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The Studios Inc http://thestudiosinc.org providing studio space, professional development, networking, and exhibitions for mid-career artists in the Greater Kansas City area Fri, 28 Mar 2014 18:45:48 +0000 en-US hourly 1 http://wordpress.org/?v=3.8.3 Matthew Dehaemers: In The Pitch http://thestudiosinc.org/2014/matthew-dehaemers-in-the-pitch/ http://thestudiosinc.org/2014/matthew-dehaemers-in-the-pitch/#comments Thu, 20 Mar 2014 20:55:38 +0000 http://thestudiosinc.org/?p=3520

Matthew Dehaemers brings his family to Studios Inc by Tracy Abeln
The Pitch 03.18.14

When Matthew Dehaemers makes his art, his point isn’t simply that it be beautiful — though his works do function on that level. He means to connect the object to the place-ness of where it will be — as in “Catalyst,” for instance, his kinetic metal sculpture at 31st Street and Troost. The public art’s subtle mechanics and striking symmetry complement the medallions that Dehaemers embedded in the nearby sidewalk to commemorate the cultures and individuals who helped establish the Troost corridor, starting with the Osage Indians.

That fixation on place and history has its roots in the artist’s ideas about family, identity, how generations pass stories down, and how those stories are chosen. Dehaemers’ family, transplanted from Belgium, has been in the Kansas City area since 1912. The subdivision where his family’s farm used to be — near what is now 67th Street and Quivira — is now called Tanglewood Estates. Charles Street is named for Dehaemers’ great-grandfather, Charles Dehaemers, who came through Ellis Island with his brother and his wife, Elisa.  Know that much and you start to understand Re-Tread, Dehaemers’ first hometown solo exhibition.

“I want to show people I’m not just ‘that public-art guy,’” Dehaemers tells me. We’re at his work space, part of the Studios Inc hive, a few days before the show’s opening. Large costume masks wait in one corner as if for Mardi Gras, but Dehaemers is too busy to take part this year in the usual 18th Street march from the Crossroads to the Jazz District.

Re-Tread turns Dehaemers’ public-art instincts inward, allowing him in the process to demonstrate his draftsman skills, his printmaking background and his understanding of craft materials such as dowel rods and wooden reeds and paper. These more intimate studio practices underscore how personal Re-Tread  feels.

Dehaemers’ dad worked on the family farm, stooping to cut spear after spear of asparagus that would be sold at the City Market, and he lost his own father at age 9.  Dehaemers’ grandfather was only 34 years old when he had a heart attack after changing a tire; his father went on to spend 40 years working the counter at an auto-parts salvage business, listening to orders come through by radio.

Know these things, and you find more layers in Re-Tread’s series of rebuilt vehicles rescued from the junk heap, pieces of Dehaemers’ past intended to operate on a more universal level, too. We each have families, and most of us have more questions than answers about the generations preceding our appearance.

At 41, Dehaemers is making memories with his own young children. Coincidentally, his family recently moved to a house less than a mile from the original family farm. Johnson County used to be a patchwork of small farms, a fact of the not-so-distant past that we don’t often recall as we drive through that increasingly developed part of the metro.

A tire motif runs through Re-Tread, stemming in part from Dehaemers’ experience exploring the salvage yard when his dad eventually sold the business and its land. Dehaemers was wrapped up in graduate school at the time and says he regrets not better documenting the scene. The office alone, heaped with old Chilton auto-repair manuals, was for him an archeological site. Like other vanishing mom-and-pop businesses, its detritus was fast turning to relics. Dehaemers could see the decline just looking at his dad’s original 1960s Ford tow truck out back, buried in hundreds of discarded tires accumulated over four decades.

Tires are clunky, heavy, dirty things, the anchors of safety during travel that, when worn out, become useless and cost money to get rid of. Dehaemers approaches tires as he did with “Point of Departure,” the ethereal, lacelike streetcar sculpture that hung over Central Street as part of 2003′s Avenue of the Arts: Lanternlike armatures of light wood are covered with translucent Japanese paper (kinwashi). What is durable, dirty and functional is retraced into something airy and delicate.

