25] JT: I'm like, "What am I thinking?"
[0:08:28] LHL: Well, you must be like, writing high and just loving the process so much.
[0:08:32] JT: It is, it's definitely just sitting down and really riffing through. Something that really means something to me. I've really started more experimenting now with an actual, like playing the actual parts of pieces that I'm putting together.
[0:08:47] LHL: Do you use a MIDI keyboard or is it all on software?
[0:08:50] JT: It's all on the Push 2. So, you'll bring up a MIDI particular instrument and you can basically program your eight bars and just have at it.
[0:09:02] LHL: What software are you using?
[0:09:03] JT: It's Live, Ableton Live. So, it's the combination of the two.
[0:09:07] LHL: That's awesome. Cool.
[0:09:08] JT: Yes. I upgraded from GarageBand. I was using GarageBand [significantly 0:09:11] forever. It's a low bar to entry.
[0:09:16] LHL: Yes. Oh, I know. I use like audition for recording when I'm using actual instruments, but I still go back to GarageBand, and like just fiddle. And even recently, one of our bonus episodes that was released just very recently, it was just a bunch of loops, all kind of grabbed and thrown together, and it was nice and quick, and really fun to put together.
[0:09:35] JT: Yes. I just like, when I was traveling to Guatemala two weeks ago, I only had my iPad. So, I was writing – I wrote one song on the flight back.
[0:09:LHL: Oh, wow.
[0:09:45] SW: That's awesome.
[0:09:46] LHL: I can barely stay in one piece on a flight, so I'm really impressed. I'm not a great traveler, though, but that's amazing.
[0:09:54] SW: So, it sounds like there's a lot of external Influences, like you're traveling, and taking it in. Are you even getting inspired on the plane, or what's kind of going through your mind when you're doing that?
[0:10:07] JT: Yes, I mean, I had waited to – I'm contemplating a third album, so I was waiting to come back from Guatemala to see how this would resonate, what influences I was having. I realized that the album is more going to be focused on this new life space I'm currently exploring, and I think that's where it's headed right now.
[0:10:31] SW: That's awesome.
[0:10:32] JT: I keep going back and forth because I've had this like throwback soul album in my head, and I have the keyboards to do it. I just like – the priority shifts as life expands.
[0:10:47] LHL: You never know what life's going to throw and how that can impact your creativity.
[0:10:50] SW: Did you have any experience making music when you were younger, say like, in school, or was this like a later in life thing?
[0:10:59] JT: Definitely had that. I remember when I was in high school, we would have these English longer essay style requirements, and I would always opt out and asked to write a piece of music. Yes, so music's been a very long part of my family.
[0:11:17] SW: That's cool. Are there other musical folks in your family?
[0:11:21] JT: Yes, my dad was a church organist for umpteen years.
[0:11:26] SW: Nice. The organ is an incredibly impressive instrument. I don't know anything about it, I've never seen anybody play it until recently. It was like you're really like working with your hands and your feet at the same time. Like anybody who can use an organ, it blows my mind. Have you ever played the organ?
[0:11:43] LHL: No. I am a synthesizer, I mess around with, but definitely not, it's a whole another thing.
[0:11:52] SW: That's what Aaron said when I asked him to. I'm like, "Have you ever played the organ?" And he's like, "No."
[0:11:58] LHL: Also, the opportunity doesn't always come up too often. There aren't –
[0:12:00] SW: You haven't had the opportunity to play the organ?
[0:12:01] LHL: There isn't one in my house, there isn't one nearby.
[0:12:04] JT: Apparently, you can buy them and put them in your own house.
[0:12:08] LHL: I suppose so. I'm sure my husband would love that.
[0:12:14] SW: I have this thing where I like collect instruments and I try to play them for a while until I move on to the next one. I just like, you know, jamming and being somewhat okay, but never really good at anything. So like, one year I got a trumpet, that was a joy for him, like all these different. The most recent one was a theremin; he wasn't too bothered by that because you can lower the volume on it. I really want to get drums, and he's like, no way in hell. You’re not getting drums. There's no way –
[0:12:41] JT: You need to get the electronic one so you can put the earphones on.
[0:12:43] SW: Maybe that one, someday. That's a good idea.
[0:12:45] JT: It's like the rock band. It would be like, you'll just hear the clack, clack, clacks.
[0:12:50] SW: I feel like it just was so fun. I love – yeah, maybe.
[0:12:52] LHL: What instrument is the worst or like the most annoying when you're bad at it?
[0:12:58] JT: I don't know, the time I tried to play saxophone, it was a tenor sax, and it sounded like there was dead ducks flying over the house. I told my ex-wife, I'm like, 'I'm glad you weren't home, because you probably would have shot me right then and there."
[0:13:16] LHL: Sure, she was glad too.
[0:13:20] SW: Yes, the trumpet wasn't a good one. It didn't last too long.
[0:13:24] LHL: I've picked up my husband's violin, and that's definitely like, if you don't know how to play a violin, that's bad.
[0:13:30] JT: Yes. I'm a tough critic on violins, too.
