So on our agenda tights, we've got our agenda review. So we'll review and approve minutes at PM. Feel free to speak up throughout the meetings. Hoping at the end, we're also going to be talking about including committee recruitment. But if there is anything specific for public comment, please, please do so. Then we'll do our kind of check in learning round table, anything to share. Report backs from related city committee meetings. So we've got the ones that I could remember that police. I mean, budget update on the school. SRO group. Things like that. And then just kind of diving into the creative discourse work. So there's a quick fundraising check in. And then just really like outreach check in and work plan check in, including the like updating the focus group contacts and then. Also this conversation about other committees that are doing community outreach work. Because as I think. There's someone noted last time we met. There's just a lot of groups that are looking to do surveys coming up. And so just if we can compile that list and see how we can, you know, best work together. And then just, if there's any next steps of the COVID response and then other business. Any changes to that agenda? In addition, it's cool. Can I get a motion to approve the agenda from Michael. I'll make that motion. Except I write them. Right. The agenda. That's the minute. Okay. All right. Yes. I'll make that motion. Jeremy, do you want a second? Yeah. Second. Thanks. All in favor. Hi. All right. Can I have a question about that? And another committee that I'm on. I think Cameron, you said that we don't actually have to make a motion to approve the agenda. Is that right? Sure you don't. I think you can just. Yeah, that's good. And then you move on. Okay. 99% sure. Lauren, are you, are you the 1%? You can do that, right? It's fine. I think you can kind of say like, without objection, we'll consider the agenda approved and just move on. Okay. I'd like you to pause and say like. In case there is an objection. Awesome. Thank you guys. All right. And then moving on to Michael's notes. Amazing work as per usual, Michael. I feel like these are particularly helpful with. Massive report back we got from capital area and neighborhoods. Sustainable on failure last time. So thank you so much. A lot of help from Cameron's notes too. So this is a cooperative effort here. Thank you, Cameron. Yes. Credit credit. So the question I have is on page two, the bottom of page two, you mentioned three. That we got three grants. I was able to get. And we didn't. And you couldn't remember what the third one was. Ben Jerry's Vermont community fund. And what's the third one. I'm so sorry. I missed that. I'm sorry. One minute. Looking my inbox. Was it the awesome. Vermont community foundation. Did you say that one? Yeah. Ben and Jerry's. Oh, and, um, The city is what I had marked out. That's not a grant. That's why I had three. I apologize. Nope. So just, just to thank you. So, and we haven't heard back from awesome foundation with the, that Julia applied to. Okay. All right. Well, I'll make that change. Thank you. Someone. I'll make a motion to approve the minutes I've amended. Second. All in favor. Hi. Hi. Hi. Hi. Any opposed. Motion passes. Awesome. Any public comment. Pam, putting you on the spot. Then you're muted, but I think you're saying that. Yes. I don't have any public comment. Yeah. Yeah. Yes. Feel free to jump in. Um, and so we wanted to, you know, return to having this space of a learning round table. Just to be able to share our, our own learnings and growings and resources and, um, uh, things that are happening with the group. So I know we did the check in at the beginning, but, um, If anyone has anything else I'd like to share. We'll kind of do a go, like, don't feel like you have to share something, but if you want to, that would be, um, lovely. And maybe to pick on Lauren about what this, this history of, of, um, you know, white supremacy in America, that you had yesterday, if, you know, if there's anything, like things like that. So if anyone has anything to share. Yeah, I can. Do T-Rex have two fingers or three. This is a really important question. Six year olds wondering. Um, I'm not sure, buddy. Three. Okay. We don't know. Well, I think we could go look it up. Um, So. Yeah. So this was, um, Yeah. So, yeah, so this was, um, with a group called the center for whole communities that I know, at least Shayna's worked with, um, who is working with my, my work. Um, and so this guy, uh, Delma, she don't know what his last name is, who has studied kind of African-American history was, gave a really interesting presentation and just like the history of like, like, when kind of the evolution of how like race was created as a concept and why and how it was like broad and used as a, you know, lever to divide people like in various ways. And then just how that's manifested and like, just like the structures put in place. And to some, to some degree, I thought it was, I mean, it was very interesting to be listening to it, um, because so much of it was so relevant to what was happening. Um, but it was also interesting just like how kind of, like, such a process of creating it, which in some ways gives me hope of like, you know, just like that it's not inevitable. It was like, it was a human-made creation. Like, and like, so there were steps taken to do it that were very deliberate. And so we could very deliberately take different steps to undo it. So in some, you know, I have some like optimism as well as, you know, it's a really horrifying history. Um, I'll try to see if I don't think that is something that I got that's shareable, but I know there are a couple of readings and I'd be happy to, you know, those around that he had shared. Thanks so much, Lauren. What has the group done for these in the past? We just started again for the first time last meeting, um, since going online. Um, when we were doing these in person, we just usually like pair up and chat for a while about, yeah, it was usually like a podcast that you listened to or a book that you read or something that you'd been digging in on, um, to be able to share and also to like add to take each other. Yeah. So I would just add to, um, what Lauren just shared, um, and not knowing the specific kind of details of the content. Um, it made me think of something that was really helpful for me and starting to learn and understand the kind of history of whiteness and how race was created. Like you said, Lauren, um, it's this misogyny may have come across it before it's, I think it was like a nine part or 10 part, um, um, podcast series called seeing whites. Um, and I'll put the, I just found it again. So I'll put the link here in the chat, um, from this great nonprofit documentary group out of, I think a university of North Carolina affiliated. Um, and just a really in depth, um, dive into, you know, kind of how we've arrived at this notion of race, particularly around as it pertains to white supremacy. Um, and our own history as a country. Um, so if you're, if you're looking for more of that kind of learning and you've got, and you like podcasts and you've got, you know, time to spend, um, it's really well produced. Um, it's a great set up with it. Um, it's a great set up with it. Um, the kind of main documentarian is a white guy. Um, and he partners with his colleague and friend. Um, his name is Chandra. And he's a, an African American, uh, professor or artist. Um, so there's really like good, kind of honest processing and conversation as they kind of review that kind of the more detailed history. Um, they speak with a lot of different scholars and folks about that. Um, and I expect, you know, I'm about ready to go back and listen to it again. Um, because it's been about a year and a half or so since I've heard it. And I think there's, there's things I missed and things I need to hear again. So, uh, might be worthwhile. Thanks so much. Um, Lalitha, not Lalitha. Well, I think it was Pellin actually shared. Um, Uh, Implicit bias test. And I really recommend that everyone does that. Does what? It was a implicit bias test. So it was like one of those tests. Yeah. I thought you were saying tech. Oh, no. That would be very bizarre. Um, no, it's part, it was a university's ongoing study. And so you become part of their study group. Kind of. It's just an online test. Um, Yeah. That's all. I mean, that's all I'm gonna, it was nice to. I have, uh, since June been taking my anti racist education pretty seriously. So. A lot of, a lot of listening. Um, I'm reading, uh, cast right now, which is. Very sobering. Really hard to, it's taking me a long time to get through it because it's. It's, yeah. So much that I didn't know about our Jim Crow laws. And I think. Yeah, it's been very, very sobering for me. But one of the things that I did back in June was, um, I changed up my social media feed. So that I am following now a lot of. And that's really made a difference for me. You know, I just. Get used to seeing black and in our white state black and brown people in my social media feed. All the time from people that I, you know, admire. The Obamas and Oprah. Van Jones. People that we see all the