Illuminated from within, a set of 4-foot monster-truck tires is attached to a towering frame topped by a double-faced truck body with glowing headlights. It is “painted” in dirt and drives forward and back, toward the past and into the future, with rootlike branches dangling from its chassis that, to me, represent the present. “I’m Trying to See It Both Ways” invites a 360-degree view of itself and the idea of conflicting thoughts.

A smaller version, “Figuring It Out Together As We Go,” is tucked in a nearby corner. (Dehaemers points out the marriage of masculine and feminine ideas in making tough trucks out of lightweight materials, the kind of basic things that could be found in any child’s art box.) In addition to monster trucks and abstract constructions incorporating tires — a standout being “Descendants,” a 6-foot paper tire attached by a wooden axle to a much smaller one, a direct statement about family ties — six large drawings echo the three-dimensional work perfectly by giving iterations of the family narrative. Also on a wall by itself is “I See You, I See Us, I See Them,” a woven-reed tire form encircling a mirror like chrome hubcap.

Hanging from an I-beam in the vast gallery space is a giant wooden tire swing, “Navigating a Way,” and it’s the show’s multi sensory masterpiece. A planned holdover from the last Studios Inc group exhibition, it anchors Re-Tread because it’s big, yes, but mostly because it’s as moving emotionally as it is literally.

Step into it and take a seat. It may at first feel like a kids ride at a Renaissance festival, but as you listen to the words bouncing out of four hidden speakers and start to equate the swaying with the rhythms of a trans-Atlantic steamer at sea, you’ll hear Dehaemers’ family story unfold and feel it envelop you. It works best with a partner.

Dehaemers told his story to local poet and artist José Faus, who crafted a nine-stanza work called “El Camino Rests in the Tanglewood.” KC Repertory Theatre audio engineer Jeffrey Keirsey split Faus’ animated reading into separate channels, then incorporated various ambient sounds, such as radio shows, the running engine of Dehaemers’ dad’s old pickup truck, and historic recordings from Ellis Island. The poem is written on the floor around the work in a large spiral in yellow, in the style of the grease pencil used to mark car windows.

When the gallery isn’t echoing with a dozen opening-night conversations, you can hear the poem as you view any of the works. The sound keeps planting reminders of what starts to feel like your own story. Walk the space awhile and you hear the ending more than once: The whistle of a train/That arcs back on itself/Over and over again. The words and the art, poignant and persuasive, re-tread your sense of time.

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Join us tonight: RE-TREAD reception http://thestudiosinc.org/2014/join-us-tonight-re-tread-reception-2/ http://thestudiosinc.org/2014/join-us-tonight-re-tread-reception-2/#comments Fri, 14 Mar 2014 16:03:31 +0000 http://thestudiosinc.org/?p=3511

Studios Inc Exhibition Space is pleased to present RE-TREAD, an exhibition featuring resident artist Matthew Dehaemers, on view from 03.14.14 to 04.18.14 with an opening reception Friday, 03.14.14 from 6:00 – 9:00 PM. Performance starts at 7:30 PM.

RE-TREAD is an exhibition that embarks on a body of large and small-scale work, both sculptural and two-dimensional, by Matthew Dehaemers. The imagery is inspired by family past and present-an exploration of relationships from personal and universal perspectives. Some of the work is an introspective look at being a father, son, and husband. Matt explores these ideas through variety of materials.

RE-TREAD by Matthew Dehaemers
03.14.14 – 04.18.14

Exhibition Hours
Tues – Friday 10 AM – 12 PM & 1 – 4 PM
Saturday 12 – 4  PM

Exhibition Talk
3.15.2014 Saturday 12 – 1 PM

Studios Inc Exhibition Space
1708 Campbell
Kansas MO 64108

Matthew Dehaemers is a resident artist at Studios Inc. The Studios Inc provides studio space, professional development, networking, and exhibitions for mid-career artists in Greater Kansas City.

The 2013 – 2014 Exhibition Series has been made possible through the generous financial support of Jane Hunt-Meade and Benjamin Meade.

