A Last Holiday Greeting for 2016

It is the last day of 2016 here in Sedona, AZ. and I am still in the holiday spirit. So here is another sample of my Calligraphy in a 4 by 5" card. My message  includes "to  you and those you love". 
Isn't all this gift giving and card sending simply a way to reach out and tell someone you care? It is for me. As I decorate each card, or pick out a gift,  it is my way to make a connection. We don't seem to have so many " personal touches" these days. Calligraphy had its resurgence in the late 19th century because people were tired of living in " the machine age". I think I know that feeling.
 People seem to enjoy the fact that each and every card is hand water colored , right down to the little red berries. I wrote out the original in black ink, then had it printed on card stock. After that, I go back with my brushes and palette, and add the festive touches in color. Since I use water based paint, I had to make the lettering impervious to moisture. This is my technique on all my cards of this size. I have other messages, but this works for today. 
So how to keep our happy outlook? All I know is how I feel right now.
 

The Art of the Christmas Tree

Here I am in front of one the tallest Christmas trees I have seen. Where else would I be except  in Las Vegas, capital of " over the top" in everything?
I do love all the decorations I see here at this time of year. I make ceramic ornaments myself, and enjoy these holiday traditions.
Christmas comes around the time of  the winter solstice,  December 21, marking the  longest night and shortest day of the year. The Romans would celebrate with a feast called Saturnalia, in honor of Saturn, the sun god, and decorated with evergreen boughs. Other ancient cultures saw this greenery as symbols of everlasting life and also used them around this feast time. 
Germany started the Christmas tree tradition as we know it back in the 16th century. Belief has it that Martin Luther first added lighted candles to the tree, inspired by the stars. What really made the difference was  in 1846, when a sketch of the English Queen Victoria, with  her German prince and their family,  around a decorated tree was then published.  What was done at court became the fashion everywhere. It  soon crossed over to America. Nice of my namesake to start such a lovely tradition!

Calligraphy for the Holidays

Here it is that time of year again and I am in Sedona,  making my holiday cards, by hand, in calligraphy , with a watercolor background.  
It is a labor of love, but none the less, it is work. 
I exchange cards with fellow calligraphers, so naturally, everyone wants to put out a little more  effort to create something unique.
I don't know what my exact inspiration was. I have this blue ink and I love to do watercolor washes, so I thought, why not try to combine these two?  I knew I wanted to overlap some of the letters, to make the viewer really look for the message. There is a quality with water and paint which we cannot control. Thus I could abstract the whole image. Therein is some  magic.
What is  one word that best describes our feelings at this time of year? I picked Rejoice. I do love the holidays. No matter what your religion, there is a reason to celebrate at this time. 
Using a whole sheet of card stock, for which I had matching envelopes, I folded it in half, and then cut to size. It is an approximate five by seven inch" canvas". I decided to cut a scalloped edge, to make it a little more festive. ( They make scissors for this!) 
Since each card is made by hand, no two are alike. However, the vision is similar. Then when you open the card inside you see, another side of my calligraphy... 

Another View of Horses

I did a new Horse platter in my last firing. Measuring about ten inches by twelve inches, I usually display them on the wall, but it sits on the table as well.
I use low fire glazes to get these bright colors, so it is not quite as strong as my other, high fired dishes. While you probably don't want to
 to put this in the oven,  it is food safe as well as highly decorative.  Wouldn't it be fun to have your appetizers served on  galloping equine? O.K. a bit of fantasy there.
I have ridden here in Sedona, and other parts of Arizona, although not lately . So I like the horse, as an animal and an artistic study. Choosing the bright turquoise blue as the background color sets off the black and the  pinto, with its two toned coat. It is a lot of extra work to make these tiny color variations, but it always makes me smile, so why not? 
Doing a little research, I found out the horse is a member of the genus Equus. Did you know they existed in North America over 3 million years ago? Then they became extinct, and we had to wait for the Spaniards, such as Cortes, to leave a few behind in the 1500s.Today there are over nine million horses in America. As well as my two.... 