time, but also people that I was not familiar with before and black, black activists and, um, it's, it's gotten me so used to seeing that in my, in my regular, every time I look at my phone that I recently was looking for a comedy on some movie platform. And when all of the movies came up and you could see all the recommendations and they were all white, it looked really, really strange to me. And, um, so that's been like one of the first baby step things that I did back in June. And it's, it's really made a difference for me. You know, in a way that I hadn't really noticed until I noticed it. So I recommend that a lot. Every chance I get. Great idea. Thanks. And also just wanting to check in just reckoning. I think we often say for months, you know, one of the way to states in the union and just recognizing to that there's a lot of people of color who live here and there's a lot of people of color. So I'm turning that. Cool. Um, Is the group ever taken on a reading together? Or like a podcast or a book or anything of that nature? We did do that when Julia was the facilitator and when we were in person. I think in talking with Julia about it in particular, I haven't actually talked to anyone else about it, but of, um, it just feels a little goofy to do that. When like Orca is recording, you know, and going on and just being able to like really dig, dig deep and be vulnerable and personal. Um, and so that's kind of, um, why we're thinking of sharing this way, but, um, if folks are would be interested in, in digging in more deeply on, you know, a couple of readings or another idea that we discussed was like, having maybe someone like present, uh, about some sort of history or information or, you know, uh, you know, particularly like Montpelier, you know, racial, social, economic justice history, um, things like that. Um, if, if there's any other ideas of kind of how to grow and learn together as a committee would love to hear that. I didn't necessarily mean that we have to share a lot more. Just that we have, uh, get on the same plane. Yeah. We have a shared context and, um, we don't, don't have to get a lot more vulnerable, but, um, it would just be, yeah. So I don't, it was just a thing that I have been thinking about since the last time I was with you all. Um, you know, I'm just, I'm just a little bit of a little bit of a, something, something you said, um, sparked something for me, which was perhaps to further our learning, but also more specifically applied to our, our work. What would it look like to invite, um, You know, BIPOC folks from either as individuals or from organizations understand, you know, issues that are going on. They may not always be specific to Montpellier because we're small, but, you know, certainly central Vermont. There's a lot going on. And I wonder if having the chance to learn more together about some of those issues could be useful in helping us determine what we want to do or help us connect people together. So that sounded interesting to me. Are you are you suggesting that y'all ask people of color to join your meeting here to talk about their experiences as people of color? Because I think that's incredibly damaging. No, no, no. I mean, there's a lot of work happening, I think, along the lines of racial justice and economic justice by different groups. And I wonder if folks doing that work would have something would find it useful to share with us what's going on. That's my that's my point. Yeah, I think that's what I'm thinking that's a lot about why we're doing this project with this creative discourses is to build these relationships. And if you're in, you know, having conversations with some of the leaders of these groups or these, you know, movements, if there are folks who are, you know, interested in wanting to share about their work to the committee, let's invite them in. Michael, were you going to say something, too? I was going to say that I think with the the workshops, the small groups discussions starting as soon as we start getting feedback from that, then I think we'll have opportunities to think about, well, who would we like to hear from specifically or what kinds of issues are emerging that we should be talking about. So I think we're sort of on the cusp of getting the information that we want through our project. And I think at the time being sort of monitoring that and, you know, planning for what comes for the next groups that we haven't yet assembled is going to take is going to take all the time we have. Yeah, and that's also what I recognize that we've been on the cusp for a while. So yeah, I just record, yeah, feeling that urgency and and here's where we are. Well, with that, should I move us a line to talk about the report back from city committees before diving into our creative discourse work? Police, budget, schools, maybe I'll hand it over to Lauren first to talk about the school resource officer meeting. I think it was a meeting again on the 12th is next time.  I haven't. I'm not on the that. I'm sorry. Was an update and Cameron, you might remember better than me. We had gotten an update at council from Jay Erickson, who's one of the counselors who's the council rep on it. And I think he had said, you know, there's no decisions yet. It's still the process is still ongoing. So last I knew it was like there's still in the midst of the process, but finding their work with creative discourse positives and like that that was really helpful. So that was that was essentially the extent of what I remember at least was like no decisions, but active conversations and like they have sent you a well, they sent a survey, correct? Yeah, I don't know what's on the I don't know what the questions were, but I'm assuming they were created with creative discourses assistance to just sort of get people's general feelings, the political leaders general feelings about it. Survey said to whom? Council, city council. Oh, just to council. Okay. Yeah, I think they also did some other larger survey. I only saw the part that went to council. For that, you know, did they target specific groups or was it just a random selection? Do we know what that was? I have no idea. I apologize. No, don't apologize. I think it was. I think it was a separate survey for the general public versus council for sure, I think. And Michael, maybe about the police review committee? Has there been a meeting last time we talked or? No, the next meeting is the 11th. And there's been nothing, nothing since the last time we met, I think. We did get word that Keisha will join that meeting. We'll participate in the meeting. And so that'll give us on that committee, that'll give us the opportunity to find out what they have in mind, how many questions they would, that will give us for, you know, for use in each of the, in each of the groups. I was looking over the list of groups. And I think that I see that there is, there is one just devoted to the Montpelier police department. So that's number three. And so I'm not sure, you know, what more we're going to do with that, but we'll find out. I'll find out on the 11th and I'll report back. Thanks. And then I'm just trying to see if I can pull the link, but I'm feeling technologically challenged right now. But just also to share that the Montpelier police, the state chief police have released various statements condemning the violence in DC and have suspended, the Bennington police department suspended a police officer based on like Facebook posts and things like that. So there's just a lot of kind of response and movement happening after the insurrection yesterday in DC. So just just sharing that too. Anything else? Various committees? I just mentioned briefly, we did the city budget. There was a meeting last night and the tool was raised and we did a kind of, we walked through the questions and it was hard to do the entire budget like that. I think it's much better for like a more specific line item, but people were thinking about it and it was nice to see like trying to grapple with the questions raised. So that was great to see. And there was like one item that had been brought to council for consideration and we kind of thought through implications of that and who had benefited and brought back. So thanks again to this crew for coming up with that and just, you know, a different and more, I think, structured way of thinking through those questions was really helpful. So there is, yeah, so there's a meeting next week and then the week after. So if there's any, you know, if any of you want to check out the budget and there's still the chance to more meetings before it goes to the voters. Thanks. I had a meeting scheduled so I wasn't going to be able to come and then the meeting cancelled because of everything happening and I completely spaced the intent that there was anything else happening in the world yesterday. I'm sure it was not the only one. Cool. Okay, creative discourses work. Just quick fundraising check-in.  