Art Yap

Shawna Vesco Ahern: [00:00:00] This is an art. Yap. It is an art. Yap. We're talking art. Yap. Ity y
artfully. Artfully, artfully, artfully. Yap. Yap. Yap. It's.
Shawna Vesco Ahern: Living in a world of pure imagination. I'm Shauna Vesco Ahern, and this is Art Yap. The podcast where I gab with Bay Area creatives about imagination, arts, culture, and everything in between.
In today's episode, I sit down with LE Bohemian Muse and her beautiful Sunlit SF Studio in the Mission. LE is first generation Ghanaian Bay area, [00:01:00] and I just love talking art and life with her. She's a philosophical soul who's a multifaceted storyteller at heart, a creative force. By nature LE has no trouble blending her art practice with a streamlined business strategy.
Hopefully you are just as excited as I was to hear about her business. Muse Reverie Atelier, which provides one-on-one coaching, uplifting blog posts and curated collaborative art experiences blending food, art, and community. Here we go.
This is LE Bohemian Muse or just LE. one of the reasons there's many, but one of the reasons I want you on this today. Because you are a storyteller. Oh, just in the biggest, widest, tallest thickest sense of the word. obviously behind you, we have your visual art. Which is sort of how we connected on Instagram.
Yeah. Um, but you also do writing, you also kind of do videos and storytelling on YouTube, and you [00:02:00] do full on performing, acting, that kind of stuff. You're a at least quadruple threat at this point that I can tell. Oh, singing too. There's music in there. This is too many. Oh, this. Stop. the show is gonna open with this question.
Okay. Which is, tell me everything about getting bitten by the creative bug. Mm. yes. How young were you and what were your earliest obsessions? Um, gosh. Well first of all, thank you for having me on. Art Yap Really appreciate that. Um, if I could think about my first creative height, one of the first stories that comes to me is.
When I was in about first grade, my first grade teacher had a thing where we'd write a story. Mm-hmm. Right. And then she would take our stories and then rewrite them so they're a little bit more easier to read. And then told us to illustrate, she would make the books and we would illustrate them.
That is cute. I love them so much that I would continue writing [00:03:00] stories. And I would continue going back and. Asking the teacher if she could make me more books, and then I'd bring them to my mom, and I remember my mom being like, oh, this is really nice. Oh, this is, I wish we had them to this day.
But that was something, if I ever think of loving to have something that was tangible. Mm-hmm. That was something I made. Mm-hmm. That is. Very impressionable on me was that my, my Mrs. Dupris, my fourth grade teacher. Teachers are important. Art education is important. And I thought that was a beautiful way to encourage kids to not only to story tell, but like we're illustrating.
Yeah. And we're getting used to like, I think we at some point maybe even read them in the class, but I don't remember that part. I just remember. Really transfixed on, I can write something and I can make something visual from it. That's so elegant for a first grader to try and like wrap their mind around like these blending of semiotic worlds where you're like telling the story, you're creating it in language, but then you're making visuals [00:04:00] along with it.
Yes. Like merging those parts of your brain at that age is like, yes. So powerful. I loved it and I think it's like that was what probably started, I always joked about my different. As you mentioned, the storytelling facets writing to me, I would always say is the oldest, and so writing then turned to, you know, performing because I was sort of like a, I guess a theatrical child as, and then we had to externalize your writing, connect to other people.
Yeah, like I liked watching. We would watch old Hollywood films and things like that, and so I would. I had siblings, so we would make up stories. I once put 'em in makeup. We once did a court show back when you had video cams, like, uh, if anybody remembers video cam corders, uh, pre YouTube. This is what we were doing.
Exactly. We were doing that. And I remember like being in my twenties, I would like direct my siblings. There's even a cute one where. My, uh, second sister, she, [00:05:00] we, we put some sort of scarf or something to make it look like hair and something for her to look like a, a judge. Nice and gavel. Yeah, gavel. I was like, ij.
