Thank you for joining us at today's program
featuring artist Jaime Munoz presented
as part of the Wignall Museum's Home Edition.
Home Edition is a series of curated artist talks,
workshops, and discussions featuring
artists and cultural workers.
My name is Rebecca Trawick, and I
serve as the director and curator of the Wignall Museum.
The Wignall Museum is a teaching museum and interdisciplinary
arts space that introduces Chaffey College students,
faculty, staff, and community members
to innovative contemporary art objects and ideas.
By fostering critical thinking, visual literacy, discourse,
and empathy, the museum seeks to enhance
the intellectual and cultural life of our community.
We want to take a moment to recognize that we are situated
on the Rancho Cucamonga campus of Chaffey College, which
resides on the traditional and unceded lands of the Tongva
people.
We offer our recognition and respect to the elders
both past, present, and future.
Hello, my name is Roman Stollenwerk.
I'm assistant curator at the Wignall Museum.
Please visit us at www.chaffey.edu/wignall
to access their full schedule of programs and available
recordings.
When possible, recordings are made available on our website.
Announcements post to email subscribers and social media
when new videos are available.
All recordings on our site include captions and audio
descriptions as options.
You can follow us on social media,
including Facebook, Instagram, and YouTube @WignallMuseum.
Visit our website About Us page if you'd
like to sign up to receive email announcements.
And we also ask that you complete a brief survey after
the session at ww.tinyurl.com/w ignallspring21visitorsurvey.
Thank you.
And hello, everyone.
My name is Andy Hadle.
I am the preparator at the museum.
In a moment, Jaime Munoz will present his work.
Any time remaining after the presentation
will be available for Q&A.
Thanks, Roman and Andy.
So today, I have the pleasure to introduce
our guest artist, Jaime Munoz.
Jaime Munoz was born in Los Angeles
and received a BA in fine arts at UCLA in 2016.
The visual language of his work is
focused on aspects of identity that come out
of commodification of labor, religion,
and the critique of Latin American colonialism
and modernism.
He is inspired by concepts of blood memory, the relationship
that ancestral ties have to the present day experience.
He has also inspired by the concept of Toyoteria,
which was the working class shared
experience through economic necessity around the R-series
Toyota mini work trucks.
A driving force in his technique is
inspired by decorative aspects of common everyday life
and ordinary objects found in his community.
Munoz currently lives and works in Pomona, California.
Jaime is also a graduate of Chaffey College,
so we're delighted to have him with us today.
Please join me in giving him a warm virtual welcome.
Thanks, Jaime.
Thank you for having me.
It feels really good to circle back where
I started in my art career, and I appreciate the invite
and look forward to sharing what I've
been working on since then.
Starting off with this piece right
here, this was a work that I made in 2019,
and I'm starting off with this work
because it's a work that kind of started this new body of work
that I'm currently working on where
I'm focusing on one aspect of my interests in my art.
And this one in particular is basically
looking at religiosity from the colonial period
and really examining aspects of my identity,
looking at the contradiction that exists in that history
and in myself.
But before I go there, I just want
to talk about my background in art
because of all of that is very informative of how I construct
my compositions and my concepts and the meaning in my work.
So I'm not sure if you guys know,
but my background originally was in commercial art.
The majority of my time spent at Chaffey,
I was in the graphic design program.
And during my time studying that, I've always
been fascinated about--
how can I say it?
Aggressive advertising, where you're seeing artists
commission to push an idea or a belief to sell something.
And I feel like when you look at contemporary times,
it's easy to identify because when
you look at hypercapitalism, it's all around us.
But it's also interesting to see where that existed in the arts
before modernity.
When you look at--
specifically what I look at, what
I've been looking at recently, in Latin American colonial art,
I see it in the same vein like commissioned artists
to push an idea or a belief on an agenda.
So with this work I was starting off with the image of La Virgen
de Guadalupe, which is--
her image exists in popular culture,
that that's beyond just the confines of the church.
And I always felt like that was radical,
how her image was designed to, depending on your sources,
either educate or colonize a native people.
But then at the same time, once it
enters in the theater of popular culture,
the people can navigate and dictate
how they relate to that, and that that's
how I relate with all the religious iconography that I
grew up with and the tension that I felt later
on understanding the history of colonization and spirituality
and capitalism and then the modernist period
and just really exploring a lot of different avenues from that.