I'm one. And Michael, I think there was just one that opened the flag for you but I'm not remembering what it was. The A.J. Musty Memorial Fund Memorial Institute. Is that you? The what? A.J. Musty Memorial? Yes, then they're not doing this stuff now. They're focusing on other things and they're also, I don't know, I have my notes somewhere but they're not answering inquiries. Shaq, what the heck? Because out of my calendar it's due coming right up. So there you go. It looks as if we're not eligible. In any case, I think the last time I looked it was that they wouldn't give grants to city, you know, to government organizations. But yeah, I still have the list of my preliminary run-through of that book and I'm slowly working my way through it. Most of them seem to be to disqualify us because we are a government agency. So that's a difficult I'll keep going. Thanks, Michael. So I do have a fundraising like your budget line update. You've got two grants. The only one that we have right now in the system is the Ben and Jerry's one. So we'll just need to facilitate getting the other one in there. But the Ben and Jerry's Foundation and the few donations you've received, you have $718 in your account. That is in addition to the 10k from the city, which I think is half spent at this point because we did the pre and post for creative discourse. They're in two separate lines though, so we can track them separate. I did have a conversation or an exchange with someone who I had written to about getting onto the mailing list. And the question was, well, yeah, I'd be interested in doing some donations. Is there anything else? Or are you just trying to raise money from this? So I did point out that we had vacancies on the committee. And we'll see if that, but this person was interested and knows other people who are interested in making donations for these kinds of things in the city. And so this person is going to spread the word in that group of people that might be interested. So we'll see if something more turns up. Awesome. When you're sending out the newsletter on this occasional basis, are you still including the link to how to make a donation to the city? Yeah, okay. There's only been three that have been sent out. My goal is to send them out monthly and there's no right or reason to when I have the time to work on it. But yes, and everyone there has been the link for where to put in. And I did kind of write that check in and send that I'm all up to date on that as of the holidays. And then I have not received anything since then. And I have not sent anything out since then. So there are a bunch of things to be able to put into that next newsletter, mostly thanks to Cameron. But sort of anyone else has anything else to add in, you know, just send them to me as they kind of come across your feet. If you like see something in front for forever and you're like this might be interesting. I do read them all, but I might have missed it. So or anything else. Yeah, that could be of interest. It's okay not to send it out and send out the newsletter all that often. When I was sending my letters, I promised them we wouldn't deluge them with, you know, so it's all right. I think probably everybody's in basket is filled with stuff that they accidentally joined. Oh, totally. And I, you know, run this newsletter for this coalition facility and recently out in the beginning of every first week of every month and on Monday, I was like, there's nothing to report here. Like why would I send this newsletter? That's just the facilitators update. So we're not doing that. Only when there's important things to share. Okay. So important things to share are outreach for the creative discourses, you know, work plan updates. So as I said, I'll be able to send up the newsletter shortly. And then the only like thing that I had on here, unless other people have stuff, I think we're in this meeting early, guys, is focus group contacts. So just because Julia and now Lolita have stepped down, they wanted to be kind of a point person for doing these, being kind of the point person for organizing these meetings. So just a quick reminder of like what being the point person means is so let me drop this link in the chat too real quick. Just okay. So being the point person means that one, you're kind of hitting the logistics of scheduling the meeting. So like when the time that works best and who's how many people are going to be there and who's going to be there. And for security reasons, oops, I'm going to go weird echo. I just started. Maybe Pam and Michael, could you maybe meet when not talking? Let's see if I fix a bit. Sorry. Thank you guys. So for security, we're not kind of collecting all of the names of like who's going to participate in these meetings publicly or through this listserv. But instead, as the point person, you're collecting the names of who is going to be in that and then sending those directly to creative discourses to Keisha. So she can then send out the zoom information and how to participate in the meetings and how they're going to get compensated and all that. And so that's really kind of the main thing about being the point person is doing that outreach of setting up the meetings with organizations that are working on these things in the area and doing kind of that snowball. And I'm like, okay, who else should we talk to? And who do you know who might be interested and things like that? How do they want us to present that to them? So they want to talk to the police, but my police work on a bunch of different schedules. So I want to collect the days that work best for my team and send that to them. Do you want to handle that? I just want to know, because you're sort of our point person for Keisha, how do you want us to communicate that to creative discourse? That's a great question because I was like, I don't want to handle that. Yeah, I know, I know. I can't imagine.  Like, would you like to try to find a time that works best and just assume that one of them will be able to make it or communicate directly with Keisha? Can you ask them how they would like to handle that? So then we know that's information that you could just send out to this group. Like, it's not a conversation, it's not a voting point. It's an informational awareness thing just to say if you have a, if you've contacted your group and have a meeting time and have like some meeting times at work, email, blah, blah, blah. So perfect. Scheduling is a allowable email. Any other questions or comments or anything or volunteers for taking these on? Is there any handy boilerplate language we can use to introduce creative discourse requests as we're reaching out to people? Yeah, I think they have sent some stuff. It's not like it'll definitely need to be fine-tuned based on like the group and stuff. Let me, can I share that as a point of information in an email too? Because I don't want to spend the time doing that right now. But yeah, it was in some email, I think maybe before you joined Jeremy. We are muted, Michael. I'm sorry. Yeah, you'll send that to everybody, right? Okay. Yes, it's going to do. I do have a question. I looked over this. I sent a bunch of names to Cameron about the leaders of community-led organizations, et cetera, realized without looking all the way down the list, so there's some overlap. But what's going to happen now that Julia is not on the committee, who's going to handle the two that she had taken on for her assignment? I think that's your agenda topic today. That's what we're... Are you volunteering, Michael? Is that what I'm hearing? I'm not. Okay. For either of them? Not, no, not neither for those, for neither of those. Pellan doesn't have one. Did she not volunteer? Was she not here that meeting? I'm not sure, but I can circle back with Pellan too. Yeah. Just saying. Just saying. She's not here. It's that weekend. That's what happens. You don't come. No, that's terrible. She's not feeling well. That's not how we run things.  Or I can talk with Pellan and we can hash it out too. I think I'm feeling a little bit unqualified to take on either of Julia's groups, just because I don't have an accent in either of those communities. You can put me down for the LGBTQ group. Yeah, Cameron. Thank you. Yes. Well, you're now doing four, which is almost half of them. Three of them are my staff. That's not hard. I will push them too hard here, Cameron. That sounds great. Okay. Awesome. Okay. So then I'll put myself down for my talk and I'll talk to Pellan about it as well and hopefully she'll be able to. And I'll add that the list that I sent to Cameron included a couple of suggestions for the LGBTQ. Well, then I will steal those. Thank you, Michael. Well, yeah, for whatever they're, you know, as good as they're worth. And I would just add that any of us who, even though we're not going to be point persons, we can all send to the appropriate person any suggestions that come to mind. I'm certainly happy to do that. And there are a few places where I can sort of say, oh, I know somebody there or something. Yeah. Maybe if we can get this meeting wrapped up, we can just spend, I might stick on my computer for a few minutes and just do that, try to hammer that out at the end. Awesome. So anything else for kind of the outreach, any other thing, anything else to note? I think I haven't talked to anyone about this since our last meeting. Okay. Reflections and next steps on