Final Critique.

Yesterday, I completed my oral defense. It went well, or so they told me. I’m still processing everything. The show opened on Friday, my oral defense was yesterday, and my final critique with my classmates is today. This is all happening so fast! It really does feel like a roller coaster now. After today, my written thesis and documentation are the last milestones in completing my degree…

I started writing my thesis paper and have a bit of the first draft complete; however, after my oral defense, I feel like I will have to rethink some sections of my paper. I have a meeting with Lisa Friday morning to discuss how the writing is going.

In my paper so far, I’m discussing translation (from object to painting / from sensation to perception), routine and ritual (in art making and in life), symbolism, and presentation. Based on what was discussed at my oral defense, I think presentation is the section that I need to unpack much more…

In my writing so far, I’m thinking about questions like, why is the painting on unstretched canvas? Why is it in sections? Why did I use grommets?

And of course…

Why is my painting so big?

I have a habit of overthinking things sometimes, and my answer to this last question was unclear. My first impulse is to try and explain why I chose the specific size, what it symbolizes, blah blah blah. I didn’t give enough thought to the most obvious implication of the scale…

My painting is big because it’s important.

Considering the domestic and intimate subject of this painting, it’s strange that it’s so large. I guess in all of my work that focuses on quiet moments, everyday scenes, I ask myself, why are these moments worth painting?

The answer is, I want to elevate domesticity. I want to show my appreciation and reverence towards this part of my life. These moments are my life, this is what life is, and I think it’s beautiful.

Another issue I need to contend with is my understanding of domesticity… What exactly does this word mean? Does it relate to the “running” of a home? Does it relate to just being at home? I made this home, but what does it mean to be a homemaker? Am I a homemaker?

I hadn’t thought of these questions because I have been so focused on relating my apartment to my anxiety and my mindfulness practice. At the oral defense, I left with the impression that I shouldn’t avoid the idea of domesticity.

When my mind starts to derail in meditation, I gently return my focus to breathing. I come home to the breath. This is Where I Live.

The Next Phase of Thesis / Kind of Done but Not Really

Today, I completed the final piece of my thesis painting. HELL YA. But there is still more work to be done. Here’s what’s left:

Install Strategy

If you don’t already know, my painting(s) are on sections of UNstretched canvas, and I have attached 5 grommets along the tops of each from which to hang them. With that said, I need to determine how exactly I want these to be displayed. The order and shape of the piece are already determined, so it’s a matter of choosing the right hardware.

I started with these small white nails that I use for everything because, well, I already had them and I use them for everything. That of course was no good. They’re too small, the paintings were too close to the wall with little room to *flow*, and the grommets came unhooked too easily. So I scratched that. Moving on.

Next, I looked into hooks, which I simply felt were unattractive and inappropriate for the project.

Then, knowing I wanted the paintings to float a few inches from the wall, I tried deck screws. It was pretty freaking cool how much they protruded from the wall. I liked them, but Ian warned that the screws would sag over time.

Ian suggested my next test, which you will see at my crit tomorrow. I attached wooden boards (two-by-fours) to the wall where the tops of each row of paintings will be. There are nails hammered into the boards from which the paintings hang. This floats them off the wall, provides a secure base for the nails, and will make life easier for the preparators (I think).

My last panel in the photo below will go where the empty spot is in the photo above.

Seal the Edges

As you may notice, the edges of the panels are fraying a little. I anticipated this, which is why I plan to seal all of the edges with medium.

Rework Some Spots (?)

It has been suggested that I circle back and make changes after I have all of the paintings completed. I think this is wise, but I’ll also have to be super selective. The last thing I need is to overwork / ruin this huge project 😖

Write The Paper

Oh boy. This deserves a separate post entirely. I have an outline made!! That’s… something.

And then the defense!

I’m excited to absorb what you all observe tomorrow in crit. In celebration of completing my last panel, here is a photo of Nick and Dahlia hanging out in the apartment 🤗

Pre-Critique Thoughts

In case you missed it, my last post contained some excerpts from a log I’ve been keeping as I work on this project. If you have any thoughts after reading them, I’d love to hear them.

At this phase of the project, it’s more difficult to determine what I would like feedback on. Comments regarding formal elements are good as long as they inform me about the work. I can still make changes, but very selectively. For the most part, I want to know if there are things you all see that I may not have thought about before. Please help me to understand the work from your perspective, both formally and conceptually. More so conceptually.