Go say order in the court. You hear me in the background. She's like, order in the court. It's like, look at the camera. Cute. I was like, good, good, good. Cut over sister. My other sister like you see what happens. Like she. They would actually get into it and I would just film and do this like recording. 'cause I just, I don't know.
We love, so this was normal, this was your ordinary everyday life. Yeah. With your family. Yes. Me. Um, being super Hollywood glam, being theatrical, pretending to be other people, inhabiting different roles. Yes. Um, that's so wild. When did it kind of shift for you from this child play into like, oh, this might actually be my career, this might be how I'm entering capitalism?
Mm. You know what, it's kind of interesting. I think, gosh, you know, [00:06:00] it's like, you know how sometimes as a kid you know when you, what you're gonna be when you grow up, right? And at first, for me, it was the theatricality. It was the actress I knew I was gonna do. Like writing and stuff. And painting was always done, but I was a theater baby, so my first instinct was I'm gonna do theater and then I'm gonna do some film, and then I'll publish some books and then later on, so actually the, the visual painting side kind of took an interesting, um, turn to when it emerged.
So back in like the two thousands, um. When I was trying to figure out what direction I wanted to go Artwise, like how was I doing it? I remember when I produced my first art show, I did it at a friend's house. I created postcards. I passed stuff out. I had little food for be, this wasn't for, and I hadn't even been told like, this is what you're supposed to do to your first art show.
I just knew like This was your vision. Yeah, yeah. So I'm like, we're going to put this together, and friend was like, you can host it at my house. And then invited people. I had little price points there, five [00:07:00] bucks, this thing, whatever. This was like my early twenties. Friends came, a couple people bought some stuff.
I, I saw a question was what someone asked, like, what was the first time you sold something? And I first was thinking my first, my first official art show, but then I completely forgot the one, one I did on my own. Yeah. That I sold a couple of like prints of photography. Mm-hmm. And that had some of my photography and my paintings.
And then I remember thinking like, yeah, I can do this as a career. But I, I'm, so I didn't know how to label it. Mm-hmm. I didn't know how to brand it, so to speak. Um, about like, how do I do multi stories? How do I tell myself as multi stories? 'cause it seems like if I pick a visual or if I come from theater, people want me to.
Choose one or the other. I think what's so interesting about you too is the painting and the writing can be kind of like solitary activities that you kind of go inward and you do that on your own, but then you're drawn back out again and you're saying, I made this event. I made this like community gathering for my art show.
And like performing is of course in the community in a [00:08:00] group. Yes. And so you have all these things where sometimes you're kind of internal and solitary, and these other times you're kind of more externalizing your art. Yes. Like the play between that is very interesting. Well, it's kind of nice and playful because I realized, like when I remixed myself to come out as LE BohemanianMuse, it was a thought process because I had been working with a nonprofit that was specializing in teaching artists the business of art, and sitting there for four years and watching them have this tenway course over and over and over again.
It gave me this education of. Like, okay, how is another creative way I can do this where I can, you know, weave and blend, intertwine all this stuff together, but reintroduce it as like this is it. Mm-hmm. And many times I say, if I'm LE I'm, um. That's almost like a performative part of me. You know what I mean?
Because like, as, as LE BohemianMuse, that's the person that's external. That's the person that's talking to everyone. That is, you know, that brings out, she has a specific walk. Yeah. Her voice kind of has this, she used a different vocabulary. Yes, exactly. It [00:09:00] became a thing, like this was the, this is how we introduce ourselves as multiple things.
And so that was when I started. Shaping it better to like, this is what we're curating. This is the package of how I'm emerging. Mm-hmm. And these are the specific storytelling. Um, avenues that I'm going to go with, which is funny 'cause it's the experience of you actually like inhabiting this character or facet of your own personality.
And then it's also like you're saying kind of the brand as well. Mm-hmm. The marketing of it as sort of two things. Mm-hmm. When I was sitting down to talk to you today and I was thinking about you, I was just kind of doing like a little exercise to get going and I was writing adjectives that come to mind when I think about you and your art practice.