The Artful Stingray

Here I am smiling before I went into the Pacific Ocean in Solana Beach, CA. There I got stung by the fish you do not want to encounter.Then I didn't smile so much.
It was  the  stingray, which is a cartilaginous fish that uses sensors to get signals from its prey. Then it strikes! I was in his turf, therefore its perceived enemy. Related to the shark, it hides in the sand, below the surf.150 million years on this earth, this creature has a good " art of survival". It is almost impossible to see, until the barb enters your body, in my case, the foot. 
Clever bit of artful camouflage, this ancient creature. It has some more hidden attributes for survival. The barb is covered in spines, and venom secreting cells that release upon contact.We have heard about the famous adventurer that died  when his heart was pierced. 
The problem is to get all the venom out. The pain is excructiating . When I went to the lifeguard station they had me put my foot is very hot water for two hours. Felt better for a while.Still after a week, it is in pain again, and I am trying natural methods to pull out the toxins along with  20th century antibiotics.
 So I guess this is one piece of art I hope to never see again, and that all of you catch them at the aquarium only!

Chief Joseph's Words in Calligraphy

Here is a recent calligraphy piece I created with the words of  Chief Joseph,the Nez Perce leader who died in September of 1903. In his time, he was as well known as  current political leaders of today. Politics and art, nothing new, only our interpretation.
 I chose to write out these words in the Italic alphabet, using sepia brown ink, to convey a sense of timeliness.  I carved a grass design stamp, and applied green watercolor to  bottom edge to bring in the outdoors, and embellish the border.  As I often do with my Native quotes, I used feathers to decorate and lend a certain feeling and attention to the history of these words.
 I chose this quote because it still seems so relevant to us all, over 100 years later. " All men are brothers. The earth is the mother of all people, and all people should have equal rights upon it..." . In 1873, Chief Joseph  negotiated with the government to stay on his historic and beloved Wallowa reservation northeastern Oregon. In 1877 the US reversed its policy and gave the tribe 30 days to relocate. Chief Joseph led his people on  a 1,170 mile fighting retreat,  trying to reach political asylum in Canada. Pursued by General Howard, the coverage by the newspapers led to wide recognition. He was caught; surrendered, and sent to the Colville Reservation, away from the rest of the tribe. There he  continued to speak  out eloquently against the injustices he saw.
 In 1903 he visited Seattle. Meeting  Edward Curtis, the photographer, led to the images of him that we have today. He also visited President Theodore Roosevelt. Always, he asked for the return of his lands.
I am drawn to the words of this man: their poetry; the relevance to the world today. I want my calligraphy to have meaning, as well as beauty.

The Art in NVC

Art comes in many forms. Communication is definitely something to which we all relate. Here I am with NVC facilitator Sylvia Haskvitz, who came to Sedona this past weekend, leading  some of us on a journey of  self discovery.
"Non Violent Communication, A Language of Compassion"  is the definative book written  by  its founder, the late Marshall Rosenberg, PHD. I met him when he came to Sedona,for several times. My book inscribed by him is dated 1998. Where has the time gone?
 The intention of this process is to be able to make a connection with another, while getting both of your needs met. There is a process to do this, four main steps: observation of the event; identifying the feelings this raises in you,and the needs is behind these emotions. Lastly, make a doable request. Not all new thoughts, but he put them all together in a way that works, if we stick with our intention.
 Marshall picked the giraffe,the land animal with the largest heart, as the symbol for this language. The other symbol is the jackal, simply a "giraffe with language problems". He was a funny, very charismatic leader. He  recently  passed away. There is always something new to realize, that is why it is called the " practice" of NVC.

Someone once said to me that I was being paid to practice my art.There is truth in that.  I start out with a lump of clay, or pen and ink, and slowly create something that pleases me. Lots of years of working on my techniques. 
 Communication is an art form that I am always trying to improve. I have personally seen this NVC art form work for me with people I care about.I see it as a dance.
 I hope this creates an interest in you and a desire to learn more. Since you are reading me on the internet, this is all out there too. Then you try with real live people.

My Adventure with Mono Print

Here is my first experience making a mono print.  
The initial step is spreading colored inks  onto  a mylar surface, using a hand roller. This is Akua ink, with a soybean base, which comes in many colors. I chose my favorite dark red, purple palate. Since I was at a print maker's studio, there were lots of stencils and objects to use as texture. I chose this nautilus stencil, and added some string for further random effects.The final paper is put over this surface; covered with protective paper, then felt, and set on the press surface. 
 Next the press is turned on, and  the weight of the wheel presses down into the paper as it rolls along. It was a 1950's Dickerson Combination Press  which worked great, et voila, this  finished  page.
I used print paper for this, after soaking it  beforehand. However for this final page, I took rice paper , and got a second," ghost" print of the same image.Two views of the same process.
 It was a great experience. While I have no immediate plans for this paper, I am sure it will be used in a future piece of calligraphy,  or maybe a hand made book. Create now  so the inspiration is before us!