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Opening Reception Friday: RE-TREAD http://thestudiosinc.org/2014/opening-reception-friday-re-tread/ http://thestudiosinc.org/2014/opening-reception-friday-re-tread/#comments Tue, 11 Mar 2014 21:55:03 +0000 http://thestudiosinc.org/?p=3496 Studios Inc Exhibition Space is pleased to present RE-TREAD, an exhibition featuring resident artist Matthew Dehaemers, on view from 03.14.14 to 04.18.14 with an opening reception Friday, 03.14.14 from 6:00 – 9:00 PM.

RE-TREAD is an exhibition that embarks on a body of large and small-scale work, both sculptural and two-dimensional, by Matthew Dehaemers. The imagery is inspired by family past and present-an exploration of relationships from personal and universal perspectives. Some of the work is an introspective look at being a father, son and husband. Matt explores these ideas through variety of materials.

Matthew received his BFA in painting and printmaking from Creighton University. After college Matthew spent a year teaching on the Navajo Reservation in St. Michael Arizona. A few years later he completed an MFA in sculpture from the University of Wisconsin-Madison and was a recipient of the Joan Mitchell Graduate Fellowship. He has created numerous installations locally and around the country both for the gallery and for the public art realm. Matthew’s work has been commissioned by numerous organizations including the LA County Arts Commission, the City of Casper, WY, The Kansas City, Missouri Public Municipal Art Commission and The Kansas City Chiefs. Dehaemers’ received a community award by the Johnson County chapter of the NAACP for his projects that have drawn attention to issues of race and discrimination. His work has been featured at numerous art spaces including the Delaware Center for Contemporary Art, The Bemis Center of Contemporary Art and the Salina Arts Center. Matthew has had the opportunity to be a part of various artist residencies around the country.

Matthew Dehaemers is a resident artist at Studios Inc. The Studios Inc provides studio space, professional development, networking, and exhibitions for mid-career artists in Greater Kansas City.

RE-TREAD by Matthew Dehaemers
03.14.14 – 04.18.14

Exhibition Hours
Tues – Friday 10:00 – 12:00 PM
1:00 – 4:00 PM
Saturday 12:00 – 4:00 PM

Exhibition Talk
Saturday 12:00 – 1:00 PM

Studios Inc Exhibition Space
1708 Campbell
Kansas MO 64108

]]> http://thestudiosinc.org/2014/opening-reception-friday-re-tread/feed/ 0 Tanya E. Hartman http://thestudiosinc.org/resident-artists/tanya-e-hartman/ http://thestudiosinc.org/resident-artists/tanya-e-hartman/#comments Fri, 14 Feb 2014 20:35:06 +0000 http://thestudiosinc.org/?page_id=3446 HartmanTanya06-1

Tanya Hartman came of age in New York City, where she attended The Brearley School. Large portions of her childhood were also spent in Cuernavaca, Mexico and in London, England. She was educated at The Rhode Island School Of Design, where she obtained a BFA in Painting in 1987. Between 1992-1994 she was a graduate student in Painting at Yale University. After her graduation from Yale (MFA/Painting, 1994) she was a Fulbright Scholar in Stockholm, Sweden. She now teaches painting and drawing at the University of Kansas where she is an Associate Professor in the Department of Visual Art. She is represented by Sherry Leedy Contemporary Art in Kansas City, Missouri and is the recipient of numerous grants and awards.

My art addresses loss and uses a visual language composed of a diverse and sometimes contradictory array of processes. The choice to bring disparate and incongruous materials into proximity reflects my view that the experience of reality is complex and layered with both beauty and suffering. I have always felt that making art is an act of love and defiance because it reveals the truths that unite us across cultural boundaries and geographic barriers. It is my hope that each story heard in the creation of my work, whether it was the throb of my own pain or that same insistent rhythm observed in another, has the capacity to reveal both the brutality and the enduring goodness of the human heart.