As I mentioned last post, I have just 4 more panels to go! So far, I have 6 panels finished on the left side of the composition and 6 panels on the right. I met with Jo-ey, Ian, and Andrew McCauley to look at these panels in the Canzani Center. We laid them out on the floor (even though this will eventually be on a wall in the gallery) and got a bird’s eye view of the panels from the scissor-lift.

Here is the left side:

left side

Here is the right side:

right side

I also have a writing workshop in thesis this week where we will work on our 100-150 word blurb for the thesis show programs. Here is what I’m working with right now:

Dahlia greets us at the door. She digs her claws into the course, shallow carpet that covers the apartment floor. We take off our shoes and turn on the lights, and we settle into this space of our own making. Within the confines of safe and familiar walls, we move, think, and speak freely. Memories blend together, routines and rituals repeat themselves, and dreams of past and future moments invoke excitement as well as paralyzing anxiety. Insert Title Here presents layered imagery of spaces and objects inside the 550 square foot apartment where Nick, Dahlia, and I live together. Abstracting these mundane facets of our everyday lives using paint and mixed media, I contend with our apartment as a holding space not only for the body, but also for the mind and for the Self.

I’m interested in what you all think after seeing the work and reading this statement.

Also, I’m thinking about titles… Any advice here is welcome.

See ya Thursday, and “STAY WARM”!!! 🙂

Getting Vulnerable

This was the first week of my last semester in grad school. Over break, I was pretty absorbed with my own thesis project – I’m on panel 12 out of 16 now! It’s the home stretch. Coming back for seminar yesterday caused me to remember that there is a whole network of projects happening around me and a platform where their progress is being shared. I haven’t blogged on here since my 3rd critique last semester at the beginning of November… Now, I’m going to take some time to catch up with what everyone else is doing as well as share with you what has been rattling around my brain.

Although I have not been very active on WordPress lately, I have been keeping a private log of reflections as I complete each panel of my project. To reiterate what my project is, I am creating a 550 square foot painting (that’s 13’9″ tall, 40′ wide), which will be an abstract depiction of the apartment in which I currently live with my fiancé, Nick, and our cat, Dahlia. The apartment is 550 square feet, hence the specific scale.

The entire painting is not going to be one giant piece – it is actually going to be 16 pieces displayed next to each other to form one image. I have 11 panels “finished” and a 12th on the way. After #12, I will only have 4 to go! So exciting. The reason I quote-unquoted the word finished is that I plan to circle back on older panels once I have all 16 “finished” to fine tune or add more details.

To make the scale of this thing more clear, here is a photo of me laying on the floor next to 4 “finished” panels:

panels 3 thru 6, body for scale

This is just one fourth of the final image!

So I have been keeping this running document as I work on my project, and in this document I record when I work on each panel, what is going on in my life at the time, what the images in a particular panel mean to me, what kinds of techniques I’m trying, and various other thoughts, inspirations, and influences. I thought it might be interesting to extract some snippets of these reflections and share them here. These reflections are very candid and informal, so it would be a little too personal for me to share them in their entirety. Also, please excuse grammatical errors.

Note: I included some images, but not all of them. I don’t want to give away too much before this project goes live 😉

Panel #1

“I think I was trying to be spontaneous and quick, in the moment. Was I in the moment? Or was I rushing the moment? How is time experienced? Does our experience of time matter? Or is it just a long wave that crashes over all of us all the same? Can time slow down or speed up based on how we perceive the moment? Just because I’m taking longer to contemplate a moment doesn’t mean I’m not in that moment.”

Panel #2

“I thought it would be nice to pay attention to moments on an even closer level, but I also think about that Kurt Vonnegut quote about the Tralfamadorians:

‘There is no beginning, no middle, no end, no suspense, no moral, no causes, no effects. What we love in our books are the depths of many marvelous moments seen all at one time.’

Are there moments within moments? Can we experience moments simultaneously? What defines a moment? We are always trying to grasp time, to name it, to quantify it. A moment is a significant (or insignificant?) experience of the ‘now,’ but a lot of times ‘a moment’ also refers to something that already happened.”