An Outdoor Mural

Here is my latest creation: an outdoor mural on my garden wall.A total first for me and a  different approach. What you are looking at are images of the plants and leaves left  on the original wall color. The green painted  around them forms the designs. Rather than painting on, I am   outlining the lightly sketched pencil drawing. I guess it could be called a negative image. 
My inspiration was this great Mexican screen to the right, gifted by my Aunt who has disappeared into Mexico forever. Peeling from the weather, I had to repaint it as close to what I perceived its original palette. All these walls around it are beige, of which I am not a fan, and it certainly did not show off my beloved metalwork. So what was the solution? Paint, and while I am at it, why not add decoration and whimsy to this little space?
There were difficulties in this creation.
Deciding on background color, and choosing the right shade of green, which took seven samples. Then I was reminded to use outdoor paint, so no,  those samples will not work At All, since they are interior. The hot muggy days here in Sedona made it a  challenge as well. 
Painting on rough stucco amounted to pushing the paint into the crevices, and even sponging as well. I know why artists use airbrush, but I did not when I started.  This uses a lot of paint.  As I saw the gallon disappearing I added the cacti on the bottom. Necessity as a force of creation.
I now  look into my garden and it makes me smile. I have another idea for the next wall...
 

The "Business" of Art

My personal goal always was to " make my living" as a working artist. Well, I guess I am there.  I list that as my profession, and give the  government their share of all profits.
Art is a passion; a path; really a need inside of me, wanting to come out in a tangible form. However, every day I am reminded that it is also a business.
For example: I just spent a large  amount of time  to figure out the EZ form that the state came up with to pay sales taxes. How to undo pushing just one button in an incorrect way? I like it when I get a human to help, but that can be a lot of time on hold. We all know about waiting for the " next available person" on the telephone.
Recently there was a complicated  shipping  dilemma.  Add an upset client into the mix  and it becomes a total lesson in patience and sanity. Rarely is one paid for all this time to sort out these basic functions. Yet we must smile, and do our best to keep the customer happy.
Now that is my goal also. Without a patron, my ceramics will  sit on the shelf, or my calligraphy hang on the wall, forever. So there is both the  fiscal and the human need to keep things flowing smoothly.
 If we are in galleries there are shows to enter, time spent promoting ourselves and our work. Often, we must pay to be rejected. Heck, you can go out into society and get that for free, but not in the art world. 
It  catches me by surprise, and some sorrow,  how all artists must borrow  time to go into the studio and create. I guess I wish that image of the artist as the " free spirit" were more truly available.I know I chose this path, but it sure gets steep and rocky sometimes
 I invite other artists to  comment on their feelings about the "Biz" side of art

The Red , the White and the Blue

Here is my appropriate 4th of July  ceramic platter. Entitled " The Red, the White and the Blue", it is currently showing at the Jerome Artists' Cooperative in Jerome, AZ. 
I like to abstract the familiar. I have created in this theme before, with each piece still totally a one of a kind.The American flag, with all its significant colors, yet interpreted in my own  particular style. I like our flag, with its bold colors and symbolism. An artist can be inspired. 
Rather large in size, almost 15" across, it has a foot to stand on, but it usually hung on the wall. To get these bright colors I use four coats of lower temperature glaze; fire in my kiln for durability, and then finish it off with a primitive fire to create that crackle look.I like the juxtaposition of the modern colors with the older patina, like the image I am portraying.  
So, on the evening before  the 4th of July, I choose this art  to send out to all of us, everywhere. 












