October 14, 2020

The Palette is available to all interested with an e-Subscription

In this issue:

Georgia O’Keeffe's Pigments Find A Home At Harvard
The story behind a student who discovered Edward Hopper's earliest paintings were copies
Never too old to start painting
'This is like a dream come true’: Bob Ross Inc. sends Bedford teen art supplies
Art Educator Paints A Picture Of What Adapting To Classroom Safety Measures Looks Like
Railroad Square welcomes mystery mural by graffiti artist
At 100, Bloomington scratchboarding artist keeps his hands busy
A tiny home and portable studio nourish the expansive spirit of artist Vanessa Swenson




Georgia O’Keeffe's Pigments Find A Home At Harvard

One of the most distinctive elements of Georgia O’Keeffe’s closely-cropped flower petals and sprawling Southwestern landscapes is her master color work. She layered and paired shades until they glowed.

Now Harvard Art Museums have acquired a selection of pigments used by O’Keeffe. Her hues find a home among materials such as John Singer Sargent’s paintbrushes and palette, as well as objects from Barnett Newman’s studio, at the university’s Forbes Pigment Collection.

Amongst the assortment of shades, the assemblage of O’Keeffe’s colors include burnt sienna, indigo and rose madder — all commonly-used pigments by the painter that may have been used to paint the organic archways in her "Red and Pink" (1925) and the spectrum of gold in "A Memory in Late Autumn" (1954) — both of which are part of the Harvard Art Museums’ collection.

Acquired in collaboration with New Mexico’s Georgia O’Keeffe Museum at a Sotheby’s auction this spring, the grouping includes 20 pigments from the artist, each affixed with a handwritten label, likely sometime in the 1920s. The joint stewardship of the O'Keeffe’s pigments between Harvard and the O’Keeffe Museum enables collaborative research between the two institutions for a more comprehensive look at the painter’s work.

“Artists care so much about their materials and to be able to see the materials the artists cared for gives us such strong insights into the thinking of an artist in their studio,” says Narayan Khandekar, a senior conservation scientist and director of Harvard’s Straus Center for Conservation and Technical Studies. “The O’Keeffe pigments are an exciting opportunity to look into the studio practice of this amazing American artist.”

Established by former Fogg Art Museum director and Straus Center founder Edward W. Forbes, the pigment collection was created to investigate the painting process before the brush touches the canvas and establish a scientific approach to art conservation in the United States. It’s now one of the world’s largest collections of historic hues that’s grown to over 2,700 samples since its inception nearly 100 years ago.

“A large part of the work we do is understanding the materials and techniques of artists in order to understand the process of creating a work of art,” says Khandekar. “The pigments are used as a set of comparative standards that allow us to identify the pigments used in a work of art. The pigments are also used for teaching to illustrate the different sources of pigments.” The collection of colors can also be shared amongst other institutions to aid in careful conservation work.

Although the full collection is not directly accessible for close-up visitor viewing, it can be seen across the Calderwood Courtyard through the glass wall that gives a glimpse into the Straus Center’s analytical lab space, with select thematic groupings on display in the Art Study Center on a rotating basis. For an up-close look at the collection, the Harvard Art Museums launched a digital exhibition called the “History of Color: An Audio Tour of the Forbes Pigment Collection.” It explores the rich narratives behind each hue and examines the role color plays in creating art.

The tour highlights 27 pigments, dyes and raw materials (with plans to add more), and is narrated by Khandekar and Alison Cariens, the Straus Center’s conservation coordinator. They dive into everything from pigments made from animals such as tyrian purple — which became so taxing on the murex mollusk from which it originates that it was reserved only for imperial garments — to synthetic pigments like Vermilion, which was popular in ancient makeup despite containing mercury. Viewer also learn the story of Khandekar’s favorite pigment — the Mughal-era Indian yellow, which garnered much controversy over the origin of its esoteric, yolky hue. (Spoiler alert: It’s not milk, but it came from a cow.)

“I like to think of them as artistic atoms, which are interesting on their own, but when you start combining them, you end up with molecules that have unexpected power,” says Khandekar of the pigments. “It's interesting to think that the same pigments are broadly available, but it's what and how the individual uses them that distinguishes one artist from another.”

Each segment of the digital tour displays an image of the pigment sample as the narrator details the color’s history and use — including photos of pieces from the museum’s collection that feature the pigment.