Panel #3

“It feels like I tried to keep this panel tidier and more organized than the other two. Even as I look at it now, I’m seeing spots that I want to touch up. I wonder if that has anything to do with the fact that I am more anal about this part of the apartment. It’s the first thing I and others see when entering. […] I try to be loose and carefree in the painting, but some parts get painted over and over or they get really tight. I find myself constantly struggling with wanting things to be perfect […] and allowing things to just be. […] I have these struggles constantly. Just let it be, Danielle. Let the shoes pile up next to the door. They aren’t hurting anyone.”

Panel #4


“It feels open and airy, like when you look up at the walls, the ceiling. My mind wanders.”

“There is less ‘gravity’ in this piece, I guess. Absolutely no drips… interesting. I was thinking about how it feels to be in this part of my apartment, looking up at the wall, the corner of the living room with the lamp and shelves of knick knacks on the wall. I wanted it to feel light and open.”

“I don’t know why I kept thinking over and over again, ‘you paint like a printmaker,’ as I worked on this panel. Is that good? Is that bad? What does that mean? What do I do with that? Own it? Push it more? Pull it back? I know that my style is more graphic, and I like to use printmaking techniques in painting and collaging. Do I need to look at where I sit among traditions/trends of painting and printmaking? There are some implications of the printmaking medium that I identify with – repetition, everyday context (printing press), the relief process as it relates to memory. Am I a printmaker or a painter? Once again confused about how to define what I do. I think that makes the work more interesting, though.”

Panel #5


“I feel like the areas of my panels that have more detail and more layers represent the process of rumination, which is something it think about in conceptualizing my work. Going over something repeatedly in my mind and on the canvas in a circular pattern. The same marks, the same thoughts, swirling around my mind and my composition. The carpet is a great place to represent this thought pattern. Staring at the floor, noticing the fibers and then letting my mind wander. I’m on the floor a lot in my apartment, playing with Dahlia. I look to the floor often, finding clumps of cat hair, fibers, pieces of paper that I collect and throw in the garbage. It’s the part of the apartment that needs maintained the most, always needing a vacuum. Aside from the kitchen and the bathroom, the entire apartment floor is covered with this rough, very commonplace beige carpeting. My feet touch the carpet as I walk around, Dahlia scratches and digs into the carpet when I come home or when she gets excited about playing, the furniture leaves imprints, ‘crop circles,’ in the carpet. We drop food, cat litter, dirt from the plants, rain from our boots, and the carpet catches it all. I stare at the floor, and the carpet is an anchor for my mind to float.”

Panel #6

“As I work on these panels, I find my vocabulary for mark making growing, developing, and changing. The hashes, the carpet, the stamping/printing, collage used, the treatment of the black and white drawings. I think this will be balanced by the fact that I’m moving back and forth between the two sides of the final composition.”

Panel #7


“I enjoyed playing with the fabric and experimenting with new ways to make a mark. I find that, lately, I tend to let the material do its thing. Take the curtain fabric on the left side of the panel, just above the orange window panes, for example. I mixed acrylic medium with a little bit of yellow pigment and spread it on the canvas. Then, I took the fabric and laid it on top of the medium very lightly without pressing down or spreading it out. It created these beautiful wrinkles in the fabric that are kind of… musical? Why do people use the word musical or lyrical to describe visual art? I can tell when something feels musical or lyrical, but what is it that I’m sensing? So weird. Any way…”

Panel #8

“I have been thinking a lot about this short story that I read recently – The Yellow Wallpaper. The story is told through a first person narrator, a woman who spends three months staying in a room with this god awful yellow wallpaper. The woman narrates the story through her diary. She begins to see things in the walls, almost like hallucinations. These reflections and notes that I’m keeping make me feel like this woman. I am the woman who sees things in her apartment walls.”

“What does a mark look like when I’m not thinking about it? I like hashing, I like repetition, and there’s something soothing about just dragging my brush gently across the canvas in a line that curves and whips and trails off whimsically. I like to respond to shapes that are already there. I can see in one section, my marks are very organized and thoughtful at first, and then I realized I was still thinking too much. I can see where the marks start to derail. I like it.”

Panel #9

“I have been thinking about how, when I make marks, I tend to respond to what is already there. In this case, I painted around the drips. Isn’t that what we do when we make a home? We respond to what is already there – whether it is the natural landscape, the size limitation of a room, the placement of an electrical outlet, the layout of our walls, the direction our windows face – it all plays a role in where we place our things and where we place our bodies in the space.”