And it was funny because, and I don't normally share this, but um. I said like whimsical, poetic, and I said fanciful. Even though I think that's like a negative word to some people, I think fanciful is like fanciful. Yeah. Like you're fanciful. Like I love that. That's okay. Um, 'cause you're like detached from reality in a way, often your own whimsical, magical world.
Mm-hmm. But then the [00:10:00] other words I wrote about you, but practical and disciplined. And so it's like these words that do not go together at all. And I think it comes because of this, like the way you handle your art business. Mm-hmm. And so I guess another question I had for you. Was, in what ways do you view kind of your content creation, your Instagram, your videos, your reels, all that as an extension of your art practice or sort of at odds with it?
'cause I've talked with other artists and they say. Um, they get so tired. They get tired of content. They get tired of feeling like they have to do this extra thing on top of what they're already doing. Mm-hmm. But for a lot of your stuff, I don't know how much you feel that, 'cause it feels like another avenue for you to explore LE mm-hmm.
Or to explore some of this other Yeah. Creativity. Yeah. I, I go back and forth with it. Mm-hmm. I'm gonna be very real. I'm, I go back and forth with it. It's, it's understandable because it's a, it is, it can be a very creative tool to express more art, right? Art makes more art. Um, but I [00:11:00] think the, you could get very mental mm-hmm.
With it too much. And you can get caught up with the superficial parts of it in a sense of like. Is this the right video to gain followers? Mm-hmm. Am I gonna get as many followers? 'cause then they can see my art. Reading, the analytics, the thing you posted that you liked and it didn't get whatever views or shares.
Yes. If you're not getting, you know enough, it's only 2000 fights or 1000, only 500 people saw algorithm. like it's some nonsense. And so it could get tiring. And then you realize, oh, there has to be consistency. Mm-hmm. Right. Because if I, I study other people, other content creators you said, for years before I started doing mine.
Mm-hmm. I would just observe how they were doing YouTubes, 'cause I was on YouTube first. Mm-hmm. And then. I realized I had a, a hybrid break from doing YouTube the first time and then I returned to it during COVID. 'cause I had a little bit more time as I was doing full-time art. And I got into it, I was like, and this is this week's and this is this week's.
And then I realized I haven't posted the video since 2021. 'cause I got burnt [00:12:00] out fast. Yeah. Um, because it's like I'm not just making the artwork, I'm now shooting the videos, I'm doing the shots, I'm editing, I'm doing all that. And then. And I was just completely burnt out. So it has to been like a reframing.
Mm-hmm. That has to happen where you have to connect it to some sort of joy, right? Like it has to be a bit of joyful, it has to feel creative. And then you have to feel within the purpose of what you're doing as an artist, that when you're doing the content creation, it doesn't have to feel like this extra burden thing.
See, it's funny that you're kind of talking about this like in waves. That you're engaging with it more rigorously. Mm-hmm. Because I feel like it's coming back now with your, um, MRA Yeah. MuseReverie. Atelier. Mm-hmm. Um, so if you want to talk about that, because I feel like there's this new excitement and energy on this website you're building for this.
Um, I don't know what you want call, it's a company. It's a hub. It's a, so it's kind of funny 'cause it's my, my creative baby, my dream business baby. It's an idea [00:13:00] I have for. Geez, almost a decade. Mm-hmm. That's finally gotten into fruition, and it's always meant to be, or Muse Reverie Atelier, that's what we're talking about, um, is kind of meant to be an extension of my personal artist business.
So it's, it's hit in three ways where we're hitting micro and we're hitting community, and then we're hearing macro by, you know, extending blogs and so and so forth. Mm-hmm. And so it is, I call it like a creative company. That's the best way to kind of describe it. Um, because it's meant to provide the resources of encouraging other people to be creative, not just artists themselves.