Khandekar hopes that the pigments included in the tour will prompt a newfound approach to admiring art, and appreciating the pigments as the building blocks of a masterpiece. “I think there is more than one way to appreciate a work of art, and if seeing pigments allows someone to appreciate a work of art in a way they did not before, than I feel like we have done our job.” wbur


The story behind a student who discovered Edward Hopper's earliest paintings were copies
New research finds teenage artist's landscapes were based on a magazine for amateurs learning how to paint

New research by an art history PhD student reveals that the earliest known oil paintings by Edward Hopper—the celebrated artist of American solitude—were copies. At least four of Hopper’s 1890s landscapes, considered evidence of his precocious teenage talent, were copied from existing images. The original source for three of the works was in fact a popular magazine for amateur artists that reproduced paintings in colour with copying instructions.

Louis Shadwick made the surprising discovery while researching his PhD on Hopper’s early career at the Courtauld Institute of Art in London. In an essay published in the Burlington Magazine, Shadwick argues that “Hopper did not produce a single original oil painting until he enrolled at the New York School of Art in the autumn of 1900”, at the age of 18.

Born in 1882 in Nyack, New York, Hopper grew up in a middle-class Baptist family that encouraged his art and provided materials for him to study. He made numerous drawings of local life, including boats on the Hudson river, sketches of fishermen and churches. Until now, his early paintings were also thought to be rare depictions of Nyack, long forgotten in the attic of the family house. They only came to light after the artist’s death in 1967, having been acquired by a local Baptist preacher and family friend, Arthayer R. Sanborn.

In an interview with The Art Newspaper, Shadwick says he was researching the connections between Hopper’s formative works and his childhood home when he stumbled across a book with “very similar” winter landscapes by the American Tonalist painter Bruce Crane. He “started trawling auction websites on a hunch” and turned up a version of a Crane painting that matched an early Hopper known as Old ice pond at Nyack (around 1897). “That was the Eureka moment,” he says.

It took two more months of delving into illustrated journals from the period to understand how Hopper came to see Crane’s A winter sunset (1880s). The work appeared in the December 1890 issue of The Art Interchange, a magazine aimed at art students. That led Shadwick to an unattributed watercolour titled Lake View in the February 1891 issue that was a “dead ringer” for Hopper’s first signed oil, Rowboat in rocky cove (1895), painted when he was just 13. “The dots were joining,” he says.

Googling “thousands” of turn-of-the-century art images, Shadwick was able to confirm that two further Hoppers were copies: Ships (around 1898) and Church and landscape (around 1897). The former is based on Edward Moran’s seascape A marine, reproduced by The Art Interchange in August 1886. The exact source of Church and landscape is not known, but Shadwick found the same snowy scene decorating a 19th-century porcelain plaque on an auction website. He is still hunting for the source of a fifth painting, Country road (around 1897), that he is “99% sure is going to be a copy as well”.

Though all the early copies except Church and landscape carry Hopper’s signature, Shadwick believes the artist had no intention of passing them off as originals. “I think he was signing them purely because they were his first oil paintings and he probably wanted to show them off to his family.” Hopper never discussed or exhibited these works, suggesting they held little personal significance.

They were misinterpreted posthumously, Shadwick explains, after the collection from the Hopper family attic passed to Sanborn. In the 1980s, he invented titles for the works and publicised them in connection with the artist’s youth in Nyack through exhibitions, articles and talks.

The teenage paintings also fit into a myth of originality perpetuated by Hopper and his supporters during his lifetime. “Decades of early Hopper scholarship cultivated the idea of a totally original talent, with no influences, that spoke to the American myth of the lonesome male,” Shadwick says. “What we need to do as art historians is take to task this idea of American individualism and bring it back down to earth. It’s not about trying to tarnish the artist, but being truthful that he was learning to paint via the same methods as so many other art students at that time.”

“That Hopper made painted copies as a teenager offers new detail to our understanding of his early years but is certainly not cause for a re-evaluation of this major figure,” comments Kim Conaty, the curator of a forthcoming Hopper exhibition at the Whitney Museum of American Art in New York, which holds the world’s biggest collection of the artist’s work. “Making copies of another artist’s work has been a standard part of artistic development and training for centuries,” she points out.