“I’m not sure if I mentioned this already, but Boryana once said that the word to describe my work was ‘Accumulation – Accumulation as material, as mark, as meaning, and as a bi-product of domestic life.’ I find myself accumulating a lot of different material in my studio over time. The objects that fill my domestic space have also been accumulated throughout my life, shaping this place that I return to at the end of each day.”

Panel #10

“I have been thinking about what happened on Saturday. I still feel a little mentally fatigued. Today, I decided to fall into routine. Lay down the paint according to the sketch. Follow the instructions you made for yourself. I just noticed that I addressed myself there. Is that a calming mechanism? Talking to oneself? Is it so one feels less alone?

Yesterday, Nick and I checked out that new Black Mirror movie on Netflix. The main character develops an interactive, choose-your-own-adventure style video game all by himself in his bedroom. Because the player is meant to make choices that affect the trajectory of the game, there are hundreds and hundreds of various paths that the developer has to program. There is a moment in the movie when the developer declares that he will write the game all on his own without a team. Another character responds that, because the game is a concept piece, there needs to be a bit of madness. That madness is better achieved with only one mind. Is that true? About madness? I have heard that some people make their best work when they are at odds or perhaps losing their mind. I do not function that way. When I’m losing my mind or slipping into an unhealthy sandpit of anxious thoughts, I am absolutely useless.”

Panel #11


“The outer panels are definitely dominated by cool colors. This is an exciting shift in color! I also want to note that the organization of space is clearer in this panel. This is a very wonderful and peaceful moment to me, so I think it’s fitting that there is less confusion here.”

That’s all from me for now. 🙂 Happy last semester!

SOFA Expo & 3rd Crit

Since this school year began, I have been working with a group of the MFA students on putting together an installation for this big art fair called SOFA, which takes place at Navy Pier in Chicago. Six schools from across the country were accepted, and each school’s exhibit is supposed to be a space where visitors can stop, relax, and contemplate the installation. It has been a TON of work and time, so I’m relieved that it’s all said and done. I had a ton of fun with my classmates though – I feel like this was a great career opportunity as well as a wonderful bonding experience. The art fair is kind of a big deal, which I realized when we actually got there. The fair also has a ton of galleries from all over the world who pay a bunch of money to be there. It was pretty cool meeting other artists and galleries. I also got to visit the Art Institute of Chicago, which is ENORMOUS!

A little about our installation:

We made a couple tent structures and pieces of furniture that sit inside of the tents. We also created videos that project on the walls of the tents. The concept is “Contemporary Consumption: The Ease and Regrets of Online Shopping.” We used materials related to packing and shipping like cardboard boxes, bubble wrap, shipping palettes, plastic, and packing tape. The projected videos displayed items from online shopping platforms like Amazon – mostly impulse-buy items that people don’t really need. It also included reviews that we found on the items. We were thinking about how easy it is to buy things online from the comfort of your home and how the experience differs from buying something in person. The reviews reflected on how we sometimes regret our online purchases.

SOFA is over, my last crit of the semester is this week, and my thesis progress review is this week. It’s a whirlwind of activity, but after this I can be laser-focused on my thesis (except for a couple art fairs that I’ll be a part of..).

As far as my thesis goes, I’m a little behind right now due to the SOFA trip. Not by a lot, though. I will still have new work to show on Thursday. For those of you who may not be familiar with my project, here are some bullet points you should know before viewing my in-progress work:

  • The finished product for my thesis is going to be ONE painting that is made up of multiple panels
  • What you are going to see on Thursday are SECTIONS of the finished product. I will post the mock-up of the finished product at critique so you can picture where I’m headed.
  • While these panels will make up one piece for my thesis project, I do want them to be able to exist separately when this is all over. I’m open to feedback on the panels as they stand alone.

Alright, I’m tired but still in the game. Let’s go!

Pre-Crit, Post-Crit


After working on the first section of my project, I already learned a lot about how I make and how scale and process makes a difference. A few concerns:

– To collage or not to collage? Or to collage differently?

– I need to keep it fresh and spontaneous… at a larger scale, this requires a little more energy and movement, literally. Also, broader, less anal “color in the lines” approach

– less is more, maybe?