[0:13:34] SW: Yeah, that is going to be rough, because like, you know, piano and keyboard, you can kind of, if you know like slightly basics, you can kind of muck by, but there's some – I feel like clarinet would be – that's a really pitchy, like sharp sound.
[0:13:52] JT: Shrill.
[0:13:53] SW: And they give it to children to practice in fourth grade.
[0:13:56] JT: What could possibly get wrong?
[0:14:01] LHL: Oh, man. All right. So, we've gotten a lot in music there. Let's talk about –
[0:14:08] SW: Glass.
[0:14:09] LHL: Let's talk about glass.
[0:14:10] JT: Let's talk about glass.
[0:14:10] LHL: Torchwork glass.
[0:14:13] JT: Yes.
[0:14:12] LHL: That sounds amazing. How did you get into that?
[0:14:15] JT: Gosh, it was 1997. I hate revealing that number.
[0:14:22] SW: It was date redacted.
[0:14:23] JT: Date redacted. It was shortly after my daughter was born. We were living in Ohio at the time, and we drove over to Charleston, West Virginia. There was some glass artist, a blown glass artist, showing their work actually live in that space. I was mesmerized. I'm like, "You get to play with fire and make cool shit?" Yes, please. Sign me up.
Fast forward now to 2020, I opted to use some company points to go get a workshop, and that there was going to be this glass place. Now, this is mid-COVID. So, we go out, it's in Jaffrey, New Hampshire, Terrapin Glass. I love them. I did two back-to-back workshops that day. Got to play with making, what are called amulets that you can basically put on your – as pendants, and hard touchstones. So, it's basically just almost looks like a thumb imprint on a very small piece of glass. You can carry them in your pocket, and make certain colors can really affect your aura and other spiritual mechanisms. Really enjoyed that. I got some positive feedback at the end of the second workshop, that it seemed like I was a natural.
[0:15:49] SW: That's always nice to hear.
[0:15:51] LHL: I wouldn't say no to hearing something like that.
[0:15:53] JT: She goes, "That was impressive." Because the amulet class, you have to do a loop. With glass, it's challenging to move in a very multidimensional way, and I was able to do it, and I got the positive feedback because of that. So, the next two years, I kind of bounced in and out of workshops doing blown glass, which 99% or 97% of the work is done by the instructor. You're only doing a little bit of the finished work. Just so, it kind of looks like you're doing the work, but there's a lot more involved in blown glass.
The next year, I went and volunteered at League of New Hampshire Craftsmen Annual Fair. Yes, it's fantastic fun time. Get to hang out for basically two days for four hours each day, talk with a lot of artists, and get to understand a whole lot of people's work, not just glass. But that was my particular driver, was to meet all the other glass artists that are in New Hampshire, et cetera. Finally get to meet Jordana Korsen, who's a huge, phenomenal blown glass woman out in Marlborough, New Hampshire.
We get to talking, and she offered from me to come out and basically, almost apprentice. I'm like, "Yes, please, sign me the hell up."
[0:17:16] SW: Absolutely.
[0:17:17] JT: Because I had gotten a scholarship from the league to take a class. Life shifts, and I had adjusted where I was going to do it. I finally had sign up to basically work with Jordana. Then, I got home and it was basically, it was a no, that I could not continue that path. I had to really take a breather on that one. So, for almost a year, I didn't do anything glass-related. I had gone to another place in Essex, Mass, Bubble Factory. They're fantastic as well. I did some workshops, and then, we took an Alaskan cruise in September. I realized that I needed to invest back into my art. So, I got home and I said, I'm investing myself. I have this money that I sold my classic car, and I'm going to invest in my art.
I went back to a Terrapin Glass, took what they call a Roadway to Rental. So, you basically have some guidance when you first get back in there, to kind of like understand what you're supposed to be doing and what you're not supposed to be doing. They eventually take the training wheels off. So, about by the third-ish session, I was basically back into the rhythm of working with the glass. Since then, I've been renting monthly. Last month wasn't as monthly as it was supposed to be because I was traveling, and then, I got lovely COVID on the return trip from Guatemala.
[0:18:57] LHL: Oh, always that way.
[0:19:00] JT: So, tomorrow will be the first time in three weeks I've been in the hot shop, and I'm like dying because I'm like, yes, I need to get back in there, and really start expressing some of what I've been going through in the last couple of weeks, especially – one way to get it out in glass.
[0:19:18] LHL: That's amazing.
[0:19:19] SW: That's really cool. Glass is an art I've never touched, because it feels very sort of intimidating. It sounds like there's all these like cool ways to learn from other people, do these workshops.
[0:19:30] JT: Definitely. I think my eventual goal; I just applied for the Piscataqua Artists of Benjamin Grant.
[0:19:36] SW: Excellent.
[0:19:37] LHL: Yes.
[0:19:38] SW: That's great.
[0:19:39] LHL: With a very large idea of basically creating my own studio here in Seacoast because it's a two-hour drive. I love – and don't get me wrong, I absolutely, absolutely love every bit of that studio. The drive is now starting to wear on me, which is like, it's not a hot moment for the first four months this year, I was in Jaffery. I had moved out of the Seacoast region at the end of last year, and had to find myself a new place, and landed in Jaffery.