So in this work, like I mentioned,
the bottom half is La Virgen de Guadalupe,
who was really modeled after the Mexica Earth goddess Tonantzin,
or Coatlicue who is the Earth goddess.
And so there's a lot of stylistic elements to her image
that make her appealing to the native people.
For instance, she's brown.
There's images on her garment that are seen on other Mexica
goddesses like Xochipilli, the god of art and, I think, dance.
You would know, [INAUDIBLE],, Xochipilli.
I'm glad you're here, because you're
like the master of all of this.
But some of the flowers found on that goddess's relics
are seen here on her garment.
So I wanted to create a composition that
spoke to that history because growing up first generation
Chicano, you're surrounded by this iconography.
There's also, looking at the history of Latin American
colonial painting, I just felt like there
is like a lot of room there to try
to recontextualize those narratives
and create new iconography so that people can have an entry
point into learning their history
and that that's my intention with this recent body of work.
It all started with this painting.
And so like previously, I feel like my interest
in each painting were all over the place.
There's a chronology.
There's like the colonial period,
and there's things that I look at that.
But then I'm also like looking at like the modernist period,
and I'm looking at the commodification of labor
and just the outcome of like the colonial period,
looking at how in our country we saw a lot of that as progress.
But from my experience, working class,
it doesn't really feel like progress.
So that's another aspect that I was
exploring in other work that was all mixed up.
So my intention was to hone in on one topic.
So right now, it's this religious, colonial concept.
This was the next piece that I made
that's part of this series, and this one
is titled 529 Years, basically the amount of years since 1492,
which, looking at the history, I know my focus is Latin America.
And I know the dates for that is a little later, like 1500s.
But I'm still using 1492 as an index for just colonization
of the Americas in general because I don't
want to make it too confusing.
So again, going back to my interest in commercial art,
I gravitate towards iconography that exists in popular culture.
And also, in particular for these two, this is a diptych.
And the image you see in the back,
that's actually what was produced by a printing
company that existed from, like, the 1800s all the way
to early 20th century.
And I'm trying to remember their name.
I wrote it down in here somewhere,
but it's like Eve something and company.
And it's a print that they made.
So I was really interested that that image that
is so commonly known was produced
by this commercial printing company.
And then in the center is a story of Popo and Itza.
The work was also created by this artist Jesus Helguera, who
was also a commercial artist.
And another thing, both of the works
were kind of made in the same period.
So I just thought it was interesting
how both of these images, juxtaposing them together
has a lot of charged meaning.
So with the narrative of Popo and Itza.
There's an aspect of the narrative where
Popo is cursing the heavens.
So I kind of see that as a moment of reflection
on the colonial history, and using
that as the foreground in this work
and kind of navigating that [? convo ?]
with the crosshairs.
And so in the image, he's pointing his arrow to the sky.
That's the narrative that I was talking
about of cursing the heavens.
And-- well, let me just go back.
And just if you guys are not familiar with the story of Popo
and Itza., it's basically another version
of Romeo and Juliet, where Popo, who was like a Mexica warrior,
was in love with Itza but didn't have
the approval of her father, and was sent off to war in hopes
that he would die there.
And her father told her that he died in battle,
and then she died of sadness.
And then when he returned, that's
when he was scorning the heavens,
and that's the climax of this narrative.
And it's just interesting because this artist
that I mentioned, Jesus Helguera,
he's kind of documented different aspects
of that narrative.
And to me, I just found this part kind
of the climax of that narrative.
And I just thought it was interesting to kind
of juxtapose them together and recontextualize, again,
this religious iconography and say a little more.
And one last thing.
There's two volcanoes in Mexico City that are supposed
to represent them as well.
There's a dormant volcano that's supposed to represent Itza,
and the active volcano supposed to represent Popo.
Yeah.
And I'm also starting to do something a little different
in this work, too.
Going back to my interest in commercial art,
I was always really inspired by artists like--
I'm forgetting his name, but he did a lot of psychedelic poster
art, and he used a lot of opposite colors
to create this optical tension.
And I always thought that that was interesting for him
to do that because he was kind of breaking the rules
that they teach you in graphic design.
You know, you want to use colors that are pleasing to the eye.
You want to use fonts that are legible.
He was doing the complete opposite of all of that.