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Miles Neidinger http://thestudiosinc.org/resident-artists/miles-neidinger/ http://thestudiosinc.org/resident-artists/miles-neidinger/#comments Fri, 14 Feb 2014 20:31:03 +0000 http://thestudiosinc.org/?page_id=3440

Neidinger, born in July of 1976 in Kansas City MO, graduated from the Kansas City Art Institute in 2000 with a BFA in sculpture. His artistic visualization has been informed by his experience in the commercial and industrial electrical industry.  As an electrician he has discovered real life functions for color-coding, tape, conduit bending, and installations, the utilization of trigonometry, algebraic equations, and geometric functions. These experiences drastically inform his artistic practice.  Recent exhibitions include: The Anatomy of the Palace of Wisdom City Ice Arts in Kansas City MO, Art in the Pro Flatiron Building New York NY (presented by Sprint), Museum Interrupted Nerman Museum of Contemporary Art in Overland Park KS, An Associate Degree in Science Finch Gallery in Chicago IL, What’s the Matter with Kansas Rare Gallery in New York NY, Family Event Home for the Holidays Kemper Museum of Contemporary Art in Kansas City MO, Charlotte Street Fund Exhibition Johnson County Community Collage in Overland Park KS. Neidinger is an Arts KC and Rocket grant recipient, an Art Through Architecture participant, a Charlotte Street Foundation Award recipient and was granted a Vermont Studio Center residency in 2001.  His work has been published in Art in America, The Kansas City Star, Review Magazine, and Pitch Weekly.

The crummiest materials are employed in this work, yet it insists on formal purity; it is a sinister response to a cultural drive to consume excessively, and organize according to object-hood. Although this work employ textures, space, and color to draw us in, it never remains solely dependent upon the materials employed. I ask the viewer to uplift banal material to the realm of beauty. Living several months of my youth among a home remodeling project had a great influence on my work. Being surrounded by clusters of debris, living in a partially deconstructed home influenced my methods of perception. For months I witnessed the tearing out of walls, exposing the raw studs, plumbing pipes, and electrical wiring. My home had an anatomy, and I was helping my parents tear off its skin exposing the skeleton.  Reversals are staged between oppositional forces of banality and beauty, synthetic and organic, repulsion and attraction. The work criticizes excess by being excessive. By holding a mirror up for the public to see themselves, I reveal my own proclivities. This notion of enlightenment achieved through the staging of reversals is described in William Blake’s 1790 poem “The Marriage of Heaven and Hell”, where he writes, “The road of excess leads to the palace of wisdom”.   The world I have come to see is not covered with items available for evaluation and ranking, but is an endless sheet of categorically synthesized matter that drapes over our environmental landscape.


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Brett Reif http://thestudiosinc.org/resident-artists/brett-reif/ http://thestudiosinc.org/resident-artists/brett-reif/#comments Fri, 14 Feb 2014 20:27:05 +0000 http://thestudiosinc.org/?page_id=3449

Brett Reif is an artist who lives and works out of Kansas City, MO. Influenced by arte povera, Reif specializes in non-traditional media wall work, sculpture and installation. Reif has had solo exhibitions recently at the Kansas City Artists Coalition in Kansas City and the Du Mois Gallery in New Orleans. His work was recently featured in the online magazine Perversionmag.com. Originally from New Orleans, Louisiana, Reif graduated from Loyola University with a BFA. His family still lives in New Orleans and Brett considers New Orleans culture a significant influence in his life and work. He went on to receive his MFA from the University of North Carolina at Chapel Hill. Currently, Brett Reif is an Associate Professor at the Kansas City Art Institute and Director of the School of the Foundation Year.

My studio practice often fuses common household materials and ordinary life activities with semi-exotic art textures, supplies and procedures. I mix forms of art and life with emotional and ideological premises that culminate in artifacts that seem to find solace in concrete irreverence. My current work draws on imagery from the body and the home, organism and architecture and playfully melds the two. The works tells a story about the farcical interdependence of function and dysfunction, the mind and the body, the body and the home and the home and nature.


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Resident Artist: Barry Anderson featured in “Sum of Us” Exhibition http://thestudiosinc.org/2014/resident-artist-barry-anderson-featured-in-sum-of-us-exhibition/ http://thestudiosinc.org/2014/resident-artist-barry-anderson-featured-in-sum-of-us-exhibition/#comments Fri, 14 Feb 2014 19:55:45 +0000 http://thestudiosinc.org/?p=3463 Totemic_Sonar_Ping_2_

Barry Anderson’s two recent works, Totemic Sonar and Totemic Ping, are featured in the group exhibition Sum of Us at the Bemis Center for Contemporary Arts. The exhibition runs through June 2014 and will include works from six artists from the Kansas City area.