But there is potential for further discoveries among the vast Sanborn archive, from which 4,000 items were donated to the Whitney Museum of American Art in New York in 2017. Described at the time as the “holy grail of primary source material” for Hopper’s life and work, the archive “is still being processed and is not accessible to external scholars”, a Whitney spokesman says.

When the donation becomes available for wider study, “there could be so many clues to a much richer portrait of Hopper’s youth and development”, Shadwick says. “Going forward there’s going to be an exciting opportunity to find stuff that’s been missed for decades.” The Art Newspaper


Never too old to start painting

In a studio on Main Street in the back of the showroom, people can watch as James McGrath, surrounded by paint supplies, works on his next artistic creation.

A color chart to the left of him, he mixes different paints with a palette knife while talking about the location in the woods that inspired the painting he was working on. McGrath said that many people come into his studio and he can tell them a story behind each of his paintings which have led others to explore.

McGrath said he had an interest in being a painter early in his life and the nuns at his high school pushed him to create an art portfolio, which was accepted at the University of Massachusetts’ School of Art. With the lack of scholarships and finical help, McGrath had to passion that opportunity.

He would spend most of his working career in construction, but the love of art never left him.

“About sixteen years ago, I went to a workshop in Woodstock, Vt., just painting with other painters and it got me going again,” said McGrath. “I took classes at the Brattleboro School of Art and doors started opening for me. I didn’t know what I was doing, I was just winging it. “

McGrath said he spent a lot of time at the Clark Museum, in Williamstown, Mass., studying the tonality works that were on display which influenced his earlier works. As he developed his skills he slowly changed styles from being influenced by the tonality painters and looked more into the impressionist.

“I still don’t know I am doing most of the time,” said McGrath. “I kinda like the idea of that, I don’t want to be precise in any of my thinking. I just like having things surprise me, which is the best in my world.”

Instead of trying to copy what he thinks will be better and place his style on what artist he admires, he started getting into things like exaggerating color and light and that started to be his thing.

“The paint goes on spontaneously, that surprise is what makes it all special to me,” said McGrath. “It’s a good life that I have here, I am really grateful that I got to this point, I can pay the bills, I can buy my art supplies, and I can walk in the woods.” Brattleboro Reformer


'This is like a dream come true’: Bob Ross Inc. sends Bedford teen art supplies

A happy little gift in the mail.

Earlier this year, 10 News introduced you to a Bedford teen who picked up the art of painting during the COVID-19 pandemic.

After the story aired about Daniel Terry and his newfound love for Bob Ross, he got quite the surprise.

Terry worked all summer putting together a collection of paintings with supplies he picked up at the dollar store.

Like most teens, he planned to save up to buy new materials for his new hobby.

However, after the 10 News story about Terry aired, he got an email from Bob Ross Incorporated.

“What he is doing so perfectly imbodies what Bob Ross wanted to do through his show,” said Sarah Strohl, executive assistant with Bob Ross Inc.

Terry has found joy in learning from the TV host, so the famous artist’s company wanted to surprise this teen with his own Bob Ross “Master Kit.”

“It just makes you feel good, it makes you feel happy, it’s kind of the same feeling you get when you watch Bob paint, it just feels good,” said Strohl.

After reading the email that a package was on the way, Terry thought it might be just a few items to get started.

“My mind was blown. It was probably the most expensive package I’ve ever gotten in my life,” said Terry.

Inside was paint, brushes, an easel, how-to book, canvases and a pallet.

“I was expecting a little basic kit and maybe a canvas. It was a lot more than I imagined,” said Terry.

Terry was so excited that he said he was almost scared to try it.

“Every time I get something new to paint, I’m like a little nervous about trying it because I’m like afraid to ruin it,” said Terry.

After about a day of waiting, he started his first-ever oil painting with his new supplies.

“It was like magic or something. Like, ‘Oh my gosh, I’m actually holding his two-inch brush,’” said Terry.

He quickly got acquainted with having his new art supplies in hand and is now putting together his own YouTube channel.

It’s all thanks to the generosity of strangers at Bob Ross Inc.

“I want to thank them from the bottom of my heart. This is like a dream come true for me. I never thought I’d see myself using their products for, like, years,” Terry said.

In a year many want to forget, Terry joyfully signs and dates the bottom of his new work of art. WSLS


Art Educator Paints A Picture Of What Adapting To Classroom Safety Measures Looks Like

Art educator Rachel Henderson had to purchase individual supplies for every student at Westvale Elementary School this year.