And something about how the colors create
this visual tension when you look at it,
I was very interested in, because I
know in religious art, whenever there's
a visceral experience, that's supposed
to be like you're feeling the grace of God, kind
of like with stained glass windows when
you go into a cathedral--
I learned this in your class, Machado--
when you go into a cathedral and you
see the light shining through the stained glass,
you're supposed to feel the visceral presence of God.
And my intention in these works is
to also try to create a visceral experience,
but a decolonial re-contextualization
of this history, you know?
And just trying to basically do the same thing,
but from a decolonial gaze.
His name is-- hold on.
Oh, yeah.
Victor Moscoso.
Yeah.
I just forgot his name right now.
I think it's just because I'm nervous.
But that's the artist that really influenced me.
And then this is the next work that I
did where I'm basically doing the same thing,
finding two charged images where there's two narratives that
are close enough where I can juxtapose them together where
you can create a narrative.
So again here, like Michelangelo Pieta,
another commercial artist commissioned to do this work.
And then another moment in the narrative of Popo and Itza.
From the artist Jesus Helguera.
And I just thought it was interesting
how the images are emulating each other.
And I felt like Jesus was doing kind
of what I was trying to do, like kind of hijack
the imagery, the religious imagery,
but placing the brown body.
So that was kind of my intention here, too,
to juxtapose these together, and also
try to create this visceral experience again
with the focal points of the paintings.
And I feel like this one was the most successful one.
If you had a chance to see it in person,
if you look at it from a certain angle,
it really does an optical thing, you know?
The title of this work is Tension.
And again, I chose to use that title because visually I'm
juxtaposing two images that, to me, create a tension, but then
also visually, there's a tension, too.
Like when our eyes are seeing something
that is challenging in terms of information,
where that would create an optical effect,
it's because it's creating a physical tension
in your retina that's allowing you to experience
this psychedelic experience.
And so that was another reason why
I decided to title it Tension.
And then I actually made these in the middle.
But I figured I would just kind of go with--
I made them at the same time, but the chronology
seems better the way that I'm presenting it now.
So this one's titled Shipping Container Apparition Number
One.
And again, I'm trying to just continue
with the same narrative.
And in it, a shipping container, to me,
represents this idea of capitalism, commodification,
but then also, when you look at the history of capitalism,
it's alongside the history of religion.
So I always felt that it's interesting,
those two histories being juxtaposed together
and trying to create a composition that's
kind of saying something around there.
I titled it Shipping Container Apparition
because the focal point in these are a lot more abstract.
And that's another thing that I'm interested in,
the history of apparitions and how
if you guys don't know what that is,
it's basically when God, or some type of religious figure,
appears in an inanimate object or something.
And then they say, oh, this is an act of God,
like this is the presence of God.
And so I wanted to like incorporate that
into this work, which I'm not sure
if you can tell immediately that this is Christ.
But I kind of wanted it to be not so obvious
and force the viewer to spend time with the work
to make that connection.
And basically, this is another work
that I made that was part of these two works.
But both of these are going to be part of a group showing
in Germany for Gallery Weekend.
I'm not sure if you're familiar with the art fair,
but I made them at the same time.
So So the compositions are similar.
But these two are not diptychs.
They're not seen as one.
They're separate works.
And basically, it's the same concept with this one.
And also, I feel like an aspect that
inspired these two works was my experience growing up
in Fontana, because that was a period in my life
where my mom was really religious.
But then also, I was around a lot of shipping containers
and trucks because Fontana is kind of like a shipping port.
So I just felt like these two panes
are kind of indexical of that period in my life, where
it was like both of those worlds coming together and kind
of influencing me in this way.
And that's pretty much it.
That's all of the recent work that I've
been working on right now.
Thanks, Jaime.
Can you tell us what the media is that you're
working on in these paintings?
All of the paintings are on wood panel.
And they also have texture paste, glitter, and paper.
And then is it oil, acrylic?
Acrylic.
Yeah.
Wonderful.
Thanks so much for sharing about your recent work.
I'd love to open it up to questions of our guests.
Yeah, I would just comment on a few things, Jaime.
I just, of course, really enjoyed seeing your development
over the last decade or so.
Always a big fan of your work, having you
and both your brothers in my classes,
able to go to pre-Colombian exhibitions with all three
of you was just a wonderful thing.
You can see one of your brothers' works
on the wall right behind my head, actually.
Yeah, there you go.
So you've become-- in addition to the visual arts
you create, you've become a historian,
a cultural storyteller.
It's very important for the intersection of everything
going on in the Inland Empire, your background, and everything
that you've learned over the last decade.