 

Artists Can Always Keep Working

Here I am with legendary blues musician John Mayall.  He was performing at the Orpheum Theatre, in Flagstaff, AZ. last Saturday night, and I was there! 
I think this picture is fuzzy because I am grinning so hard. I had just bought his latest CD, " Find a way to Care". He was nice about a photo shoot. I love the blues and had listened to this man and his various band incarnations since the 1960s. Mayall played with all the best musicians back then, and still does, including his present band.
 What is so fine is that his voice is still strong; his fingers very nimble, and he does a mean mouth organ. The guy is 82 years young and still making his art and taking it on the road.
So that got me thinking. We artists really have job security, if we want it. All that experience in learning our craft, is there any  reason to ever stop creating? There is always a chance to do a little better on the next piece; another show to enter out on the horizon. Maybe we are not only getting older, but better.There's a hopeful thought. 

Sounds of Ceramic Windchimes

I have been making porcelain wind chimes again. For me, it is a kinetic art form, as well as one of the first musical instruments.  Thin, texured pieces of porcelain are rolled and cut out, fired once, and then again at a very high temperature with the color added.
 Here I added small, turquoise creatures and beads for a specific client's order. I chose the earth tones of iron oxide. However I have used cobalt blue, and am working on   a green hued chime at present. 
I included a picture of me holding them outside in the sunlight.  I use fishing line so there is the appearance of all the pieces floating in the breeze. I love the sound that the clay creates as the wind makes them dance.
Historically,  wind chimes have been found in Africa, dating back to  3,000 BC. Early models were made from natural found objects,  such  as bone, shell, or bamboo. later The Chinese passed them onto the Japanese, and then to the western world in the 1800's. 
There is something very soothing and meditative, hearing the sounds of the small pieces of porcelain ring against each other. I guess it is a sound of summer, which has finally arrived here in Sedona.

Abstract Celebration

Here is my latest ceramic creation entitled " Abstract Celebration", a wall triptych that is currently hanging in Jerome, Arizona. Rather a large piece,it covers over four feet in length and about 13 inches across.  Adorned with seed beads, there is  some  sparkle to my black, gray, purple and red palette. 
 It is a celebration, for a show by that name at the Jerome Artists' Cooperative, where I am a member. This gallery is a true coop, owned and manned by the artists.This exhibition offered  a chance  to do something  quite different for us all.
I like to work big, but kiln shelves have their limits. I knew I wanted a rather defined, abstract feel to this piece, since this has been a recurring theme in my ceramics  over the past few years.  
 Using low fire glazes gave me this ability , and I mixed the black and the white for this gray tone. It was a pleasant surprise, even for  me. Making it took weeks. Thin, large creations need to dry slowly; uncovering  a bit more every few days. They must be handled carefully.  Even finding the work space was a challenge in my studio. I wanted a feeling of motion, so the raised ribbons of color add the kinetic feeling I was after.
The true celebration comes when the kiln is opened and the creation is close to what  I envisioned. With ceramics, there is often the element of surprise, even for the artist!

San Francisco Is the Art

Here I am at the Embarcadero in San Francisco, city of bridges. This was the last stop on my California voyage.There is also a wonderful Claus Oldenburg sculpture of a bow and arrow, quite large of course,  down from where I am sitting.  From the ferry building to Fisherman's Wharf is this promenade along the bay. You may walk , or take a trolley. You soon learn  it is always necessary to have exact change for all public transportation.
I found  this to be a city which contains so many elements of art and design right  in the public view. There are the buildings themselves: new and hard edged; full of curlicues and ornament, which their colors accentuate; influences of the Chinese culture, everywhere evident. Then there are the old warehouses,with their dirty glass windows and massive size against the sky.
We visited an artist friend in the Mission district, who has his studio in the old Hellman factory. He was one of a  group of artists who bought this building years ago, and pay a reasonable maintenance rent. It is an entire building filled with such creative efforts. This was a real joy and inspiration for me.
 I have been visiting this city since the 1960's. I miss the element of low rent and slight decay that used to reside in certain areas.  I can't imagine it is possible to find reasonable  space to live and work there today. The technology boom has made this an even more desirable place to live, and it felt like New York  prices for everything we ate or did. There is a price to pay to live in a city which is the art. 