– will update with more concerns after crit


Some things to consider after getting feedback from my critique…

Collage – in some places it feels arbitrary, but in other places it is successful. When the collage starts to have a conversation with the paint, or when the collage is more integrated with the paint, it feels more intentional.

Level of care and detail – you can tell that I attended to some areas more than others. Right now, these areas seem kind of scattered and cyclical. After the crit, I’m not sure if this is a good thing or not, but Boryana made a good suggestion. She suggested that I maybe block off some of the panel, to put it out of my mind, while I fully develop one area. I’m kind of doing this already by working panel by panel, but this could add another layer of depth to my process. I’m thinking about how I appreciate these moments I’m depicting more when I spend the time to abstract them. I could allow myself to really hone in on certain moments, perhaps moments that actually feel more intense.

Paint gesture and body – this wasn’t really talked about much in the crit, but I talked about it with Kelly immediately afterwards. I feel like I approached this piece like a task that I had to power through just to get it done. I also felt like I lost the confident, spontaneous strokes that I have in my studies. I was just trying to fill in the lines and completely cover the panel. Next time, I’m going to loosen up, use broader strokes, and use my entire body.

The height of the top panels – it was mentioned that it may be straining to look at the panels in the top row of the final piece. I’m actually not too worried about this, since you’ll be able to step back pretty far to look up at the panels when their hanging in Beeler. Also, this is how I experience a lot of the moments in the top panels. They are mostly in parts of my apartment that I have to look up to see. Someone asked if I would develop the top panels less, as they will not be seen as closely when their displayed so high above eye level. My answer is no, because I want these panels to live on their own beyond this show. They will each get the care that an eye-level painting would.

How to hang this work – I was going to sew loops to the back of the panels and hook them on to something, but it was suggested I think about grommets – like the metal on shoes that lines the holes for your shoelaces. I thought about that before but dismissed it too quickly I think. I thought it would be too distracting or clunky looking, but maybe I should reconsider. It would make install life much easier. Kerry James Marshall pulls it off.

Color and time – I want to indicate different times of day using color, but I’m limited by my current palette. I’m going to think about changing some of the colors.

So this post was longer than I anticipated. Lol.

Thesis Beginnings – Semester #3, Crit #2

I’ve finally made a decision and begun real work on my thesis project! It’s a great feeling to have a clear(er) vision of this project. My thesis is going to take the form of a 550 square-foot multi-panel painting. The “panels” will not be panels per se, they will actually be unstretched canvases hung side by side to create one large composition.

This idea started when I pulled out some hardboard panels that I had laying around my studio…

Sketch 1 - The Fan

I created layered drawings that, all together, looked somewhat like an interior landscape of moments from my current apartment as well as my old apartment. Then, I added paint and collage elements to further abstract the images…

image1 (1)

While the panels all flowed together, I also really liked pulling them apart to see how each section could live on its own…


Then, I thought to myself, “What if I made this again, but made it really really big?” The next question, of course, is, “How big?” I don’t quite remember what exactly led me to think about this, but the square footage of my apartment is 550 square feet. Quintin brought up something that solidified my decision to make the painting that size – he said that the viewer might look at this and think, “I could live in this painting” (or something like that). It kind of feels… meta?

So I talked with my peers, my mentors, and other faculty about this idea and received some good feedback. Then, I learned how to turn photos into line drawings and collage them together on the computer (yay Photoshop skills!). I quickly cooked up a few potential compositions. I thought about how images overlap with each other and various levels of depth and scale. The images in the composition are placed based on where they occurred in my apartment – like, in which room did this happen? Where is this room in my apartment, and where would that room be in the painting? Is this on the floor, closer to the ceiling, or right at eye-level? In thinking about the colors, I wanted all of the pieces to feel harmonious, but I tried to use more or less of some colors to elicit different moods or suggest different times of day.

One of the concerns that I and others have about executing this is that, so far, these mock-ups have been created using a top-down approach. I created the big thing, and then I split it up. At its final scale, however, I won’t be able to do that. I will more or less have to paint it section by section. To avoid things gettin’ too weird and disjointed, I made a color map of the final painting in a smaller form…

image1 (2)

This time, I thought it would be neat to let some of the actual imagery poke through. You can see this in the areas I’ve left unpainted. I will have one section finished or at least started so that we can talk about it at my critique this coming Thursday.