So it's really beautiful to see all that
come together in your work.
And as Rebecca said, coming back to Chaffey to speak.
And as you did three years ago, you
did an exhibition for a nonprofit, the arts area
in Ontario.
In the midst of your preparing for exhibitions on both coasts
and internationally, you still took the time
to put an exhibition on back here in the Inland Empire
because like you say, you're indexing
your understanding of your pre-Colombian,
your colonial, your modern history,
but also your physical history, your connections to the Inland
Empire, now overlapping with all of these art centers,
as they're more commonly identified,
but recognizing the amount of creativity
that we have here locally, too.
So anyway, I just wanted to comment on that.
Thank you for everything.
And I always enjoy seeing your new work.
Thank you, John.
Oh, I see a question here from Edith.
I just want to say, hi, Edith.
It's been a long time since I worked with her.
I remember I worked with her in the Wignall.
But she was asking me that she's reading
the Painting Through an Environmental Lens, too.
And I'm happy she's saying that because that's something
that I think about when you look at the history of colonization,
and then leading up to the modernist period, all
of those capitalist modes of progress
that we've seen for so long as progress is kind of catching up
to us now, whether it being humanitarian issues
or environmental.
And so that is definitely something that I think about,
too.
And I didn't mention this, but with the last two paintings,
the shipping container apparitions, another thing
that I liked about abstracting the image of Christ
was also they looked like maps.
So thinking of the map, I'm also kind of thinking of the globe.
And I do think of environmental issues,
too, alongside the humanitarian issues that modernism
has brought us to.
It's just interesting.
People have been disposable.
You know, the commodification of human labor is apparent.
But we only have one Earth, and that isn't disposable.
We fuck that one up once, and we're fucked, you know?
And that's where I feel where we're at right now,
in terms of climate.
It's all catching up to us.
I don't know if that makes sense,
but anyway, I just wanted to comment on Edith's observation.
Yeah.
Thanks, Jaime.
Oh, another person said, what made
you switch from graphic design, commercial art to fine art?
Honestly, it was Mitchell Syrop because he
was my graphic design teacher.
And all the way up to the end of my time at Chaffey,
I was ready to transfer to the university
to finish my degree in commercial art.
But then I did the student invitational,
and he was like, hey, I think you should reconsider and apply
for fine art.
But I was always really hesitant because coming
from my background, working class,
it's a big decision to choose to do fine art when you're
thinking of your livelihood.
It's a big gamble.
So the closest thing that I felt I
was able to pursue that would gain me economic stability
was commercial art.
And I thought, oh, that seems more practical.
But Mitchell convinced me to at least try
to apply to at least one school for fine art,
and he convinced me to apply to UCLA.
And that was the only school I applied to,
and I was like, well, if I get into there, then I'll do it.
If I don't, then I'll just continue on the path
that I was on.
But it was a spontaneous decision.
I was thinking maybe I could bounce off that topic
that you're just running with right now
with another question, if you're all right with it.
Yeah, yeah, of course.
Yeah.
So as a former Chaffey student, a product of a community
college, if you will, do you have
any advice for young artists or any of our graduates
or creative minds?
OK.
Yeah.
I think that's a very important question
to raise for creative people.
I have two younger brothers who are also
interested in the creative world.
And I always tell them, just really be
true and honest to yourself in where your identity is at.
If you feel like--
how can I say it?
Whatever you feel is going to bring you satisfaction in life
naturally, without any expectation.
And I do understand once you commodify that joy,
it changes your relationship to it.
But I feel like that gives you a head start
into success because you're not really
forcing yourself to be somewhere where you don't belong.
And that's the advice that I give my brothers.
Whatever you decide to do, whatever
path you choose to be on, it's going
to require a lot of discipline because talent doesn't take you
all the way.
We live in a system, and there's a way things, go
and not everyone gets the same opportunities.
Sometimes it just matters where you're at,
where you get an opportunity.
And yeah, just talent doesn't take you all the way.
It requires a lot of discipline and hard work.
But if you're not willing to stick around
during that period of sacrifice, then find the thing that you're
able to, I guess, be more comfortable making sacrifices
for, I guess.
You know what I mean?
And yeah, that's what I would say.
Yeah.
We're probably all tired of talking about the pandemic.
But I really do think it's interesting.
You know, we talk to so many artists.
And for some folks, it's literally completely
changed their practice.