Now, it was lovely because the commute to the hot shop, but everything else was still here in the Seacoast. I'm going, one point in March, I'm like, "This has got to flip back because I'm four out of seven days of the week." I was driving over here for appointments or you name it.
[0:20:33] SW: Yes.
[0:20:33] LHL That's a lot. That's a lot.
[0:20:34] SW: That's tough.
[0:20:35] JT: That's a lot.
[0:20:36] LHL: Driving is a great time to like think about things, put the right music, to like have ideas, but you also just want to get in there and do the work. And that's tough when you have such a long commute.
[0:20:45] JT: It's a great decompression time, but you know.
[0:20:50] LHL: There's always so much you can do, right?
[0:20:51] JT: There's always so many podcasts you can listen to. Oh, wait.
[0:20:53] LHL: Creative Guts for one.
[0:20:54] JT: Creative Guts for one.
[0:20:55] LHL: We have a giant catalog that can keep you company. But no, there's – I mean, sometimes you just want to get your hands on the work and do it.
[0:21:04] SW: Yes, that's tough. It is one of those mediums, like ceramics, where there's sort of a large barrier, like equipment supply-wise.
[0:21:12] JT: It's a huge barrier to entry.
[0:21:16] LHL: So good. I hope you can start up your own studio. That's amazing.
[0:21:20] JT: That would be a phenomenal gift. I really just outlined even just the basic startup cost, was probably more technically than I asked for. But the realities of a rent, the insurance, and then just absolute overhead to start is just, yes, there's no way.
[0:21:39] SW: Yes, incredible.
[0:21:40] JT: There's no one to – there were a couple of torchwork glass workers in the area. There's only like really one, Buddy Brazil, he's great. He's in Rollinsford. He gave me some free advice, and which I really, really resonate and honor that, because we're a small community. What I've really found is, we do take care of each other in that space because there's not many of us doing this work.
[0:22:12] SW: Yes, absolutely. It'd be cool if one of the local maker spaces started a glass workshop, but that's a lot for them, too.
[0:22:20] JT: I know. I remember the courier in Manchester has an Arts for Vets program, and the first thing I asked them when I found out about the program was, "Do you do glass?" And they're "Hmm, yeah, no. We do ceramics? It's not even a full fire style." I'm like, "Oh."
[0:22:39] LHL: That's tough.
[0:22:39] SW: I know, Port City Makerspace in Portsmouth has been sort of adding one thing every year, every other year, so like they added a whole like, fiber workshop, like probably like five years ago now. It feels like two, but it was probably like five years ago. And then, they just added like a ceramic studio, so maybe glasses next in five years.
[0:23:00] LHL: Write to them and tell them what you want.
[0:23:03] JT: Well, ironically Dover wants to create a makerspace, and I've been like, "Oof."
[0:23:11] LHL: Let's do it, for real.
[0:23:12] JT: Let's do it, but I can't be the one driving that boat.
[0:23:15] SW: Yes, I know.
[0:23:16] LHL: Yes, that's tough. It's tough to mobilize anything to make sure a lot of people are involved in it.
[0:23:22] JT: You're not talking about Avalon North, are you?
[0:23:24] SW: It was, it was what I was talking about.
[0:23:26] JT: Oh, hello, I'm a member there.
[0:23:27] SW: Oh, cool. They do not have glass, right?
[0:23:32] JT: No.
[0:23:32] LHL: I think we did –
[0:23:34] SW: Otherwise, that would have come up.
[0:23:35] LHL: That would be great.
[0:23:36] JT: I mean, that would be very convenient. They've got the space for it.
[0:23:41] SW: I was going to say, get them to do it.
[0:23:44] JT: Yes, maybe.
[0:23:45] LHL: So, I'm sure it's a multi-faceted barrier for this, but I'm assuming
Equipment cost is the biggest, and then, people to teach it, right?
[0:23:56] SW: And insurance.
[0:23:57] LHL: And insurance.
[0:23:57] SW: Because fire is dangerous.
[0:24:00] LHL: Well, you know what? I heard that. That is true. So, it sounds like, but insurance costs money. So, it's really a big funding issue. So, if anybody's listening that's interested in being a patron or hearing more about making this happen, contact us, and we'll reach out to the appropriate people. I don't know. I just feel like it's great to share this because you never know who might be like, "Ah, you know, I really want to –"
[0:24:22] JT: I was hoping to fund this magical adventure.
[0:24:25] LHL: Yes, I know, I know. It's not as –
[0:24:27] SW: No, no, no, no, no, no, no, we're believers, okay? I can picture a scenario where the day after this episode comes out, somebody e-mails Avalon North, and it's like, "I would like to give you $50 million for your makerspace."
[0:24:38] LHL: Let's not scare people. It's probably not $50 million. It's probably –
[0:24:43] SW: Please reach out to Jenny if you need to know how much it costs.
[0:24:44] LHL: – maybe 50,000.
[0:24:46] JT: Just a fifth of million, even.
[0:24:50] LHL: But I don't know, I think it's, if you want stuff to happen, if you
know a great way for it to never happen is to never talk about it.