our COVID response. So just coming out of our last call, hearing a lot from a sustainable Montpelier, they're big, I'm sorry, before we move on to that, of what they're all these different committees that are doing community outreach around a lot of similar issues. And so if this has sparked any ideas, we've talked about the police commission, the school board, any other groups that are doing community outreach that we should be coordinating with and any ideas on how to survey the Montpelier community together. Because this is why this got triggered was because COVID sustainable Montpelier was talking about how they have done this survey of Montpelier residents every 10 years and they wanted to work together to make sure that they could incorporate their questions into the survey as well. And so I didn't know if anyone wanted to kind of be a point person for a sustainable Montpelier, we should invite them back if one of us should go to their meetings of like what a good process would be for following up with them on that. Shana, you're thinking this is specifically about that town survey they want to do in March or is it broader? That is what I was thinking specifically. For sustainable Montpelier. And then because Michael's the point person for the getting the policing committee's questions on it and things like that. I wonder if we could get they haven't been around 10 years right? I was going to say could we get their last survey? Do they have a template like is there something that we could look at in the meantime to see like is this something where it makes any sense whatsoever to try to collaborate or are they just too distinct enough things before we like do too? I'm a little confused. I thought that they would I thought Elizabeth was talking about the survey that the city sends out and the last time that was done and Cameron maybe you know about this. It keeps getting pushed back because of budgetary reasons right? And it's something that the city has done just on you know I would say more or less regularly but it's less regularly than more. And so it's not it's not sustainable Montpelier's survey it's the city's survey and they want to be able to put in questions and they're asking us about language. I thought they were doing their own survey and they were letting us know. I think I was also assuming that that makes a lot more sense to me Michael. I wonder if this could be an email where we could just get can you explain to us what are you thinking re-survey so we can like understand. Yeah because the city is definitely not doing a survey. Yeah but maybe they don't realize. I don't like Michael so I don't think we've done one in years. I don't think we've done one in years. I'm trying to remember when the last one was done. I know that there was one after the new master plan but I mostly remember it being keeping getting pushed back because of the costs of it. But I mean if my thought is sustainable Montpelier wants to be the one to be asking questions and they just want us to I think her phrase was curate the language. As a person who's worked in museums I'm sort of seeing curator all over the place in unexpected places but I mean my feeling is let them put together their questions and send them to us and we can we can review them and say well look you might be able to use a better phrase here but I mean I think it's what they want to do is be is to sort of have us help them with with the editing not the not so much the content. That was the way I heard what Elizabeth was saying. But then was it was part of our process with creative discourse a community survey. I thought that's where the rub was coming in was we don't want two big surveys going out to the community that might have a lot of overlap. Well it sounds as if the city isn't planning to do one so there won't be we won't have that conflict right. But if sustainable is doing one. I would I would volunteer to reach out to her name was Elizabeth. Yeah why don't I reach out to Elizabeth maybe even jump on the phone with her get a little bit more clarity on what she's talking about and then I can come back to y'all and with some more clear information. Thank you so much next steps here we go. Awesome and any other reflections or next steps around that conversation or COVID response from our December meeting. Jeremy I put Elizabeth's email in the chat. Okay great thank you. Okay then for other business I just wanted to make sure we could dig in on committee recruitment. Pam would love to have you officially join the committee and just wanted to spend some time seeing if we could brainstorm other members who may be interested in joining that we could meet with just to make that like specific ask to have folks to join the committee when we're at this really crucial and pivotal time in our committee's existence. So Pam will you can you fill out the form to join or a committee. Yeah awesome. It's so exciting. Yeah we have a new member not yet we have to get approved and everything else we'll celebrate you again Pam. But anyone else that folks think would be a good idea that we can follow up if you know them personally were you know if they're work or in the US folks we should we should be approaching. Yeah Pam. Who's the dream candidate like describe a dream candidate. Not a warm body. Yeah I think at this point in our coalition and our committee's existence I think we are looking for for folks who are doers and who are going to be able to who have like relationships in Montpelier who to help us have these meetings and to have them be successful and to you know help us kind of enact our plan. So yeah so folks who know folks to recruit to be able to you know hold these meetings to be able to build the relationships and trust to be able to have these this our plan being successful. How's that for encapsulating what other folks think. Well I think it would be I think it would be a good idea if we had some you know some some diversity in our committee to reflect some of the issues you know to have you know have people from the communities that we're we're talking about and trying to sort of understand better and understand what their issues are to have someone be on the committee who is in that. Yeah. Having folks of different races or backgrounds or experience living in Montpelier and where they live in Montpelier and or not in Montpelier or gender ethnic background all that into consideration. Yeah it's important to realize to know that you don't have to be a resident of Montpelier to be on a committee so we can look farther afield than just to just right around us. Well there must be people who fit into that ideal among us so. Is there anyone in the you know we're identifying people who we think might want to engage with us in the creative discourse process. Is that spurring any or I mean that seems like a place to look or maybe after the conversation say like we're doing the work around this like love to you know we're already kind of doing brainstorming in that way. Great maybe like as we're having these meetings as part of our even if I'm gonna edit this email to send to Jeremy and to the rest of everyone else about like here's about this project we're doing can just include in there like and we need you to join and that'll be a good touch touchstone as well. And and maybe we could have the cd folks who do the meetings say that at the end of the meeting that if any you know remind them that we do have the vacancy and maybe they can even come up with some suggestions you know pass back to us some suggestions of people to contact for for that. Yeah all right seeing no other genius ideas oh Cameron has genius idea. Oh no I don't have a genius idea I didn't want to mention that we have advertised this so we're gonna put y'all's newspaper as soon as that cycle goes back out so we are working on that and I just wanted to this was sorry I jumped the gun a little bit but I just want to make sure that we work out scheduling for next meeting because it falls on a Thursday which is the one Thursday of the year we have a council meeting um so we're at that space I'd love to chat about that take it away yeah so the 21st is the only is your next scheduled meeting for your schedule but um Lauren and I would not be able to be there I don't of course don't count towards your quorum but um you'd probably be under quorum at that time so I didn't know if you guys were able to reschedule maybe for the same time Wednesday or Friday or literally anytime that week just if you want to reschedule and you were available I could do Monday or Wednesday 5.30 to 7. What are people's thoughts on Wednesday I can do Wednesday I can do Wednesday me too I was planning to be at the city council on Wednesday I'm glad to know that it's going to be Thursday so it is Thursday all right I will send in I will change everything and notice it for Wednesday this 20th great same zoom channel same zoom place okay and so on our agenda is um gonna be learnings for that for that I don't think we'll have any fundraising updates because I don't think there's anything new um and then hopefully maybe we can really try to dig in and focus on doing that outreach for these upcoming meetings and um do some do some more report back and digging in on that supporting each other in who we should reach out to and and how to schedule those um I actually don't know when my next meeting is Keisha is um but I can alert everyone to that via email once I once I figure that out if anyone wants to join yep nope some of my calendar okay um anything else before we close out I can go over kind of the next steps here too so I've gotten that yeah I'm writing this um uh acorn foundation grant um talking with Pelin about the BIPOC meeting Jeremy will reach will reach out to sustainable Montpelier I'll talk with Keisha about how to set up meetings and we'll email the team I will send out a sample language for recruitment um and include uh like recruitment language for the committee in that as well and uh ask creative discourses to suggest folks for us to reach out to and we'll all do our outreach anything else Mr thank you guys thank you all take care