“Because of COVID, we couldn't have the bin of markers so every student needed their own,” she said. “Everyone now has a set of watercolors and a set of markers so that we're not just using pencil and paper every day.”

School teachers found there were many supplies they don’t usually need that became necessary for adapting to this year’s COVID safety measures. For this reason, Jordan District teachers were allotted an extra $500 budget to buy or be reimbursed for purchased personal protective equipment or additional materials they needed. Some teachers purchased seat organizers and water bottle holders for students’ desks to avoid spreading germs at drinking fountains or communal coat racks. Many, like Henderson, purchased additional classroom supplies to avoid sharing among students.

In addition to eliminating shared art supplies, Henderson also adapted to classroom safety measures by taking her lessons into each classroom instead of having students come to the art room.

Henderson began making changes to the way she teaches her art classes this spring when students were learning from home. She created an online gallery for students to share their artwork.

“That was really good for kids to see,” she said. “They love to see their artwork displayed. It gives them a sense of pride.” Henderson continues to use the online gallery to display work produced by online students.

Adapting her classes to an online format forced Henderson to get creative with technology. She created YouTube art lessons that students could access from home, and she adapted the annual art show into a virtual event.

“We gave all of our parents access to a virtual show that I put on here in the school,” she said. “They couldn't come to it, but they were able to see all of the artwork that the whole school had to offer.”

Henderson said there has been a lot of training to help art teachers adapt to a technology-dependent school year.

“Using technology lets us have another avenue that, instead of limiting us, we are letting us see where it could take us,” she said. “I know many artists that don't think of that, so it really has put an emphasis on that this year.”

Henderson has not spent the entire budget allotted to her by the Jordan Board of Education.

“It is given to us throughout the year, so I have spent some, but I want to see where the year goes, what I have, what the kids' interests are,” she said. “Some projects come up out of talking with the kids, and it's nice to have that freedom of that funding the whole year long.”

Henderson believes students thrive when they have an opportunity to be creative.

“It's a very good outlet,” she said. “It lets them think outside the box. It's not a check-the-box kind of test-taking mode. It really lets them have their own voice and be creative during the day.”

Westvale Elementary Principal April Gaydosh, who was previously an art teacher, said Henderson’s role is especially important this year, when students can benefit from a creative outlet to express and process their emotions when they are feeling stressed.

“She just brings a different feel to the school day, and kids look forward to seeing her,” Gaydosh said. “Art gives them an avenue to be successful and to express themselves in a different way.” West Jordan Journal


Railroad Square welcomes mystery mural by graffiti artist

The mural was a mystery.

Seemingly out of nowhere, a cosmic portrayal of planets and stars appeared on the exterior of a blank building within Railroad Square Art Park, facing the city's playground on FAMU Way.

It was a gift from a graffiti artist whose moniker is stamped with his signature: GetWellSoon.co and a smiley face.

On Sept. 22, Lydia Bell, who heads the art park's foundation, stumbled on the mural and had no answers to its origin. Then, Bell received a text from an unknown number.

"I just wanted to thank you for bringing the community together in a positive way and inspire hope for everyone of all backgrounds," the text said. "My art is meant to bring happiness even in times of oppression. I have left a painting for you, Railroad Square and the city near the playground overlooking the city. Continue bringing joy and peace.”

Bell exchanged messages with the artist, who was reluctant to reveal himself. It wasn't long, however, before Bell and others set up a meeting and the man behind the mural was revealed.

A San Antonio transplant, Brandon Gutierrez criss-crosses the country as a truck driver and draws inspiration from cities, including the capital city. His signature smiley face can be spotted in graffiti in southwest Tallahassee.

Gutierrez, in an interview with the Tallahassee Democrat, said he started the mural around 7 p.m. Sept. 22, painted through the night and finally stopped around 5 a.m. or so. He'd pass the building, facing the playground, and wanted to bring a message of peace to the area through the mural titled "One World."

"We all need to work together and stop this hate and everything in this world," Gutierrez said. "We definitely can work together. We can accomplish anything that's actually better."

The mural is one of the largest pieces he's done, and Gutierrez hopes it represents a bridge from graffiti tags to an artistic debut.

The gift was well received.