[0:24:56] JT: You could've manifested.
[0:24:57] SW: Yeah, we're manifesting.
[0:24:58] LHL: I am a believer, so it's going to happen.
[0:25:03] JT: Okay. I mean, yes.
[0:25:08] SW: Do you want to chat about fiber and fashion?
[0:25:12] JT: Let's go.
[0:25:13] LHL: Yes.
[0:25:13] JT: Yes.
[0:25:16] SW: Well, you look – I love your fashion today.
[0:25:18] JT: Oh, thank you so much.
[0:25:19] SW: But yes, let's talk about that.
[0:25:22] JT: Yes, that's been a very recent revelation, I think, particularly as I'm transitioning and finding my own voice and way to express myself. So, the femme fashionista is in the house. I thanked my mother a couple of weeks ago for the absolutely ridiculous shoe collection I now have, because hers is much worse. I'm just saying. I might have thrown a shade. I was immediately drawn in February to take part in a upcycle fashion show, and the Wolfeboro Makerspace was offering.
[0:26:05] LHL: So cool.
[0:26:06] JT: It was a lot of work. I'll just say that right up front, but I enjoyed every part of it. I kind I documented sort of my processes. I went through making the two outfits that I made. One was much more involved than the second one. The second one was basically, it's a ribbon skirt, and we typically, in the indigenous community, will design them ourselves as to having special meaning for ourselves. So, I found a red tablecloth that was in conquered at a consignment shop, and I was trying to figure out how big it was, because it was on a rack, and I couldn't figure. Like there was no dimensions, and so I asked the woman, and she goes, "Well, how big is your table?" I said, "It's not for a table. It's for a dress." And she's just like, "What?"
So, at this point, I had already designed the other dress, so I kind of showed her the sketch, and
She was just like, "Wow." Yes, so the other dress was – at the first workshop, we did a clothing exchange and fabric exchange. So, I was immediately confronted with, well, first of all, I have no fabric on hand. So, I went into the DIY thrift and conquered, and picked up like three pounds of fabric to bring this donations to other people to have them utilize in their work. That’s what you do in there, and I'm looking through the stuff, and all of a sudden, I see this, this pile of coffee beans, sacks, the big 50-pound burlap sacks. I'm like, I got to do something with these. I got it.
So then, I found this dress that I turned into the top of the dress that I designed, and some pajama pants from some kids, like pair of pajamas that I turned into the arms off the dress. Then, basically sketched the entire design after looking through some older fashion different designs that they had from old catalogs and whatnot. I was able to sketch out what it was going to look like that day.
[0:28:27] LHL: That's so cool.
[0:28:28] JT: I'm like, "Well, shite." So, it was just a really adventure. The second workshop, I show up and I'm like, I need some help with sewing and they're like, "Well, do you know how to sew?" I'm like, "No." They're like, "Okay, we're going to give you this kamikaze, very down to dirty figure out how to sew." Within 30 minutes, I was sewing on my own.
[0:28:59] LHL: Like hand sewing or sewing machine?
[0:29:01] JT: Sewing machine.
[0:29:02] LHL: Whoa. I feel like those are magical boxes I can never figure out. I've tried so many times to figure out the sewing machine in my family, and it's like it's a mystery. I don't know, there's something in my brain that can't compute. So like, that sounds amazing.
[0:29:17] JT: Yes. I mean, my mom's been a long-time sewer, so I was at least familiar with the machinery, but had no idea how to use it.
[0:29:25] SW: That's so cool. But then, you were kind of off to the races pretty quick.
[0:29:28] JT: Pretty quick.
[0:29:28] SW: Wow.
[0:29:29] JT: Jute is not an easy fabric to sew through at all.
[0:29:34] SW: No, it is not.
[0:29:36] JT: I mean, one of my colleagues in the show she had a ruffled look on the bottom of her dress, and it was phenomenal, but it was a lot of work. She works there, or, you know, is there quite a bit in – and lives in town, so she could just pop in on these spare moments of her time. I'm like, I'm driving two hours to come here.
[0:29:59] LHL: Oh my gosh, yes.
[0:30:01] JT: Thank you, Town of Jaffrey's library, because they have a fantastic sewing studio and they offer sewing machines to bring home for weeks on end.
[0:30:11] SW: Wow.
[0:30:13] LHL: What?
[0:30:16] JT: Yes.
[0:30:16] LHL: That's amazing.
[0:30:18] JT: That saved me a lot of travel.
[0:30:19] LHL: I didn't know that that was a thing libraries could do.
[0:30:23] SW: Yes, that's incredible.
[0:30:23] LHL: It makes sense, though.
[0:30:24] SW: Yeah.
[0:30:25] LHL: That is really neat.
[0:30:25] JT: I know Dover's got something like that where you can basically take out things. So, I know, Northwood's like that. They've got like a – on their billboard outside, they're like, "Hey, before you try it, go rent our power washer. And I was like, way to take it to the home depots of the world, the clock stores are like, "Hey, we're going to let you do it for nothing."
[0:30:48] SW: I love that.
[0:30:48] JT: You have a library card.