Product innovation has always been at the core of them.  In fact, it will play through products. And part of that first decade when India was developing itself, there was huge investment behind manufacturing, behind quality, behind innovation, behind technology, right from the beginning. And this brand gave India one product which has become, which became a main category in world tennis, which you guys may still be hearing. It's called Terror in the Time. The first technology breakthrough happened of blending polyester and wool. And the first breakthrough branded product came into India at that time, called Terror, in the first decade after it came into itself. And then obviously there was a lot of other innovation happening. This is the way the advertising started of this brand in the time. Interestingly, in the same time, in that decade, it reached to decade itself. Another process in big innovation which happened, they even became the first brand to understand that since they are making premium fabrics, it's why they have to sell it through the regular wholesale channel in the way fabrics sell. If they are going to command a premium, they are going to get experience of selling fabrics. In 1958, the thought of a branded...


Il a procuré un nombre d'exhibitions influentales. Il a éclaté des lectures extensives sur ces artistes. Je pense que l'année dernière, c'était particulièrement impressionnant et productif depuis que Evella a éclaté le catalogue de la Fondation Barnes, mais aussi le premier volume de la résonnaie catalogue de l'Elsworth Kelly, et il est préparé le deuxième volume, je pense, qui va être éclaté cette année ou la prochaine année. Aujourd'hui, Evella va s'occuper de la décoration de Matisse pour la Chappelle de France, et surtout les stations de la Crosse et l'utilisation de la Bamboustique. Je voudrais vous remercier Evella Bord pour avoir accepté notre invitation pour cette lecture aujourd'hui, et pourriez me joindre à l'invité d'Evella Bord. Merci. Merci, Céline. C'est avant, c'est ce que j'ai dit. Oups. C'est ce que j'ai dit. Je suis particulièrement heureux que les designers, qui ont travaillé sur notre publication Mémouth, je veux dire, Matisse et la Fondation Barnes, ont choisi le photographe de Matisse qui a éclaté la première version de l'Elsworth Kelly comme le motif de l'écran. J'ai toujours éclaté l'athlétisme de l'artiste Action. Il n'était pas le seul à ses risques. En comparaison avec la pièce de charcole entre deux oeufs, le weight de la caine et la pression qu'il faut appeler pour attirer à une distance comme celle-ci, sont assez considérables. Il ne faut pas parler de l'amount de contrôle que ça requiert, surtout quand il est en train de rester sur une bench. Je sais aussi qu'il y a des tendances de Matisse, de Casual Bairé. Les portraits photographiaux, comme celui-ci a été fait, sont décendus par Barnes pour la publication, ont tendance à être plus formaux. Le posture de sa main est le poids de sa main en poussant sur son pied. Il faut faire ça en s'assassant d'une balance, mais j'ai vu des défis comme un matador provoquant un boule. Les stances sont observées 17 ans plus tard dans un photograph de Robert Kappa, qui a été fait en 1948. Les droopiers du sac de Marse et les cordes dans les cendres ont répliqué Bairé comme le son de Casual Bairé, mais les défis sont encore rares et l'athlétisme II. Le poids est encore plus long que l'an 1931. Et comme l'adresse, l'adresse qu'il devait être, pour le manipuler quand il était 62 ans, il devait être plus qu'à 79 ans. Par un peu étrange, par exemple, un bon printemps de ce photographe lancé dans mes papiers des années auparavant. Je n'ai pas de mémoire de l'un ou de l'autre. Et depuis, il a été élevé sur une bouche dans laquelle l'office s'occupe. Je le vois tous les jours. Et ça a un effectif confortable, un peu comme un talisman, qui me présente un trait. Pour la question de graisse, ce que j'ai connu avec cet embout, est celui qui m'a préoccupé depuis que j'ai commencé à élevé dans mes jours étudiants. 50 ans dans la ligne, il y a eu le cours d'un essai anglais intitulé « Matisse et l'architecture » que j'ai publié au cours du siècle auparavant. Et ceux qui allaient souffrir de mes propres études, m'ont dit que l'issue de la graisse a obsessivement acheté pour presque tout ce que j'ai écrit sur Matisse, including, bien sûr, mon essai pour le Bouncebook. Ce n'est pas une obsession qui s'est élevé. C'est pourquoi j'ai utilisé un petit pat en bas que la graisse de la graisse s'occupe. Avec le cours d'un essai, je le dis dans le catalogue du Bounce. Avec l'apologies, pour ceux qui l'ont déjà regardé. Donc je le dis, j'ai toujours dénoncé d'avoir une théorie que l'on aimerait éprouvant dans ses premières études du 1906 à 1916 ou encore plus. Il a non plus reproduit ce qu'un appelait un système. Un style de principale et que l'économie est la production entière. Et ici j'ai briefly interprété la défense de mon use du système, qui a récemment réveillé un réveiller. Par système, je veux dire une condition de possibilité dans laquelle tout est lié, pas un méthode systématique où tout est réveillé en avance. Ok, je vais retourner à mon shortcut. Matisse retourne au système dans les années 30 en travaillant sur la commission de la banque. Le coût du système était la couleur. D'ailleurs, si il y avait une action civile sur laquelle le système de Matisse était basé, cela pourrait être étendu par l'affaire. Un centimètre de centimètre de bleu n'est pas un bleu comme un mètre de la même bleu. Ou d'ailleurs, comme Matisse a fait des statements contre le système, la qualité de la couleur dépend, au moins de la saturation de la valeur sur la quantité de la surface. Le bleu est effectué par cette quantité au moins directement que par l'interaction des couleurs. Le fait que les relations de couleur sont sur la quantité de la surface a beaucoup d'implications immédiques pour Matisse. La plus importante, peut-être, c'est que la position traditionnelle de la couleur et l'implication sont cancées. Dès qu'une seule couleur peut être modulée par un changement de proportion, toute la division de la surface est en soi une procédure coloristique. Qu'est-ce qui compte le plus avec la couleur de nos relations, Matisse a dit, grâce à elles, et grâce à eux-mêmes, l'implication peut être intensement colorée sans qu'il n'y ait pas de need pour la couleur actuelle. En fait, c'est ma contention que Matisse a fait cette découverte sur la couleur en travaillant sur une série de couches en noir et blanc au début de 1906 et qui s'est installée pour vérifier dans Le Bonheur de Vivre. Beaucoup de traitements fondamentaux de Matisse, de Matisse, et de poste de cette période, de l'art, ont fallu par l'équation de quantité et de qualité. Tout d'abord, depuis un certain accord et un smooth par la peinture ou le dessin, sans qu'il n'y ait pas de quantité entre les surfaces, c'est impossible de travailler sans immédiatement considérer la totality de la surface à être couvert. Cela constitue un grand point de contention avec le Syniac point de la méthode divisionniste dont Matisse a brouillé dramatiquement quand il a painting Le Bonheur de Vivre. Deuxièmement, quand la question de qualité et de qualité est admettie, c'est impossible de square-up d'aider. Si vous avez une grande composition, le résultat sera complètement différent de l'original. La picture doit être travaillée à sa propre dimension par laquelle, dans les mots de Barnet Newman, peut-être le seul painter qui a fully suivi Matisse sur ce score, l'un sera transversé pour la sake de la scale. Deuxièmement, depuis que la modulation est maintenant une fonction de proportion de la surface, la modélisation traditionnelle n'est pas juste rédondée, elle s'amperde à l'enquête. Je devrais également ajouter que cette équation signifie l'endement des valeurs de couleur comme des entêtements et des entêtements fixés. Maintenant, aucune couleur peut performer dans le niveau des tonalités. Black peut même être l'endement de l'enquête. C'est l'endement de mon premier shortcut. Mais, depuis que j'ai shamelessly engagé la saison je l'ai engagé dans la seconde. Deuxièmement, c'est le passage directement suivi par l'enquête de l'enquête de l'enquête. Ce quote de Matisse a été écrit