Barry’s other works such as two-channel piece, Shift/Split(Glacier), is included in the

annual exhibition at Studios Inc and will be on view until February 21st, 2014.  Janus(2), a two-channel piece, will be featured in the group exhibition Area Code, curated by Erin Dziedzic, at the Kemper Museum of Contemporary Art until May 18th, 2014.

Anderson will soon have a solo exhibition at Walter Maciel Gallery in Los Angeles, opening April 5, 2014. The exhibition entitled, The Janus Restraint: Shift/Split, will be the second iteration of his ongoing project The Janus Restraint. LA-based band VUM will also feature work in the show as well and will be performing a special set at the opening reception.


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Closed TODAY http://thestudiosinc.org/2014/closed-today/ http://thestudiosinc.org/2014/closed-today/#comments Tue, 04 Feb 2014 16:42:56 +0000 http://thestudiosinc.org/?p=3459 imagesStudios Inc will be closed today due to snow storm.

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Opening Reception Next Friday — Studios Inc:2013 http://thestudiosinc.org/2014/opening-reception-this-friday-studios-inc2013/ http://thestudiosinc.org/2014/opening-reception-this-friday-studios-inc2013/#comments Fri, 03 Jan 2014 18:31:53 +0000 http://thestudiosinc.org/?p=3355 The Studios IncStudios Inc Exhibition Space is pleased to present Studios Inc:2013, a group exhibition featuring the resident artists of 2013 — Barry Anderson, Miki Baird, Robert Josiah Bingaman, Matthew Dehaemers, Jill Downen, Diana Heise, Beniah Leuschke, Jarrett Mellenbruch, Dylan Mortimer, Garry Noland, Colby K Smith, and Jaimie Warren.

Studios Inc:2013 will be on view from 1.10.2014 to 2.21.2014 with an opening reception this Friday, 1.10.2014 from 6:00 – 9:00 PM. 

The Studios Inc provides studio space, professional development, networking, and exhibitions for mid-career artists in Greater Kansas City. The Studios Inc will be a catalyst for creating a nationally viable visual arts community in Greater Kansas City that contributes to the area’s cultural significance and economic sustainability.


Studios Inc:2013  —  1.10.2014 – 2.21.2014

Gallery Hours

Tues – Friday       10:00 – 12:00 / 1:00 – 4:00 PM
Saturday              12:00 – 4:00 PM


The 2013 – 2014 Exhibition Series has been made possible through the generous financial support of Jane Hunt-Meade and Benjamin Meade.

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Garry Noland @ Studios Inc: featured in The Pitch http://thestudiosinc.org/2013/garry-noland-studios-inc-featured-in-the-pitch/ http://thestudiosinc.org/2013/garry-noland-studios-inc-featured-in-the-pitch/#comments Tue, 17 Dec 2013 16:06:33 +0000 http://thestudiosinc.org/?p=3350 Failed_Monuments.2013.1

photo credit EG Schempf

Garry Noland wraps up his Studios Inc residency with some strong material 
by Tracy Abeln
The Pitch