And for other people, it's just maybe given more studio time,
or it hasn't become a focal point, or even
a sort of underlying subtext.
So I'm curious to know how the last year plus has affected
or not affected your practice.
It hasn't really affected it.
I've already kind of lived a lifestyle in solitude
working in the studio.
But it definitely has impacted how I relate
to the world in terms of death.
I have been thinking of death a lot more.
And maybe that's the reason why I've
been focusing on this decolonial, spiritual vein
in my work.
I don't know.
But I have been thinking about that a lot.
And there was a period during the pandemic
where I got really sick, where I thought I had COVID.
But it wasn't.
But that was kind of like a reality check
where it was like, oh, man, this is scary,
because I was experiencing the symptoms of it.
And I really felt like I had it.
But it wasn't that.
So yeah, just in the sense of thinking of death.
Yeah.
I think it's on everybody's brains quite [INAUDIBLE]
than the past.
But I wanted to ask about your inspiration
that you derive from Toyoteria.
Am I saying it correctly?
I'm curious to know--
we may not see it in your current body of work,
but I'm curious how it translates into your practice.
So it's Toyoteria.
So going back to my background, working class,
I grew up around working trucks.
And my mind shifted there when I did this video piece at UCLA,
where I was juxtaposing the image of a horse and a pickup
truck running in a landscape.
And at the time, that work was more intuitive.
It just made sense somehow.
And then after I made it, that's where
the meaning started developing.
And a big inspiration in where that conversation went
was the conversation I had with my grandfather
where he was talking to me about his experience with modernism
catching up to his Pueblo, where he's from in Jalisco, Mexico,
and seeing the transition of when people
stopped using the horse and started
using machinery a lot more.
And so the conversation was around the technology of it,
but then also seeing human labor as a form of technology
that's been commodified.
And when you look at the early Modernist period,
that's the early history of civil rights period or working
class history, where it's like a history
of the mechanization of labor, where whatever human
that exists in a human being is taken out
to standardize the production.
And that history always resonated with me
because you feel that.
Like I used to work in construction and warehouses,
and when you have certain jobs that
are like that, where you just feel like there's
no acknowledgment of you're a human being,
and the only thing valuable is the labor you produce,
it impacts you.
You feel like a machine.
So I always felt like using that pickup as an index for that
was interesting because to me, I see it
as like a portrait, especially when you're driving behind one
of those pickup trucks.
They're fully decorated with little stickers and things
on the back.
And it's just like a window of the identity of the person
driving it, but then also, the word truck itself
serves as a kind of an aspect of that identity, a window.
So my intention was to use that as an index
for my critique of modernism and exploring conversations
around the commodification of labor,
and just kind of building that conversation with the pickup
truck.
And yeah, that's pretty much it.
So obviously you put a lot of time
and thought into the compositions
that you're painting.
And I noticed with at least the ones that you've shown,
and some of the ones I've seen on your website--
your paintings, that is--
that there's either kind of a cap sometimes,
something that's on the bottom, or even around the edges
where there's a lot of patterning, repetitive colors
and icons and stuff like that.
I was wondering if you have anything to say
about that aspect of your work.
Yeah.
Yeah, definitely.
So again, going back to commercial art.
And there's a gray line here, too,
because depending on what zone you're looking at,
I'm really interested in decorative art that exists
in textiles or architecture.
And often times, when you think of decorative art,
it doesn't serve a function, really.
But when you look at the decorative art in textiles
that exists in Peru, for example,
that's a coded system of meaning.
So it's not only purely decorative.
And even in some of the geometric
patterning that I use in my paintings,
sometimes that's not all purely decorative, either.
I know, for example, in Mesoamerican architecture,
you'll see geometric patterning.
And there's one that looks like a G.
And I learned that in some street gangs,
they've adopted that pattern that's supposed
to symbolize a rank in a gang.
So things like that, I'm very fascinated
about because there's an existing
conversation of decorative art.
But I don't feel like there's a balance of conversation
that it's not purely just decorative.
Sometimes it's serving some type of function.
In my work, it is just decorative.
I'm not really referencing that history or trying to go there.
I'm just really inspired by the beauty of it
and using it as a decorative element to frame the work.
But I am interested in those conversations.
But they're not central points of my themes
or anything like that.
Yeah.
Can I ask you a question about your color palette
for this series, in particular?
So you mentioned talking about the tension
between the contrasting colors, but specifically, very red.