[0:30:51] LHL: I mean, think about just the sustainability of that, too. That's amazing.
[0:30:55] JT: It's a huge shift.
[0:30:57] SW: I've seen libraries do like cake pans, or more like obscure kitchen stuff, but tools is a brilliant idea, and anything related to a hobby is a great idea.
[0:31:08] JT: That's fantastic.
[0:31:08] SW: Because some of us start hobbies, and then buy things, and then –
[0:31:12] JT: Yes, and then you forget.
[0:31:11] SW: – don't continue that hobby.
[0:31:13] LHL Then, you donate those things to DIY Craft, right?
[0:31:16] SW: Yes. If I can request the libraries, musical instruments for children would be cool because parents spend a lot of money on instruments for kids that they never touch again.
[0:31:34] JT: It kind of just exploded from there. Those two dresses alone took quite a while to complete. I was trying to tackle how many hours actually went into, especially the larger piece, I frankly lost track. I also designed – there was two handbags, so I created those both out of the coffee beans. I just – this was last week, donated those back to Lucas Coffee Roasters, who donated all these bags to the makerspace, and just gave me truckload more.
[0:32:06] LHL: Full circle.
[0:32:06] JT: Full circle.
[0:32:07] LHL: That's so neat.
[0:32:08] JT: They're like, "Yes, we would just – we'd love, because we got to get some more for my dress, and they were like, "Yes, we've got a whole back room full and we don't know what to do with them." I'm like –
[0:32:19] LHL: This is perfect.
[0:32:20] JT: "Shut up and take my money," but then, they didn't want any money. They said, "Oh, you know, we would really love for somebody at the makerspace or somebody to take a bunch of these and make bags out of them." I'm like, "Oh, what an opportunity." So, I offered to donate. Then, they’re like, "All we would ask for is for a couple bags so that we could sell them." I'm like, "Yes, that would just be a convenient thing." You know? Then, I donated the two that I created to them, so they could try to sell them. So, the plan is to, hopefully, at some juncture, when I do not have anything else running around in my world right now, to design some more handbags to give them.
[0:33:03] LHL: That's excellent. So, in a moment, we're going to talk about a big show that you recently worked on. But before we jump into that, which I think has a bit of a different tone than how we've been chatting. I guess, one question I want to ask is, you know, with being such an interdisciplinary creative, the pull of music, and fiber arts, and glass, like all these different things, installation pieces, how do you balance it mentally and within your, like, within your time and space. Because I get it, I'm similar where I'm doing a lot of different things. It feels like it's really hard to manage sometimes. So, do you have a system for that?
[0:33:44] JT: I do not.
[0:33:45] SW: Dang it.
[0:33:46] JT: I wish I could create an app right now, I would, I would like your art time as appropriately, but it's – I think it's when the particular mood strikes that's when I know I have to do something. I use art a lot to process trauma. I use art to process a lot of what happens in my day if I'm triggered, because it's that therapeutic. It is that – I've found different mediums to work better at certain intersections of time, and I just have to roll with it. Music right now has been much more of a celebratory, as opposed to some of my winter work would have probably learned classes, just getting expression out. I think it's probably more how I feel. So, I think it's, however, the spirit, if you will, moves, that's how you shift. Sometimes it's writing poetry, sometimes it's writing a piece of music, sometimes it's throwing ink at a wall, and seeing what sticks.
It is a balance, and it is hard sometimes to – you've got multiple ideas, and you do not have 27 hours out of your 24-hour day, and you get to sleep sometime, baby.
[0:35:18] SW: Oh, what a pain.
[0:35:21] JT: I'm like, I always do my best work when I'm half asleep, and like –
[0:35:25] LHL: There's nothing like a deadline for me. I'm like, "All right, let's go." But, yes, I think, listening to your intuition, what your gut is, where it's pulling you, is a good, wise words.
[0:35:40] JT: When I enter the glass studio for my rental time, I usually don't have any preconceived notion as what I will make, because I want to make sure the glass is speaking through me because it does have messaging as we process an event or something that's happened in our lives. It's taken in a glass form, for me, as my primary. Obviously, other ways if I don't have that readily accessible. The pastels are near the bed if I need to do that.
[0:36:11] LHL: Oh, I love that. It's just all these different ways to get it out, and that's wonderful. So, when you first reached out to us, it was in relation to a show that has recently ended, No More Stolen Sisters. So, we'd love for you to share more about that.
[0:36:28] JT: Yes, absolutely. It originally really started with Jamie Black, who's Métis woman artist, and she started doing these installations, very large installations. They'd been seen at the Smithsonian in Washington, DC. She had done some up in First Nations spaces in Canada. That was back in 2016 when this kind of started. I caught wind of it. It was like, "That'd be kind of cool." I kind of saw it in a very small circles that I'm in, where they did four or five. It was at one of the conferences I went to.
The room that we were not meeting in was for other business that was going on. They had like five or six dresses. I was like, "Well, that's kind of nice." Fast forward to three years ago, and I bought a good amount of dresses. I forget how many there were that year, offered to do the display at a local church in Dover, New Hampshire. They were agreeable. The second night, the installation was up. It was only up for a week. The second night, I get a phone call, "It's raining. We've had somebody start taking the dresses inside." I'm like, "No, no, no." I'm like, "The hard display shows is outside regardless of weather."