par le painter de 1908, dans lequel j'insiste que l'équation de qualité de quantité est invoquée à chaque turne. Je me souviens que Matisse veut transporter une composition d'une canvas d'une autre pour conserver une nouvelle pour préserver l'expression. Il faut avoir son caractère et ne pas quitter l'enquête d'une large canvas. Je vois que je vous ai suivi et je vous ai suivi, Matisse a créé le divis de Cignac. Cette rupture comme vous le savez, au cours d'un painter de Beauneur de Ville est la plus large canvas de ce point et pour cette, il a réalisé que, en tant que colorent il pouvait se dispenser avec la usure d'une cartoune. C'est par cette réalisation que Matisse a découvert une mesure vraie. Maintenant, c'était facile d'utiliser du travail fresco spécialement quand c'était possible pour le painter pour visuellement contrôler l'impossible pour le painter pour visuellement contrôler l'immense surface pour être couvert. C'était absolument indispensable quand il était au cours de la usure. Ou c'est servi pour transférer la composition en dessous de dessous de la pensée. Dans laquelle l'idée est sur ce qui arrive ou ce qui arrive les plus. Cela me donne une réponse d'un bon ami David et moi, Maria Loh. Elle a pointé un portrait rare de Michelangelo à travail qui a discuté un livre réellement publié l'année dernière des vies, des vies, et le portrait des vieux masters. La question est ce qui arrive ou ce qui arrive à la fin. Il s'agit d'une phrase qui a été détenue par un portrait qui a été déplacée. Une phrase qui a été déplacée. C'est pas un portrait qui a été C'est Charles Ernest, c'est Michelangelo painting the System Chapel in 1965 film by Carl Reid, entitled Agony and the Ecstasy. The impossibility to have access to a novel view of a work in progress was a usual condition for overall fresco painting, just not that on ceilings. Not only because frescoes were painted bit by bit, with fresh plaster applied to the area to be dealt with on any given day, as David Kim just remarked, but also because of the scaffolding that was overcoming the space and blocking the view. In fact, according to Francis Ames-Louis, this was one of the main reasons for which squaring became such a favorite practice among French painters, except Michelangelo, that is. By the end of the 15th century, it had been realized fully that only the use of square drawings could adequately compensate for the lack of opportunity of seeing the composition as a whole until the painting was finished and the scaffolding had been removed. Now, before I quote this little detour about possible precedence for the Matisse Bamboo, let me add that I learned from my friends, art historians of primordial past, about another past taken by previous artists, which does not concern transfer but distance, not so much a distance of the painter to the surface he paints, the lack of which Michelangelo complains, though it is also involved. But that between the work of art and the beholder, we used to perceive it. I don't want to open this very long chapter in history of western art, especially crucial during the Baroque era, an era when the skill of a painter was often measured by the gap between the apparent chaos of his work when seen up close and the realistic illusion the same work healed when seen from afar. Rembrandt's fame rested for long on this skill.  Immediately after making this quote, which is a very funny one, Ernst Gombrich refers to the biographer of Velasquez, Palomino, According to all the artist paid with especially long brushes to keep his distance from the canvas, so that his portraits were un intelligible from close quarters but miraculous when seen from afar. In term of long brushes, however, only those of Thomas Grenzbauer seem to have matched in length Matisse's bulbous stick, though we should be aware that his biographic detail is due to someone, G.T. Smith, who was a boy at the time of his witnessing, thus with a scale perception of a child. I quote, I was much surprised to see him sometimes paint portraits with pencil on sticks full six feet in length and this method of using them was this. He placed himself on his canvas at a right angle with a sitter so that he stood still and touched the feature of his picture exactly at the same distance at which the viewer is seated. At which he viewed his sitter, sorry, I knew there was something wrong. It is not clear why Grenzbauer did that. Maybe he thought that placing himself at the same distance from his sitter as that between himself and his canvas would, as if by itself, determine the exact degree of finish he had to work in order to obtain the realistic illusion he was after. Perhaps he wanted the future beholders of his portraits to watch those portraits dissolve at their approach, then retrace their steps in gaps of aura back to the point where they would be suddenly rewarded by a miraculous synthesis. And perhaps he wanted that point to perfectly coincide to what had been his own point of view as he had painted the works in question. If so, how coercing this required invocation is. And how completely opposed to the way in which Matisse envisioned the way his dance mural should be seen. The Russian art critic, Alexander Rome, was writing a book about him, noted that the major difference between the most cow dance and the bounce mural was that in the latter, the human element is less pronounced. To this remark, Matisse responded that at least in the mural, the category he preferred to call architectural drawing, I quote, the spectator should not be arrested by this human character with which he would identify and which by stopping him there would keep him apart from the great harmonious living and animated association of the architecture and the painting. In short, the last thing Matisse would have wanted us to do, what I want to do is to stop us as the builders in our track to force us to zero in. On the contrary, he wanted us to feel free to roam in the big gallery and distractedly peep at the dance perched way above at the periphery of our visual field. Now I shall not rehearse here the long and torturous history of the bounce dance, which unfold, it is unfolding in great lengths by Karen Butler in the book and to which I also devote quite a number of pages in my essay for the book. I'll just give you a few talking points. My argument is that together with this malarmy project on which he worked at the same time, the bounce commission reconnected Matisse with his views and working up from a long slumber. A growing paralysis, in fact, that had resulted in what we'd call a total painter's block at the end of the 20s. Needless to say, my take is that this recognition of Matisse with his views had to do with a quantity-quality equation to which he had bid farewell when he returned to traditional modelling in the paintings of his niece period. The enormous surface at bounce put at his disposal and offered him to decorate as he so fit, naturally raised the issue of scale. Like any other artist, Matisse began by making little sketches, which incidentally doesn't seem to be that usual for him. Perhaps because he only felt the need for it when working on a large composition and he didn't have the occasion to realise that many of those. Of course, we'll only be able to assess the percentage quality of strictly speaking preparatory drawings in Matisse's graphic output when a catalogue résumé will see the light of day. But my guess is that if compared with that of Picasso and its countless sketches for every single figure portrait or still lives, Matisse's output on that quantity of preparatory drawing is minute. In his first sketches, Matisse toyed right away with his youth, clearly alluding to the Moscow dance, and threw it to the Bonheur de Vieux, and he continued playing with a number of figures for a few weeks. But soon he realised that he needed to work at true scale, and he rented a garage, more spacious than his current studio, that could accommodate the size of the Marion Mural. To make this life easier, he tried at first to compromise within that intermediate stage, but this didn't work. Later in life, he would specifically recall this moment. When I wanted to make sketches on three sketches, one meter long, I couldn't get it. Finalement, I took three canvases of five meters each, the actual dimensions of the panel. And one day, armed with a charcoal on the end of a bamboo stick, I set out to draw the whole thing at one go.  