Has that long been a particular color palette
that you're interested in?
Or in this series, are you particularly focusing in on--
it's a bloodlike0-- it's a very specific of color palette.
I was just curious how you choose your palette and stuff
like that.
So I'm really into working with monochromatic aesthetic
or color scheme.
And so for each individual work that I work on,
that's something that I think about.
But recently I've been thinking about the aesthetic
of an entire body of work.
And so for example, my recent solo show at the Pit,
after I looked at the whole body of work,
it didn't really seem so monochromatic anymore
because one painting would be blue,
one painting would be red, one painting would be--
so also, too, I felt like it would
be interesting to go off of that based on the theme
that I'm focusing on.
So that first painting that I showed you
guys, Madre, kind of dictated what color I
was going to continue with since that
was the focal point of the series.
I was like, OK, that was the focal point of the series,
so I'm going to continue with red.
And then maybe later, when I continue
in the chronology of my interest,
when I go reach up to the modernist period
and looking at labor and all of that,
that will be a different color.
And so that's kind of like the way
I'm designing it in my mind.
But other things that have inspired me
around that, definitely the silk screening posters
from Victor Moscoso, a lot of them
were monochromatic in that way.
But also, do you know these San Marcos blankets?
They're like Mexican blankets.
They have animals or plants, and usually it's all one color.
I don't know if you've known or seen those,
but that has inspired me, too, like just aesthetically, what
that looks like.
I've always been kind of drawn to that.
Yeah.
Jaime, you mentioned a few artists who inspire you.
I'm curious if you could tell us who
else you're interested in today, and maybe some artists
you'd like to amplify.
Yeah.
Contemporary artists that really inspire me today.
Definitely Rafa Esparza, who's a performance artist.
He's been a big inspiration in terms of similar themes
that he's exploring.
Technically, another artist that is a big inspiration
is Mario Ayala.
He also works with airbrush, but he's
like a master airbrush painter.
And I also work with airbrush.
He's a big inspiration.
Who else?
I mentioned Victor Moscoso.
I've also been really inspired by this Japanese commercial
artist.
His name is Tadanori Yokoo.
I think I'm pronouncing his name right.
He's been a big inspiration, too.
And then again, just like looking
at a lot of Latin American colonial art.
That's inspiring, too.
So Neil asks, how is your aunt received
in Latin America and Europe?
Well, so the work 529 Years, the image of Christ
with the thorns, and Popo and Itza.
That was shown in Madrid, in Spain.
And I'm not sure what the critical discourse of that work
was because I wasn't there.
But I know it was received well.
But I'm curious to know what critics or people who
contribute to the canon of art would say,
since I'm specifically speaking of history in those zones.
But I'm not sure.
I'm not sure how it's received.
I haven't read anything or heard of any response on any
of my work from out there.
I'm just barely starting to show internationally.
So maybe next year I'll have a better idea
of how people are receiving my work out there.
Yeah.
I have a question that kind of bounces off one
of Rebecca's earlier questions.
And it's aside from artists that you enjoy and you look at,
is there any media that you're consuming right now that you
could of like be like, this is really
kind of moving my art forward?
Is it just television, books, any of that kind of stuff?
It's hard to say because I have a tendency
to jump around a lot of books.
I'll say two.
One of them is a catalog from LACMA,
and it was an exhibition that they
had on Mesoamerican art in the '70s.
And it's a really nice catalog that
has really beautiful images and really thorough explanations
of each image--
well, not the images of the artifacts.
That's one that I've continuously been sourcing.
And then also, too, another catalog, also from LACMA.
It was the Painted in Mexico exhibit.
It was a show on Latin American colonial art.
So those two books have been kind of on my work bench,
and I've been looking at that a lot.
Yeah.
Jaime, I know we're nearing the end of our time together.
So I really want to thank you for your generosity.
We're grateful to have you back at Chaffey
and spend some time with you.
I also thank everyone who attended today and carved out
a little space in their calendar to hang out with us.
We appreciate you.
And Roman will put in the chat link to a very short survey.
We'd appreciate two minutes of your time.
If you wouldn't mind completing that,
we'd greatly appreciate it.
Huge thanks to you all, particularly you, Jaime.
Wonderful to see you.
Well, thank you guys.
I really appreciate it.
Great.
We can't wait to see what comes next.
So thanks again.
And everyone, please take good care.
All right, likewise.
See you.