I said, "These women don't have a choice. They're missing. They're being hunted down and murdered. They don't have a choice. The rain happens regardless." And they're like, "Whoa."
[0:38:05] SW: Not that they expecting probably.
[0:38:07] JT: Probably no they're expecting. For a week, they were up, and they did – I learned lot from that first year of the right hangers to use, and I hadn't started attaching them to the trees at that point. It was just going, like I go every morning to check on the ladies. I want to make sure they're safe, and I want to make sure that they haven't fallen on the ground because that happens. Weather does happen. So, that was with no nothing holding them onto the trees.
The second year, I got a little more involved and we get up to probably around 50 dresses for that installation, both inside. We were able to hang some inside the church building. That was very powerful. Along the sides, they're hanging from the rafters basically, and it was just really powerful. Then, outside, we had more hanging in the breeze. And I caught video one morning when the breeze was just ripe and the ladies were moving in the spirits within those dresses. That was a powerful week of installation, and really felt that the ancestors were being honored in that time, and those that are still here that are missing or murdered.
Then, last year, I was not in a great mental space at all, and did not even have the capacity to consider doing an installation. In November, I was like, "You know what? We're going big this next year. Screw it, we are going big." So, I had found the Dover Artists Commission, and they had a public art display request. So, I submitted that. Then, they're like, "Well, you've got to come through this other door." I'm like, "There's no, there's no clear directions, at least, from my perspective." So, basically, I had submitted the paperwork without going through the process of being interviewed and all that. I was jumping the gun; that's a bad habit of mine. Jumping right in with all two feet, and then realizing that there's a lot more to figure out.
[0:40:34] LHL: That shows enthusiasm and passion.
[0:40:40] JT: I had to get the paperwork in November because they require that your art has to be publicly displayed within the last year. The previous November, I had done a photography show at the library in Dover, so I was covered, and I knew it was going to take a long time to get through the red tape of lovely city government, regardless of where you live.
So, we get to January and I had pitched originally to put it in the entire Henry Law Park, like all the way down into the Pavilion area, which have been phenomenal. In this retrospective moment, I'm glad I did not have that entire space because I would've had to have a [inaudible 0:41:24] more dresses. I was originally trying to project I was going to try to get a thousand dresses. Maybe after some folks have now kind of caught on to what this is about, maybe next year, but it's – hey, I'd have to have the storage space to do so, because now, at almost 200 dresses, I'm like, oh gosh.
So, fast forward, we've got through all the sticky wickets. Meanwhile, Woodman Institute in Dover also offered their space to have the dresses at their location. I was like, "Yes, please. They're tying it to an anniversary of the Garrisons. I'll leave editorials out of this particular conversation. I said, "Okay, that's cool." So, the ladies surrounded the house. Woodman Institute has one of the oldest probably Garrison houses that still exist. That was built in the area in the 1600s. We need to explain the rest of the story as to why they were built.
So, the first day that we got, I was over there doing the installation. I asked for them to open the house and have one of them that was on a mannequin stand in the doorway. That shot is just wolf.
[0:42:48] LHL: That's powerful.
[0:42:49] JT: It is powerful. I want to title it: you are not safe anymore.
[0:42:55] LHL: There's been a few other artists where we've talked to that, like when I'm thinking of Jason Moon. When you're working with art that is so heavy, and sensitive, and close to home, but there's this level of respect, then there's this level of logistics, and figuring out the problems. You're taken away from the emotion of it, and then, you're diving back in. I guess, are you carrying the heavy weight of it a lot of the time when you're doing it, and how is that affecting the process?
[0:43:25] JT: Yes, I love that question. I was working with my spiritual advisor, and she said, "This work for you is ceremony." I was like, "Ooh." I really took it that way this time, especially I had a particular outfit that I would wear when I was doing the installation work. So, the installation, especially in Henry Law, it was over a series of days. I slowly built that and went up on purpose, because more and more disappeared every day. So, I felt that was much more impactful to kind of like start with five or six, and then it went to 25, and then it went to 70. But I made sure I do ceremony every morning as part of my routine anyway.
But when I was there having a ceremonial outfit on, if you will, and when I was done, I would drop tobacco as a gift to plants when I see them. So, I honored the trees that had held all these women up and sprinkled tobacco almost over a lot of Henry Law and Woodman Institute because of the work that they held up for a month.
[0:44:39] LHL: I know.
[0:44:39] SW: We're speechless. That has to be a lot to carry.
[0:44:44] JT: It is a lot. This year, especially, I felt much more connected in the project because of my transition and the position I'm now leaning much heavily into, as tribal elder and medicine carrier.
[0:44:59] SW: As you're hanging these up, and then after, and it's exhibiting, what type of feedback are you getting or reactions from folks, and how is the art relating to folks do you think?
[0:45:12] JT: It was interesting because on the 5th of May, we did a little ceremony under the clamshell because the weather was crappy.
[0:45:21] LHL: Yes, sorry.