A Walk in the Sculpture Garden

 Here I am tucked behind Rodin's sculpture " L'homme qui Marche," in a place I once held dear. This is the Franklin Murphy Sculpture Garden at my alma mater, UCLA. On a recent  trip to California, I wanted to show friends  the site where I used to hang out.
This garden, started in 1967, is named after the  university chancellor of that time, which was when I transferred to this school.  My diploma hangs on my wall, signed by the then governor, Ronald Reagan. Covering five acres of grass and trees, there are more than 70 sculptures by  world known  artists. I had never been able to lay my hands on a Henry Moore before then. The library, art, and history buildings were all up in that area.This was  where I spent a lot of my time.
There is still an outdoor eating terrace, with tables and chairs to while away endless hours. Called the Gypsy Wagon when I went to school, formerly  there were trailers that served the junk food, the coffee, we all needed to be better students. Plus it was a fun place to practice Flirting 101.The tables are still there, but today the food is in vending machines.How can you get your french fires from a vending machine? 
You could take your food up to the gardens and lie on the grass, or sit on the low cement  walls. The design of the garden is a piece of work unto itself.
  I remember a sense of awe and excitement to see  in person what I had only viewed previously in my art books. Even today, it is a respite of peace in a busy place. It is on campus, but open to the public. A worthwhile visit.

Porcelain Buttons

Cobalt blue, porcelain buttons. Who knew what this ceramic artist could come up with to fill my kiln?
 I am a bead maker.These are transformed  into jewelry. It wasn't a far step to see my rolled out textured slab cut into different round shapes. These were created to sell at the Jerome Artists' Cooperative, where I show my ceramics.
Buttons have been around as long as clothing. Since prehistory, people have made them from stone, shell, horn, and yes, ceramics.From the crusades, the art of buttons were imported from the near east. Mostly it was the men who used them, to fasten their sleeves, their jackets.By the mid 1800s , the industrial revolution made them available to the masses. Queen Victoria always had her jet black buttons.
There has always been a market for the original, hand made style of this fastener. They work well on knit fabrics, shawls and sweaters,and serve  to individualize clothing. Mine fall into this category. No matter how I would like to standardize, each shape I create is hand carved, hence original. Each texture is similar, but how the stains apply has a  personality.
 I use three colors made from oxides: a cobalt blue;brown from iron oxide, and a soft green, from chrome. These are high fired and will stay on forever. I have done my product testing, and use them in the washing machine without breakage. The rough and tumble of the dryer is against my written  advice.
I mount my buttons on a hand lettered display cards. They are little pieces of art, in case it takes you a while to  get around to sewing!

Raven Platter

I have seen the Ravens flying in the sky  above Sedona this spring. Here,  I guess they are hanging around on my sky blue platter that recently came out of the kiln.
The Common raven, Corvus corax, are  large birds, some  24 inches in length.Young birds may travel in flocks, but later mate for life. It is no accident I chose to draw this twosome. Intelligent birds, they have long been a part of folklore in many countries. I remember seeing ravens on the top of many totem poles in Alaska, held in high regard by native tribes. They have shiny black feathers, with a wedge shaped long tail and bill.
 Creating an exact replica is challenging with clay. I must first carve the silhouettes, before adding the glaze. Four coats of "painting within the lines"...  difficult. I chose the pale blue background to evoke the natural background in which we see these creatures. However it is not uncommon to see them resting on a branch, and this is my representation here. 
As with all my " critter pots" I am hoping  to evoke   feelings, and connection to these creatures, as they perch on my  ceramic platter. 

When is a Bowl More than a Bowl?

Here I am inspired by flowers, once again. Spring is in the air and I love having blooms inside  as well as out . In my last blog , I shared how I made petals out of clay,  as a decorative touch on my porcelain bowl.
I had these beautiful orchid stems, plus a few other flowers I wanted to display. What to put them in?
I had an idea to make sort of an oriental arrangement, so that each individual bloom would be visible. To me this meant something rather low. 
 I know of the ancient form of flower arranging called Ikebana, which  I  used  as inspiration. They include: embracing the asymmetrical form; use of empty space as part of the composition; and harmony among the materials, container, and setting.  
I was perplexed on which container to use. 
As I looked around, I spied  this luscious, purple  bowl I had thrown. The color was perfect to reflect the orchids. I chose three pieces of  quartz from my garden to hold things in place, and bring balance. Often I use it for eating  my salad,  but doesn't  function  follow whatever form we choose?
So there was my answer. My bowl was more than just a bowl.