Adam Kaye, the art park's co-owner and CFO, said there were plans underway to commission a mural, although the process can be complicated by putting art in public places.

"You have to figure out who's going to do funding for it. You have to get a lot of people to join in on agreeing that this is a good thing to get it done, and it takes a long time," Kay said.

On Friday, Gutierrez met with Kaye and others, including City Commissioner Jeremy Matlow and City Commissioner-Elect Jack Porter, at the mural. Gutierrez and Kaye expressed their mutual appreciation for the artistic display.

"I feel like it's definitely a positive mural," Gutierrez said, "it's meant to be very much a gift." Tallahassee Democrat


At 100, Bloomington scratchboarding artist keeps his hands busy
Glenn Petti uses photographs from magazines and newspapers for inspiration.

Glenn Pettit’s hands have never stopped working. Active and dexterous, they’ve been finding interesting things to do for more than 100 years.

“I’ve always worked with these things,” he said, waving his hands up and down.

As a boy, Pettit wielded tools given him by his dentist father to take all kinds of things apart — and usually putting them back together. During World War II, Pettit’s hands repaired gun turrets on B-29 bombers in Texas and Colorado. For decades after the war, until retiring in 1982, Pettit and his hands kept boilers boiling and steam churning at several manufacturing companies from Michigan to Minnesota. Even after retirement, he kept busy, volunteering as a handyman at his church and churning out projects from his basement workshop.

So it stands to reason that when Pettit and his wife, Phyllis, moved from their house to a senior apartment community in Bloomington — prompting him to shed a basement full of tools — his hands needed something new to do. Hearkening back to a class he took while living in Rockford, Ill., he turned to scratchboarding.

Scratchboard is a type of engraving in which the artist scratches off dark ink or paint to reveal a white or colored layer beneath. Scratchboard refers to both a fine-art medium and a technique in pottery, using sharp knives and tools to engrave into a thin layer of white China clay coated with dark ink.

Using a hobby knife and meticulous attention to detail, Pettit has over the past few years created dozens of pieces of art, from portraits of Minnehaha Falls to loons by a lake and the skyscrapers of downtown Minneapolis. Pettit, who lost his wife of 77 years in May and turned 100 in July, said the scratchboarding appealed more than watercolors or other media because you use tools to make the pictures.

“It’s mechanical, pretty mechanical,” said the high school graduate who learned everything he knows about how things work by doing the work. “That appeals to me.”

His workshop now is a counter off the small kitchen in his second-floor Bloomington apartment. Where he once scratched images from memory, Pettit now uses photographs from magazines and newspapers as his scratchboard models.

Several of Pettit’s creations have been donated and sold to support his church, Oak Grove Presbyterian in Bloomington.

The Rev. Mary Koon, associate pastor at Oak Grove, said Pettit’s ability to not only stay active but to continue actively learning new skills and abilities into his second century is a wonder.

“Glenn is one of the most inspiring people I know,” she said.

Pettit and several other retired men once comprised “the Wiseguys,” a group of volunteers with tools in hand who saved the church thousands of dollars in maintenance and repair costs over the years, Koon said. She once spied Pettit, who fixed boilers and plugged leaks well into his 90s, climbing a ladder for some repair job.

“He said, ‘Shhh, don’t tell Phyllis,’ ” Koon said.

Another time, she said she saw him running from one part of the church to another. She asked him why he was running. “Because I can,” she recalled Pettit saying.

Asked how he remains so spry, Pettit credits walking. He still climbs the stairs to his apartment daily and regularly hoofs to a nearby strip mall to shop and chat with people he meets — nowadays wearing a mask and keeping 6 feet away.

Beth Angerhofer, the soon-to-retire office administrator at Oak Grove, said that when she started at the church 11 years ago, she was instructed “anytime you need something fixed, you come to Glenn.”

He only stopped his work with the Wiseguys, she said, after he stopped driving a few years ago. Pettit said he agreed to stop driving only after the transmission died in his car.

“He could be a very abrupt guy,” Angerhofer said. “But if you get on his good side …”

Angerhofer, who described herself as a hugger (before COVID), had a hard time winning over Pettit.

“He never wanted to be hugged,” she said.

Then, after about a year of talking to the Wiseguys and bringing treats, she managed to force Pettit’s surrender. “He finally let me hug him.”