So that's the first photo you saw. As for the small colour studies he had made, they were particularly useless. Once the drawing was finished, when I came to put in the colour, I had to change all the forms I had envisioned. I had to fill the whole thing, and make sure that the whole would remain architectural. As is well known, working in painting at the enormous scale of the Marion Mural, that is testing in paint, various compositions and colour schemes proved impossible, too taxing physically. It is wanting to erase, in part, or even in totality, a canvass that is just a few feet high in order to start anew. It is quite another with a surface that is 11 feet tall and close to 45 feet wide. This was the first version of the dance painted at scale abandoned. Rather, it served as a canvas onto which Matisse would pin his cut-out of coloured paper. The device he adopted in order to be able to continually change his design, which happened daily at times, without having to erase or paint anything until all will be definitely set. In passing, I should note that the implement of the bamboo stick was not discarded by the paper cut-outs, and I hope we can see a little film that was discovered recently tomorrow, maybe. So, this is the first dance, and it's now in the Museum de la Ville de Paris, and it's filled with millions of little holes, because all the time Matisse moved his paper cut-outs to work on the bounce dance painted on the surface of this canvas. The rest of the story is even better known. In February 1932, as Matisse thought his work on dance was almost completed, an incredible error was discovered in the measurement of the penitives on which Matisse had relied all along. He saw they were 50 cm wide, in fact they were twice that. Everything would have to be altered in order to cope with this new bulkier architectural reality, except the palette, which he didn't want to modify. As he wrote, the colours, which are the same, are nonetheless changed. The quantities being different, their quality also changed. The colours are applied in a completely straightforward way, so that it is a quantitative relation that produced their reality. Once again, we see the quantity-quantity-quality equation verified. So, I leave this at that, and the dance there, and focus for doing a few minutes that remained at my disposal on the second time Matisse was caught on photograph using his bamboo stick, to which I alluded on the outset. He was working on his dance chapel, almost two decades after completing the bounce decoration. Given that he considered his dance a splendid success, Matisse was miffed for having been neglected by both the French state and the city administration of Paris at the time of the big Exposition universelle of 1937. Especially since artists utterly despised and even considered pale imitators of his, such as Raoul Dufy, had been commissioned vaste murals for the occasion. He was only slightly consoled by the arrival of the last version of the dance in Musée d'Armonne de la ville de Paris that same year, thanks to the curator Raymond Ochelier. I have a little parenthesis here about the complication. The last version of the dance is here in the middle, which of course shouldn't be so. The first version is the Paris dance, which is now called the unfinished dance. The middle version is the bounce dance, which is on the bottom here, which should be in the middle. And the last version, which was started before the second one, was finished after the Paris dance. We were structured, there were only two, because the original dance was discovered very late, like 20 years ago. The Paris dance was usually called the first, the Mayonne dance was called the second. Now the Paris dance is the third, it's like Raoul. So when the opportunity presented itself for Matisse to work again at a large scale, he readily embraced it. Even if the working question was to design a chapel, which did not really gel, with this well-publicized atheism and anti-clericonism, an inconsistency for which Picasso and his groupies chided him mercilessly. Matisse is concerned for scale, the necessity to work at true scale played in it, as expected, a large role in his work on the chapel. One of the first things he did when taking on the task was to leave his Croy de Villalauré in Vence, with its plentiful flower garden, suite on l'auperflore of the Regina Hotel in Nice. He chose it, he told friends, because the dimensions of its largest room more or less matched that of the space he had in mind for his chapel. It is not here, the occasion, to examine in detail this complex project, which Matisse considered his masterpiece. Now we're going to discuss the ubiquitous presence of the bamboo stick, in all the photographs of Matisse sketching the ceramic rules of the chapel, which I show you a few here, given from his bed. He often mentioned this bamboo stick when writing to first of all Couturier, the Dominican priest who took upon himself to make sure that despite the hostility of a large part of the Catholic clergy, the project would be brought to fruition. Here's what Matisse wrote, for example, on April 7, 1949. Two days ago, with a charcoal fishing rod, a sketch, the station of the cross, I'm happy with this rough sketch, as it came out in the single one long breath of ten hours. So I don't know if it's this one or this one, I think it's probably the previous one, but in order to stress how much the scale issue was then as essential for Matisse as ever, I simply offer you this photograph, showing Matisse designing the bell and spy of the chapel. As first I thought it was bordering on the absurd, why insist on drawing at two scales something that will always be seen from afar, because it's on the roof of the chapel. Architects would never be able to build anything if they had to produce a two-scale model of every building they design at every stage of the design process. This is actually what Sarah bemoons in the whole profession and practice, by the way. Thus, to be told, though, Matisse is not such an absolutist. The letter from the artist to Couturier reveals that on this photograph he is in fact shown correcting the drawing that an engineer had produced with a pantograph from the sketch he had given him. The instrument of the pantograph was invented in the 17th century to mechanically enlarge a drawing, basically squaring up without squares, so to speak. I am giving a little grace to this drawing which Adnan writes. But although it did not himself drawing from scratch, he is still needed to have this huge thing pinned into the world of his studio. A huge thing with ominous tentacles I am sure would have given me nightmares. Now, the literature on the Vence chapel is already quite considerable, with all its aspects commented at various degrees of depth. On the whole, however, I find that the chemin de croix, the station of the cross, is given short change. This is surprising, given all the catnip art historians could mention with regard to it. By this, I mean an unusual number of preparatory drawings for it, and an impressive list of artists of the past whom Matisse mentioned as having been inspired by when working on it. Rubens, Philippe Le Champagne, Greco, Dior, Grunwald, Fouquet, Memling, Montaigne, etc. The reason for this relative silence on Matisse, the station, is that it is a difficult work to swallow. Matisse himself had predicted that it would shock the Vence believers for it does not really correspond to the conception. As he wrote to Couturier after he had completed the mural. But I think it shocked and continues to shock or at least embarrass art historians as well, particularly the Matisse aficionados among them. For one thing, anusually coarse. Especially when compared to the Sunfield glass stained windows and the other two murals. The Virgin Mary and the Saint Dominique. With style is just as expansive and multifluous as that of any line drawings produced by Matisse since the mid-thirties. In other words, Matisse's station across is closer in style to the no primitivism of the work made by the German artists A.R.Pank in the 1970s than to almost anything else Matisse ever produced. I propose that the main reason why it leaves this artist rather silent, is that in it Matisse deals head on with something that radically contradicts a major tenet of his art. His solution is brilliant but it implies the welcoming of a certain awkwardness. Not a future that any of us is accustomed to grow praise in his art. As I remarked earlier ever since his notes on the painter from 1908, Matisse insisted on the absolute necessity for him to consider the whole surface of his support at any time of the painting or drawing process. The condition that matches what he envisions to be that of the beholder viewing the finished work. The expression comes from the colored surface of the spectator PC as a whole he would say to Terriade. In other words, Matisse is utterly opposed to Paul Clay's notion that Paul Clay, the beholder's eyes which moves like an animal grazing, follows past prepared for it in the picture. Sorry, I have to... The fueler. But then, and here's a contradiction. How to deal with a particular genre for which such an itinerary of the eye is mandatory. And quite often the requested movement is at the whole body of the beholder in case of stations in multiple panels or even outdoor sites. Right from the beginning because it's a pilgrimage. Right from the beginning of his discussion with Brother Réseguier, whom Couturier dispatched as his lieutenant to Matisse it is clear that he's preoccupied the artist enormously. The first things Réseguier warned him about is a processional nature of the genre of stations across. Matisse rather quickly came up with the idea of a single mural and several panels distributed in various areas of the chapel. And it seems that it was Réseguier who suggested mentioning medieval examples to the great relief of the artist the rare bouste