So, yeah. 'cause there's one-on-one coaching. Mm-hmm. But then there's also like community events. I saw you have some sort of fine art dinners coming. Yeah, exactly. Which, I don't know if you're ready to talk about that, but I do wanna hear about it. Yeah. So for the art dinners, it's gonna be a series that's kind of quarterly right now.
Mm-hmm. And the idea is to engage, um, there could be artists that are talking, there's. Could be a creative activity that's happening and then we're working with whatever a local chef is in, within the Bay Area. Um, I, my culture is, I'm Ghanaian, [00:14:00] so for, for me, and I feel like in general African cultures or cultures in general, I should say, um, food is an integral part of community.
Mm-hmm. Right? It's where you gather, you talk, you break bread, and you have the best engaging conversations when you do that. And I guess we can do, we do that now, but there's something. Even within storytelling that happens once you sit and have a meal. Mm-hmm. And so part of me loves food, I'm a foodie person, but I love the idea of, of connecting people with food because chefs are their artists in their own rights and they have a story that they tell when they make their work.
Mm-hmm. But then also engaging people who might not feel creative as an opportunity. Like, no, you're not just going to eat. We're also gonna take a time to eat. That's what I was gonna ask you. Are you curating your audience or is it kind of like anyone can come. Is it you're hoping for like a mix of people?
Mix of people is what I want. Yeah. I want everyone to come because I want to touch stones on everyone. You could be creative, you could be a collector. You could be someone that doesn't even think you're creative. I want people who are nervous to be there. That's what I want. So what am I doing here?
You're like, [00:15:00] no, that's right. Here's a paintbrush. No. You know, like I want something like, or if it's a beautiful conversation to talk about topics creatively, you know? Mm-hmm. And so each. Dinner will be themed differently and accordingly. Um, to quarterly. So this, this first one won't give too many hints out yet, but it'll come up soon, um, in June, and I'm calling it Palette and Plate, and I'm going to be the, the artist to kind of kick it off myself.
So I'll be, you know, um, leading our conversations and then having the folks participate in. Not fun, creative activity. It's so cool to mix people who wouldn't necessarily come to something like this. Mm-hmm. Um, just 'cause I think sometimes people don't feel like, oh, well, like I'm not a creative person.
Right. Or we call them, you know, oh, creatives, people who are in the art industry. But everyone's creative. Everyone's creative, like literally everyone's creative and you use it in different ways and you use it in jobs that aren't considered creative. And this might be a really great exercise for people.
To get more in touch with that part of themselves. Mm-hmm. Mm-hmm. And to even [00:16:00] like reframe how they identify when they come out of this. Exactly. Because the whole, the creativity isn't like we've kind of pointed out just this little niche that only belongs to. A group of people. It belongs to everybody.
When you're a child, you are always creative. Just the examples, as I gave, as my teacher giving me notes to do that, every single child in that classroom did that. Mm-hmm. Whether they became artists in the future or not, didn't matter. It means every child had the capacity to tell the story. And I like that.
They weren't self-conscious. You weren't sitting there trying to like preanalyze what you're doing. You were just doing. Just do it. You're just vibing. Exactly. Everyone's gotta get back to just vibing. That's a big part, just. Just vibe, just connect. Don't even worry about it. And we use creativity as, as well as a survival instinct.
Mm-hmm. Something that doesn't work. You think of ways to do that, that is a creative act. Mm-hmm. And so I think if people would start secluding themselves, and again, it's not saying like every gonna be an artist, it's like everyone can be a doctor, but you know, it's just, but there are certain things that we use that are kind of [00:17:00] streamlined.
Mm-hmm. You know, fear, creativity, love, all those things. They all vibe, I feel like, as a streamline into like human existence. Yeah. Oh, okay. Yeah. Just that. Yeah. So you have that in you buddy, just here's, here's some slots, here's some tips. And sometimes you just need the push and the confidence. Yeah. Just to do it.
And with your visual art, we've talked about this before, but it's exactly that. You kind of vibe along your life and you have encounters with people and you feel emotions. And then you transmute that into your visual art. Yeah. So that's what art's always kind of taking those essential, fundamental things that we all experience.