Garry Noland strikes you as a man with a positive outlook. His personality is unaffected, his wit rustic and colorful. What comes across when he speaks about his art is a straightforward “I made this” aesthetic.
Speaking to a small audience the Saturday after the November opening of Test Patterns and Floor Samples, his latest Studios Inc exhibition, Noland said no material was unworthy of being manipulated toward its true end. That idea informs what he calls his “automatic sculpting,” an art practice that he has evolved over 40 or so years of work.
“Sometimes I’m boss of material,” Noland said. “Sometimes it’s the boss of me.”
He told the gathering that morning that what we see in this show — his last at Studios Inc., now that his three-year residency is up — is a function of what happened physically in his studio, a space large enough to allow him rich processing time. But not too much time. There’s an immediacy to the painterly sculptures — three-dimensional collages, really — that he has assembled over the past year. Noland finds the things he uses, but he doesn’t like to let any linger long.
“I try to use materials in front of me as quickly as I can,” he said.
The materials he has used this time came to him in a literal way, much as parts of the floor inside 1708 Campbell made their way into the tape tapestries of one of his previous projects. People like to dump refuse across the street from his studio, by an embankment off U.S. Highway 71. And Noland helped himself.
The latest creations are made of weathered blocks of flotation foam, long pipes and thousands of dime-store marbles. These put-togethers of industrial materials, including rolls of Bubble Wrap like you’d find in a shipping warehouse, are scattered about the gallery. They fit in with the space’s cinder-block walls and big metal doors, and they seem a little forlorn as you look down on their perch on the mottled concrete floor. They lie there, frozen with inactivity.
Their industrial origins notwithstanding, the works in Test Patterns and Floor Samples aren’t meant to be functional. Still, they suggest a stripped-down efficiency in their forms, assisted by the basic titles that Noland has assigned each piece. “Cord,” for instance: The chunky, marble-encrusted cylinders make you imagine an unordered stack of firewood logs.
Each of the three pieces that share the name “Swab” is in fact swablike, a Q-tip for a giant. Orange-plastic conduit tubes are capped with a cluster of marbles. At the other end of the pipes are big wooden spools, each loaded with a roll of Bubble Wrap instead of with cable. The way the pipes are curved, the way Noland has propped them up by stands to keep the marble tips from leaning down onto the floor, makes them seem a little pitiful.
Elsewhere, a slab of faded orange foam, crusted with gray patches of unknown “natural aging,” sports a 5-foot-long mouse tail — another pipe form completely covered in marbles. There it is, just lying there. It’s difficult to look away.
The stands provide visual action; there’s a tension in watching the swabs rest so precariously. A tiny stand also keeps “Pumpjack (Cravat)” in perfect balance, and you notice that it’s real wood covered in wood-grain contact paper. Noland is hinting back to his tape paintings, perhaps, or giving us a little note about mundane materiality.
“Pumpjack (Cravat)” sits across the gallery from its mates, pumpjacks called “Sash” and “Clot,” which carry greater weight due to being paired and held up by the wall. Each is a tall monolith of foam with an impressive black metal pipe swooping from the back. They have cascades of marbles “painted” onto them; “Cravat” is shaped in a necktie formation, and the other two titles allude to the general shape of their respective clusters.
As with the swabs, these things force you to imagine how easily they could topple over. The contrast between weightless foam and heavy iron and glass is made more complex by the way the lighter material, from a distance and even up close, looks like stone.
Noland is not coy about any of this art. If he has altered any of the rocklike bases, he has made only minute changes. They are not painted or chiseled. But, glittered with pavé marbles, the float-away Styrofoam takes on visual sparkle and literal weight, and it becomes intriguing enough to command our attention.
The most engaging foam-based work here is “Failed Monument,” a grouping of four little free-standing “buildings” made of blue Styrofoam that Noland picked up at the Lake of the Ozarks. We see in them erosion and stains and, in one case, a rusted metal bolt, signs of aging and decay. But Noland has adorned these stumpy, peaked obelisks with shiny gold foil, letting them make their claims of value and showiness. It isn’t hard to read “Failed Monument” as Noland’s commenting on economic crisis and disparity, on temples to false idols, on the futility of some human constructs.
Answering “Failed Monument” on the far wall — a short wall that provides the longest perspective and the best light in the gallery — is the only work not sitting on the floor. “Test Patterns” is a pure visual exercise: 17 silver shapes, all angles and folds, made out of wood covered with shiny bits of metallic “shingles.” The three-dimensional shapes flatten out trickily, depending on your distance from them, and they look as if they could unfreeze and start dancing around at any moment.
At 60 years old, Noland says he feels almost like he’s 25. He likes to listen to baseball, football, ice hockey and other sports while he works and says there are similarities in sports and art. In the maxims he repeats, anyway, there’s a commonality between the two pursuits: You can’t rest on laurels but have to improve day to day. Artists must be willing to work all the time to stay at the top of their game. And there’s a lot of competition.
“If there are 100 artists here, there must be thousands in New York, Berlin, etc.,” he said. Keeping up, for Noland, is about process, about always working and following an aesthetic trajectory to something new. “I would not have been able to think about these things three years ago,” he said. “I’m excited about the next three.”

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