trophée dans order of the scene. Apologies for this erudite term often used to describe Egyptian paintings. Writing, it comes from the Greek and refers to the way an ox is ploughing a field. What I'm referring to here is a zigzag starting from the lower left corner towards the lower right corner then the middle row going back and then this way. Réseguier would have wanted to end at the upper right corner with a resurrection here. But Matisse as in other cases actually preferred to remain canonical. But even though the mural as a whole would be a compact rectangle how to deal with the necessary succession of the scenes. Was it possible to do away with the numbering? It annoyed Matisse not to be allowed to let go the numbers. On the other hand they would provide him with some ammunition against critics claiming to be lost in the labyrinth of his stations. The main aesthetic problem for him was what he had to work with 14 distinct scenes to be juxtaposed on a single field. This was absolutely unlike anything he had ever done. He quickly scribbled a few sketches of the whole composition to have an idea of the necessary placement of the individual scene and above all to complete the model that was made according to a specification so as to check what would be the special effect of his mural as well as everything else in the general scheme. Then he started to work on each scene one by one making many stories in charcoal some of them almost realistic and certainly much more polished than the final result in ceramic polished in the sense of, you know, realistic. So far, nothing far was unusual in his work process. When looking at the actual mural of the chapel, one wonders why Matisse absolutely had to hire model for the Christ of his crucifixion having posed with a long class and drawing several times. Occasionally borrowing from Dura, though he thought he looked a greco-esque. But this type of question is bound to be asked about any preliminary studies or every drawing series that Matisse ever made. Sometimes Ressiguer dared joking about this with them. Speaking of one of the studies for the encounter of Christ with his mother, the false station which is barely identifiable in the final in the murals in the chapel Ressiguer note that it looks like the meeting of two sweet hearts who had just been engaged. From time to time Matisse pinned a set of studies on the wall in the right order though occasionally he made a mistake at that where he forgot one station. Note that the studies were conceived at two scale, that is, the sheets of paper on which they were drawn is roughly of the same size as the amount of space each scene would be granted on the overall surface of the mural. Why then, might you ask, was this process leaving Matisse dissatisfied? It is faithful to his real scale concept, isn't it? Well, yes and no. Indeed, each individual scene was sketched at true scale but it was not sketched at the same time as all the others on the same surface as all the others. It was drawn onto its own sheet of paper that at least momentarily severed from the whole. In other words, it is thanks to the gimmick of accumulative juxtaposition that the scale of the studies was coinciding with that of the mural. It took a while for Matisse to identify the problem but no time at all to find a solution. He's beloved bamboo stick which allows him one more as he had done in a dance nearly two decades earlier to sketch the whole mural at once. This is what he victoriously announced to Couturier in the letter I quoted earlier. To be more precise, I'd say that the bamboo stick was a technical solution to the process problem but the compositional issue of the sequential and paratactic order the one thing after the other which troubled Matisse from the start that still remained. It would only be solved I think at the very last moment but Matisse finally was able to paint the figures in animal on his ceramic panel. The letter he writes to Couturier two days after completing this extenuering job says it all The chemin de croix is finished. It is no longer the procession of the cartoon but a kind of great drama in which the scenes that each one is identified by a number are interwoven around the crucifixion which has taken on a dreamlike dimension as that of the rest of the panel. Then after his remark about the fear that he would be barely received which I mentioned earlier I have allowed the moral file nevertheless, as it is final it has a order of drama it's a calvary constructed in much the same ways as the Breton calvaries. It's a great achievement for me the drawing is rough, very crude in fact it will dismay most people who see it. You might have noticed that Matisse had expectedly used the word cartoon when speaking of his grand sketch on the wall the one made in one scoop with his bamboo stick. But the term is highly inappropriate Never did Matisse imagine that he would mechanically transfer his composition to the ceramic tiles. For one thing he was acutely aware of the difference in medium and was actually worried about this. The cartoon was vertically and in charcoal, which is hard he says, and the ceramic tile would lay horizontally on the ground and be painted with a brush, which is soft. Sure, he said to Réseguet on a used a cartoon but then he goes on to say that it's not the way it works that he needs to say fresh and improvise his element in fact almost superstitiously so about the need not to rehearse the so called cartoon can be a guide but not much else. So, I was a shift from this Pluto cartoon to the tiles finally done. There were numerous technical setbacks having to do with the firing when he had been amazingly patient up to then the last hiccup, let's set Matisse on edge. I am like a boxer already and fired up for a same championship match we stole sorry pal scheduled for in two months. That's what he writes to Couturier. But when he finally got to start Matisse was as composed as ever. I quote Lidia de Letoskaya whose notes on the processor are as precious as ever. The animal tile were assembled on the floor. Matisse worked for a long time on each of them retouching or having everything completely erased so that he could start again on one go. Once the panel was done and the system carefully cleaned each tile under supervision and erased all traces each tile under supervision of Matisse and erased all traces of previous drawing so as to avoid the creation of gray zones due to the animal dust when the black would be fired. End of quote. It's important to note here that contrary to what Matisse to Matisse desire to keep himself fresh by not rehearsing to cover what this could imply the the paintings of the law was not a la prima. He could correct himself and he took great advantage of that. But how did he negotiate the passage from the vertical pain of the war to the four and what about the bamboo stick where it would no longer be of any help panel on the floor but Matisse found a substitute a long brush corresponding to the distance he could maintain between himself and the film of the description he was painting either while standing or seated as we photograph showing when painting the small medallion to be placed on the wall outside the chapel. I could do the toast kaya again we thought about installing a plank slightly above the tile he could work on it he had a brush with a long handle but one meter long the testimony of sister Marie Jacques Jacques Marie who initiated the whole adventure of the chapel differs on one point she reintroduced the bamboo stick which I see mistakenly but I still like to give her the last word the ceramic tiles were spread on the floor on the large studio Matisse looks at them seated in an armchair at the top of the scaffolding then he comes down armed with a long stiff bamboo stick with a big brush attached to its end dipped in liquid black enamel he draws directly on the ceramic climbs back up to look at the result once more more or less, sorry comes back up to look at the result more or less fontally and that multiple times to Saint Dominique, the Virgin and the Station of the Cross mural were all painted that way freehand when one looks at the pining of crates on top of each other one wonders how this anti-capt old man more than 80 years old could climb and come down from the scaffolding and without weakening, without shaking, draw and redraw this large composition that are today in the chapel thank you would you mind taking a couple of questions please we'll see because there is a little film that was discovered in which I hope we'll be able to see tomorrow, very tiny film of like one minute in which you see he's drawing the last version the Paris one I think it's the Paris one he's drawing actually on the colour paper you can see he trace him with his bamboo stick just like that and there's several photos where there are series of photos not so much for the Station of the Cross but for the Virgin like ten photos in Europe so it's to stage you would have been really more complicated you would have to go and draw, go back from the ladder I don't think so it's staged but it's never less the way it worked that I'm convinced it's okay stun silence with that then I'll thank you