Pettit is one of three centenarians at Oak Grove, Koon said. The church is planning a webcast celebration to honor them and all of Oak Grove’s members who are 80 or older on Oct. 11. He has been “a faithful and strong member here,” she said of the man who continues to donate his labor to the church’s well-being.

One of his donated scratchboard pictures — of a Two Harbors steam tug named Edna G. — sold at auction for $150.

“He is just the perfect example of people who keep learning — and doing — through the generations,” Koon said.

Pettit, who still plays cribbage and enjoys an occasional whiskey, said he has no plans to idle his hands anytime soon.

“When we moved here, I thought it would be for about 10 years,” he said, putting fine points on a scratchboard of a train on a trestle bridge. “Now, I’m guessing I got three or four years yet.” Star Tribune


A tiny home and portable studio nourish the expansive spirit of artist Vanessa Swenson

The artist's studio is a special place. For many creatives, it's usually distinct from the main living quarters. It typically has a few walls and even a door to provide physical separation from the rest of the world. Not so for artist Vanessa Swenson, whose portable and integrated approach to artmaking is a reflection of her adventurous and nature-inspired upbringing.

Growing up, Swenson's family moved a lot and she had the freedom to roam and explore, she says. A Washington-native whose parents are both teachers, she grew up with abundant access to both the outdoors and art supplies. She left Spokane to attend art school in Montana, returning to Spokane in 2014.

"I didn't necessarily plan to stay in Spokane when moving back, but the city was so different and had a contagious energy that I never knew while growing up here," says Swenson, who did graphic design during Spokane firm Treatment's early years and got involved with like-minded creatives at Fellow Coworking.

Recently she's been working very, very large, including a mural commission at Eden Salon on Monroe.

Yet if Swenson's view of the world is expansive, her home is definitely not. For the past year or so, Swenson, her husband and their dog have lived in a "tiny" home in rural North Spokane. It not only offered flexibility and simplicity, but the tiny home felt like the right adventure for the time, she says.

"Our house really has everything you need — and more — just in a condensed format," says Swenson, listing features: electricity, basic plumbing, gas-powered stove and water heater, a full bathroom with a composting toilet, and what to them feels like a spacious kitchen. For their golden retriever's comfort, they opted for stairs instead of a ladder, and added a dog-friendly sleeping space.

Over the summer they focused on enhancing outdoor living spaces, adding a patio, garden boxes and a shed, and finishing the chicken coop. A larger garden a short walk from their home included assorted flowers Swenson grew to enjoy both as fresh-cut bouquets and for artistic inspiration.

"Plants are just pure magic to me," says Swenson, whose nature-themed artwork has been exhibited at Terrain — her prints are available on her own website but also through Terrain's From Here shop in RiverPark Square — and in various Spokane Arts events.

Plants do so much for us, says Swenson.

"They sustain our ecosystems, feed us and simultaneously inspire us with endless beauty," she says, noting how their fine detail and patterns often inform her sketches, while their color makes her reach for paint and other media.

"Nature knows inherently what goes well together so I try to look closely, listen, and take note."

As broad as her interest in nature is, Swenson has had to make modifications when it comes to translating that into her artwork.

"I have created a box of all my most used art supplies that is able to travel with me between both indoor and outdoor spaces," says Swenson, who says she has come to embrace artmaking that relies less on supplies and more on the creative process.

Living in a tiny house has meant reevaluating priorities for personal stuff, too, says Swenson.

"We made a rule that nothing could come inside unless it has a specific place and function," says Swenson, but they still wanted the space to reflect their personalities. So, the framed hydrological map illustrating America's special waterways is a reminder of her husband's work in Alaska on engineering and river study projects, while the Mexican Otomi textile reflects travels in Todos Santos, Mexico. The framed copy of their wedding invitation that she designed is one of the few artworks by Swenson in their home.

Although living in the tiny house has required some adjustments, it's been more than worth it, says Swenson, ticking off a list of her favorite things about the place.

"The sunsets. The morning light through the windows. The room to roam."

For Swenson and her husband, having a daily reminder that more stuff often means more stress and that less stuff helps them focus on what really matters is essential.

"It's certainly not the most convenient lifestyle and involves a lot of different challenges along the way," she notes. "But, this place still just captures me in total awe and feels very true to who we are, which makes it 100 percent worth it." Inlander