After I finished the color map, I posted a picture on my Instagram (I hadn’t posted anything in 11 days… yikes). My friend commented and said, “Do you know Corinne Wasmuht’s work? I think you’ll really like her paintings.”

Holy shit, man. Her work is beautiful and amazing and I love it. And my thesis has so much in common with it, down to the process. Part of me is like, DAMNIT! But I’m excited to conduct more research on her methods and way of thinking. I guess we never create in a vacuum.

550 Sq. Ft.

“I could live in this painting”

One “landscape” of moments – 16 sections, each 60″h x 82.5″w (20’h x 27.5’w total – am I insane?)

Unstretched canvas hung in a 4 x 4 rectangular formation

Quick, spontaneous, “fresh” feeling

Ephemeral, Accumulation

I need to make a schedule…

So Many Things, So Many Voices, Where Am I??

I’ve been playing around with some ideas but I also feel kind of lost, like I’m still grasping in the dark (is that the phrase?).

Here are some photos of things I’ve been making lately:

Looking at linocut printing, collage, stitching, book binding, screen printing. My head is spinning. Faith mentioned mind mapping in Thesis today, and I realized I haven’t done that in a while. I revisited a mind map from my first semester, and it’s amazing how much has changed and how much has stayed the same. I think I need to do this again. Here is the map from a year ago:


Happy Friday!

I wrote a reflection IMMEDIATELY after my critique, but I was feeling a little raw and emotional when I wrote it, so I decided to “save to drafts” until I had some time to clear my head. There were some unexpected dynamics going on that maybe contributed to my reaction.

We followed a specific format for this critique – the presenting artist silently listened to observations about the work and then had a couple minutes at the end to make a statement. The group first made descriptive statements about the work and gradually moved into analysis and interpretation. I did like listening to reactions before I had a chance to talk more in depth about the work – I feel that was very helpful. It would have been nice to be able to explain little things, like that my W.I.P. sign means “work in progress” (I think I take instagram culture for granted, #wip). I also wanted to explain the purpose of some of the pieces, i.e. this is just an idea, these are studies, this is in progress, these are from last year, this is the direction I want to go, etc. I didn’t have an opportunity to get specific feedback.

So, fresh out of summer, I realized that I had to present the second week of class. There was this collage that I spent half of my summer making, one that I enjoyed making and really loved and felt connected to. I didn’t want to show only one piece, so I presented a few other paintings that I worked on as well. It seemed that people were more excited about the paintings than the collage. That was difficult for me to accept at first, because I personally felt more excited about the collage – the layering of different kinds of paper, the colors, the stitching. These elements captivated me. I guess my heart was just a little broken, but it’s OK to have feelings, right? At the beginning of this program, I felt disconnected from my art and wanted to feel connected to it again. I guess that is different than feeling precious about one piece of art. The points made were illuminating, i.e. the quilt-like nature of the piece. I DO NOT intend for my work to be interpreted as quilting, so I’ll just have to try something else.

I know that the paintings were preferred by some, but I’m wanting to explore other forms that interest me. Don’t get me wrong – I do love painting, but I wasn’t always a painter. I used to make books, and they were very meaningful to me, but they were also very private. We discussed Duchamp’s “The Creative Act” in class, and it was mentioned that private work may be viewed as art therapy instead of art. I actually pursued a master’s degree in art therapy and counseling, but I didn’t finish because I realized wanted to pursue art (without the therapy and counseling component). So, I focused on painting, which, at the time, I felt was more “art” than “art therapy.” I had flashbacks of this naive complex during critique when someone mentioned that my collage was trying too hard to be art. I don’t disagree.

Some other ideas about subject/content that were observed by my classmates in crit:

  • Domesticity / everyday / rituals
  • Mending or assembling in stitching
  • Formal elements taking importance, i.e. texture, color
  • Cats (of course!)
  • Time / moments
  • Home / comfort / belonging
  • Gratefulness
  • Relationships / love
  • Accessibility
  • “Accumulation as material, as mark, as meaning, and as a bi-product of domestic life” (Boryana)

I also had thesis this morning, and I received some very helpful and reassuring advice on ideas that are percolating in my brain. It was a good way to end the week.

Anyway, thank you to everyone who has supported me with advice, suggestions, resources, and friendship. Have a wonderful weekend, and I’ll see you soon.