Mm-hmm. And just expressing it in different ways. Yes. And I, and it's one of my favorite things I think about being an artist. Mm-hmm. That sort of mental state that we kind of, we can see things in, in a creation way. Mm-hmm. We could feel things and turn something into. This tangible thing, um, whether it's musical that you feel like tangibility, not just [00:18:00] in terms of like physically, but you can feel something, you know, whether that sounds exhausting though.
Do you go through periods where you're like, I can't produce writing or like, I can't produce painting just like dry spells. You're going to I like to take a creative sabbatical every year. Okay. That's smart. I like to take a creative sabbatical and usually it's within winter. Um, 'cause I think I refuse to create.
Yeah. Well it's, it's, what I do is actually, it's kind of funny. I do an opposite. Thing if I'm not creating, I'm immersing myself. Yeah. In creative acts. Mm-hmm. And that's what, that's my version of creative sabbatical. Mm-hmm. And that would be traveling somewhere where I'm immersing in food and culture.
Like I went to Mexico City Yeah. During this time. Um, and it was for an art fair, hey, still art. But it was beautiful just to emerge and meet people, see the art, taste different foods, awaken the senses. Exactly. Yeah. All the different flavors just to like get really inspired. Mm-hmm. When I come back out. So by time I'm coming out of my creative sabbatical.
I'm ready, I'm juiced, I'm want to make things kind of thing. And [00:19:00] I think you've gotta give yourself a mental break too. 'cause sometimes you'll be in the studio and you don't wanna do anything. This is what I'm saying. When I call you disciplined, like you, you even schedule out the part of you that has to get sleepy.
Yeah. In your artistic way. Yeah. When you come outta your sabbatical, do you have like a practice or a ritual? Or something that gets you going, like, do you do things in the morning? You have to drink green tea? Mm. Like is there something you do before you sit down? Yeah. To do some art? So I know the time slot that I can create.
Yeah. And that's something that I learned kind of early on. I'm a mid-morning person. Mm. So when I specifically though for painting, okay. So I'm like, oh, mid-morning. And I think it's because I need the sunlight, whatever it is, I have a thing. And so my ritual is like I come in. I usually turn a candle on.
That's one of the things I turn a candle on sensory. Mm-hmm. Because I have scented candles to give sensory and magic ritual rituals mix. And then, uh, [00:20:00] music music's usually the first immediate thing that comes on. Mm-hmm. I pick a playlist, I turn the music on all before I get like the water in the glass and so and so forth.
Like that's my whole ritual. And the same thing when I leave. It's like music shuts off, candle blows out. Lights off, bookend, bookend your session. Yeah. Yeah. Pretty much. It's like I'm filling my session, we're done for the day and then, then I come out, you know, so the it that sets the sensories of all types of basic, I'm getting the feeling motions from the music.
But a balance that actually, I was trying to think about is when you mentioned, um, content creation and how that kind of trains, it's funny when I'm trying to be in the painting mode, but you were trying to be outside, shooting outside of it.
I'm, yeah. Yeah, because you wanna be in the state of flow For sure. Making, and so I have come to the point of like, okay, if I'm painting, I'm gonna try to get these shots of me starting the work. Mm-hmm. And then I'm putting the camera away so I can actually dive into it. Yeah. It's so disruptive. Yeah.
Because your flow flow and, wait, let me get the shot of this. Let me get a shot of that and let me do this. Yeah. And it's like how people [00:21:00] joke on TikTok when they make like crying videos. Like, yeah, but you had time to pull out the camera and film yourself crying about whatever. Yeah. Yeah. And I just think that's what's so strange to me about some of the content creation, just that you turn into this objective view of your subjective self.
Yes. Yes. Because you're kind of like, um, am I this, this? And then you get caught up with like, oh, that angle's terrible, or this thing, you know. And because I like, we have a very detailed mind of like, I know what I want to look, or I want how it shot. Mm-hmm. I'm very visual in that way in terms of like filmmaking.