The Ceramic Flowers of Spring

I like the whimsy of  flowers, so I add them to my ceramics. This is my handmade bowl that I decorated with three, distinct ceramic  blooms. Odd numbers seem more pleasing to my eye.  Not only are there individually created petals, but in the center the  tiny  stamens are visible.That makes me smile.
It is a larger vessel, measuring twelve inches in width, and about two inches high. I try to make it as thin in weight as I can. No modern machinery for this artist. Every slab of porcelain is hand rolled with my old fashioned rolling pin, and then shaped in a form. I admire the look of the low and lean container. It can rest  on a table, or be  displayed in a stand to admire. Like all my high fired bowls, it is totally lead free and food safe.
People refer to this as a " white" bowl,  which  it is. The fun aspect relates to the fact that  you are actually looking at the color of the clay itself: white, high fired porcelain with a clear glaze over, making  it permanent and functional. On the outside is the iron oxide stain which shows on the flowers. I see this color every day on the red rocks of Sedona, where I live, and create. This is truly a bowl of nature.  

Sedona Artist: The Art of Doing Not Much

Sedona Artist: The Art of Doing Not Much: What a nice image. To do nothing. A white porcelain wall plaque,  with cobalt blue lettering, hanging right before you to amuse and inspir...

The Art of Doing Not Much

What a nice image. To do nothing. A white porcelain wall plaque,  with cobalt blue lettering, hanging right before you to amuse and inspire. 
The Spanish saying so makes me smile, that I put it into a  permanent, high fired ceramic art form. This style  of calligraphy is called " Brush lettering" , done with a rather small brush, held at an angle. Harder to write on clay than on paper, with its irregularities.
As of these past few weeks, I have been required to live this lifestyle. It is called " healing". I had a bit of surgery and the prescription is as follows: Do nothing; rest a lot; ice and elevate;  rest a lot.
 It makes me aware  that doing nothing is the most fun when the time and place is of your own choosing. Having to do not much of anything when it is necessity rather than choice, now there is the real test of this art form.
It is something to think about. Everything is a real joy when we choose it. Having to do something, even when it is nothing, well there is the challenge.

Teaching a New Book

Here I am with my sample book from the recent workshop I facilitated here in Sedona. I am sharing  a method of creating a book  composed of  single sheets of paper. The  sewing technique has an exposed Coptic stitch binding when completed. To those who have never made a book, this may  sound rather esoteric. Simply put, you sew each page to the one before it, then every two pages you loop together. This shows as a nice braided, Coptic, stitch on the spine. A thicker bookbinding or embroidery thread is used. Of course it is never Quite that simple. You  must be very careful not to rip your pages as you tighten them. I chose to make a paper cover, of a heavier stock than the pages. Covered mat board will also work, and can be more durable.
Since I had no words in this book, I wanted to add  embellishments, such as this pocket on the corner. I like books where you tuck in a little something. For paper, here is the same pattern that is on the cover, where I added a few gold metallic pipe cleaners  that came out of my wrapping box. You just never know what you need until you find it!
I think the most fun is to see how you give six individuals the same assignment, and the creations that arise are completely different and intriguing. It is always a  lesson  for me when I  teach.

Viewing the Eddie Basha Collection

Here I am in front of a sculpture by Sedona artist Susan Kliewar, at the Zelma Basha Salmeri Gallery in Chandler, AZ.
For those of us from Arizona, we recognize the name Basha from the grocery stores around the state, including the one in my home town of Sedona, AZ.
Eddie Basha began collecting art as a hobby during the 1970's under the guidance of his Aunt Zelma, hence the gallery name. He focused on western and American Indian Art.  Truly, I have never seen so many Joe Beeler bronze sculptures; paintings and cartoons  in one location.
Beeler was a founding  member of the "Cowboy Artists of America" , well represented in this collection.  This group started here in Sedona,while  in the Oak Creek Tavern. Now an upscale restaurant, it was the local bar with tacky red vinyl booths and a stuffed poler bear in the corner.  I remember it well. Ah those were the days. Living in Sedona  for thirty years, I am, and have been acquainted, with both Susan and Joe.
The Basha Collection is housed at the corporate headquarters, which has been there since the 1930's. Walls of covered adobe give the  collection an historical setting. Small rooms; hallways, and nooks, are painted vibrant colors to better show off the paintings; sculptures; baskets, and ceramics. The Gallery Director, who I had previously met, was kind enough to give us some more insight into the man who created this gallery, and the fun he had collecting. 
Admission is free, and it is open most days from 9 to 4 pm.