[0:45:23] JT: This whole May has been just gross. To honor the project, Murdered and Missing Indigenous Women and Girls, and it was comments that were already starting to pour in. It wasn't finished work at that point. The local Facebook pages, including an unofficial Dover page.
[0:45:42] LHL: Sounds great summary.
[0:45:46] JT: I love Dover, and it's always the trash bin kind of place. There's somebody making a noise on ashtray. I wish they would just stop our day. So, of course, Jonathan, who was director at Woodman, was like, "Oh, no," as soon as he saw that. But then, one of my friends stepped in and explained what the project was, and what we were doing, what I was doing. They're like, "Oh. Well, apparently, it's working. It's something I didn't know about."
[0:46:15] SW: Wow.
[0:46:17] LHL: That is kind of a miracle for someone on Facebook to redact their initial opinion and actions.
[0:46:23] JT: Yes, because I was like, "Oh, this could go south in a hot minute." The art commission was all concerned about vandalism and people stealing the dresses.
[0:46:34] SW: They're always concerned about vandalism.
[0:46:37] JT: I know. I'm like, "We could deal with the issue or just complain about it? Okay, cool, cool."
[0:46:43] SW: To be clear, that wasn't a dig on Dover specifically.
[0:46:43] JT: No, it's not. It's a bigger dig.
[0:46:45] SW: It's just that everybody's always concerned about vandalism when it comes to public art.
[0:46:51] JT: I'm like, that's the choice you take when you do a public art display. One of my dresses disappeared, I don't care. There's going to be more. Yes, it's sad, but –
[0:47:05] LHL: It doesn't stop the work, though.
[0:47:07] JT: It doesn't stop the work.
[0:47:07] LHL: It doesn't mean we shouldn't do the work because of the risks that are involved. For me, it was also very like connected when I started seeing New Mexico and Arizona past Turquoise Laws Alert as a system within this month of May. I'm like, I'm not going to track attribution, but holy crap. So, seeing the response rate really just go really well. I'd put out big banners which weren't getting a whole lot of traffic, and then, put out Lawn Science, and all of a sudden, my website traffic picked up significantly.
I was just like, this is – because people were asking about it, and even when I was doing the installation work, some of the unsheltered folks that were walking through the park would ask me about it, and I would tell them. I had one older woman, it was three generations, it was a very young daughter, mother, and grandmother. Grandmother stops and says, "Thank you for this." I was like, "Wow." I'm sure it hit many more people that didn't just QR code it.
[0:48:21] SW: Yes, you're not going to always hear everyone's reactions or how they're impacted. What do you see as the next step for this project?
[0:48:29] JT: Yes. I think I know my partner, and I have been talking about taking this on the road, which would be a, just, hey, we should show up in a town, and suddenly, the dresses start to breeze in the breeze, which would be really cool, I think. Because again, the Facebook and social media feeds automatically kind of feed the traffic. You don't even need to really advertise. So, there's that thought.
[0:48:55] LHL: That's wonderful. When it is showing again sometime, please let us know and we'll share it.
[0:49:00] JT: Definitely.
[0:49:00] LHL: Because we'd love to help spread the word about it.
[0:49:03] SW Happy to.
[0:49:05] LHL: And thank you for doing this work. It was really amazing.
[0:49:07] JT: Absolutely.
[0:49:08] SW: I think it is time for rapid-fire questions.
[0:49:10] JT: Oh, boy.
[0:49:12] LHL: Quick questions with really, really quick answers.
[0:49:15] JT: Oh, boy.
[0:49:16] LHL: I know. It's so tough.
[0:49:17] JT: It's grueling work.
[0:49:19] LHL: What other artist has influenced you the most?
[0:49:21] JT: Oh, gosh. Definitely Chihuly. Dale Chihuly, in glass.
[0:49:26] LHL: That makes sense.
[0:49:27] SW: What is a medium that you'd like to try someday, or is there like a medium that you hate doing?
[0:49:33] JT: I'd like to try ceramics again; it's been a long time.
[0:49:38] LHL: Nice. What is your favorite color?
[0:49:41] JT: My favorite color is purple.
[0:49:43] SW: What's your favorite scent?
[0:49:45] JT: It would be cedar.
[0:49:46] LHL: What is your favorite sound?
[0:49:47] JT: It'd have to be a tie between the ocean waves and a light breeze.
[0:49:54] SW: Oh, we're both there. What's your favorite texture to touch?
[0:50:00] JT: I'd probably say fleece.
[0:50:03] LHL: What is the last new thing you learned?
[0:50:05] JT: Last new thing I learned was how to drive a very large school bus that has been converted into a camper.
[0:50:12] LHL: Oh, that's a whole another conversation we don't have time for, that sounds awesome.
[0:50:18] SW: We ask this question for everyone, but I want to ask it to you specifically because you've mentioned being inspired by traveling. So, what is the most inspiring
location you've traveled to.
[0:50:28] JT: Oh, gosh. It would have to be Costa Rica, hands down,
hands down.
[0:50:32] LHL: Clincher your question. If you could go back in time, what advice would you give your younger self?
[0:50:37] JT: It would be to trust your artist self.
[0:50:39] LHL: I love that. That is wonderful.
[0:50:42] SW: It's a good advice for us all.
[0:50:44] LHL: Thank you so much for being on the show and talking with us.
[0:50:45] JT: Thank you, appreciate this time.
[0:50:48] SW: Yes, it's been a pleasure. It's been such a wonderful conversation.
[0:50:50] JT: Thank you so much.
[0:50:51] LHL: Thank you again, Jenny, for being on the show. With that –
[0:50:55] EVERYONE: Show us your Creative Guts.
[END OF INTERVIEW]
[0:51:02] SW: Wow, another huge thank you to Jenny Tibbits for joining us on Creative Guts.
[0:51:07] LHL: That was such a fantastic conversation.
[0:51:08] SW: It was so good. I am sad that we didn't get to talk about everything or more because, like we didn't even talk about photography, but what we did talk about was amazing.
[0:51:19] LHL: Yeah, that's the tough part with multidisciplinary creatives, balancing work that is joyful and fun with work that is more poignant, and serious, and can sit a bit heavier with the creator and the viewer.
[0:51:31] SW: I really appreciated their sort of like commitment to No More Stolen Sisters, and like the story about not wanting to bring the dresses in in the rain, and like not being bothered with vandalism or like a dress may go missing, and that actually is sort of apropos for like what the show is about.
[0:51:52] LHL: I was really fascinated to hear about that interaction on social media, where someone was actually informed about the intention of a piece of art, and actually kind of was introduced to new information, and took that in.
[0:52:05] SW: So, rare.
[0:52:06] LHL: Yes. Maybe it happens and we just don't see it as much, but I think that's wonderful that these stories it's doing exactly what it's needing to do. It's inspiring folks, and educating folks, and putting it more out there into the community, which is so important.
[0:52:26] SW: Yes. I really like to the sort of range of interest from sewing, which is a very traditional homemaker, like wholesome kind of – we sometimes call it like old lady art, like sewing and fiber arts, to the more like contemporary, and like edgy, like electronic music, and like torchwork, glasswork, I don't know. I was very cool. Jenny clearly has like diverse interests and like wants to like play and explore with lots of different things.
[0:52:57] LHL: And have a balance of celebration and healing through art. I think that's really important too, because I think a lot of us use art in such a way to be able to express ourselves and move through something we're dealing with, but maybe we don't even acknowledge it or realize it enough. Then, the celebratory part, how wonderful is that to sometimes just embrace and play.
[0:53:20] SW: So true.
[0:53:22] LHL: I feel like Jenny dropped a lot of important knowledge, wise words.
[0:53:26] SW: Yes, I totally agree with that. That's like a theme that comes up in a lot of our episodes, is that like, even if it doesn't necessarily show in the finished piece, the healing, and love, and emotion that goes into the creation of a piece. The other part of the conversation that I really appreciated, like the RPM nod, was so cool. I just wasn't expecting that to come up today, so I was thrilled. But then, the other piece that I really appreciated was the discussion about like barriers to entry because that's such a big thing, and specifically, the bit about like the library. I'm like, oh, that's really cool. If you don't have a sewing machine, you live in a community with a public library that might have a sewing machine that you can borrow is so, so cool.
[0:54:09] LHL: That's fascinating to me. I love that.
[0:54:11] SW: Like I want to see more of that, and it's why like makerspaces and like community art spaces are so important. We don't all have access to the same stuff.
[0:54:22] LHL: Yes, 100%. So, thank you again, Jenny, for being on the show. It was absolutely wonderful to be able to chat with you today. You can find Jenny Tibbits on Instagram, where her handle is Buffalo Spirit 86, and follow links to their work from there. You can find Jenny's music by searching for DJ Ghia, that's G -H -I -A, on streaming services. As always, you can find those links and more in the episode description and on our website, creativegutspodcast.com.
[0:54:46] SW: You can also find us at Creative Guts Podcast on Instagram, Facebook, LinkedIn, and Discord. If you're not on social media, but you still want to hear from us, you can join our newsletter list. We're on Substack, and you can find the link to sign up on our website. This episode is sponsored in part by the Rochester Museum of Fine Arts. Thank you to our friends in Rochester for their support of the show. A big thank you to Art Up Front Street for providing a space where Creative Guts can record.
[0:55:13] LHL: We'd also like to take a moment to thank a few other very special organizations that are supporting Creative Guts. We'd like to thank Red River Theaters for partnering with us on our upcoming film festival. It's been such a joy to work with them again this year on making this even happen. Special thank you to Creative Coop for sponsoring the film festival. Finally, we'd like to give another thank you to the Currier Museum of Art for their support in making the Tiny Art Exchange Zine happen this year. It was such a wonderful community program, and to have Zine encapsulate all the work was fantastic. Thank you again to the Currier.
[0:55:51] SW: If you love listening and you want to support Creative Guts, you can make a donation, leave us a review, interact with our content on social media, purchase a merch, whatever you're able to do. We love and appreciate you.
[0:56:01] LHL: Thank you for tuning in. We'll be back next Wednesday with another
episode of Creative Guts
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