Mm-hmm. That I have to be really particular about what I'm doing and shooting, or I'll leave it on time lapse and just let myself work. That's what I was gonna say. Yeah. Just like leave it out, bird's eye view and whatever happens, happens. Maybe it's usable, maybe it's not. Exactly. Yeah. I've tried to learn to try to let go of certain things so you're not getting too caught up with whatever or plan days that are intentionally just for that as well.
That's so interesting that you said that you came from this environment of like professionalization [00:22:00] for artists. Mm-hmm. And like teaching them how to do stuff. Do you still like, find yourself mentoring other people about this kind of thing? Um, a little bit like some of my peers,
I think it's natural in me to want to help. Mm-hmm. So I'll be like, oh, what do you, well, how about this, da da da. I'm, I'm great about, you know, ideas, ideation is something I'm really great and strategy. Mm-hmm. Really good about creative strategy.
And what I used to love that. Um, when I was first at the journal building mm-hmm.
When I had the community there, it was great because that's exactly what we would do. We'd visit each other's studios. Mm-hmm. Look at the work and it's like we're critiquing each other. And I think honestly, my work rapidly changed everyone who knows from how my work was in LA to when I came back to the Bay Area.
Mm-hmm. How rapidly it changed. And I was like, yeah, it was a big part of it was being amongst the community that you could go and they could like. Have you thought about this or this and it just transformed it. And that's the best kind of critique. 'cause it's with people where there's mutual value, mutual trust.
When [00:23:00] they say something, it, you're not getting defensive. You're looking at and you're going, that's interesting. Yeah. I see what you're seeing. Yes. And just taking you out of your own self a little bit in a way that's really productive, positive and good. Yes. Because I've heard a lot of, like art critique going on where she's not helpful.
It's not from the right person, it's not at the right time. Yeah. Um, but that kind of like community is very good. Yeah. And I think it's like we all lift each other up and we all wanna see each other better. And I think when you do hear it from other creatives or, or you know, art people, let's just say that in general, um, there's an understanding even if they're not even in the same genre as you, even if it's a musician, even if it's a writer, they'll still feel mm-hmm.
That you are a creator. And with that, they'll be like, okay, so this is the where you're coming, but what are you trying to do for them? What are you trying to speak from? What is their angle for it? Like I, I always laugh when I watch a film sometimes with my family and I'm like, Hmm. And my mom's like, it's just a movie.
why you being, so intense. And I'm [00:24:00] like, but you're watching it as, as it is as of film. Mm-hmm. I'm watching it as someone who used to perform. In the background or someone who loves films and as an actor. Mm-hmm. Or a writer, and I'll look at him like, that actor made an interesting choice right there. Mm-hmm.
You'll see it as like, oh, they did really good. I'm like, no, but that's, wow. They chose that choice. I'm analyzing it. Yeah. Just like when I go where friends used to joke, like when we go to galleries and it's actually true. When our artists we're looking at a painting, everyone else observe it as it is.
We're looking at technique. Yeah, we're looking at texture. We're looking at how exactly did you, I think we do. We'll sit there and be like, I think they pulled in the back and like, we'll, we're like analyzing it in a whole different, we're seeing it very differently in a very macroscopic way than most people will just see it in and just take it in its entirety, which I can't help.
But I do love. I mean, this sounds like, and I don't wanna get like too crazy. Mm-hmm. But it sounds like this is why. There's an ethics of art that's also kind of a politics. Mm-hmm. It is literally trying to see these [00:25:00] creations from different levels, different viewpoints. Putting yourself in the shoes of that creator.
Yeah. What they're doing it, why they're doing it, how they're doing it. It's like fundamentally. You're sitting there in that gallery practicing empathy. Yeah. Like that's literally what this is. Yeah. It's like what you're talking about. Yeah. It's not just critique, it's actual empathy. Yes. Yes. In the art experience.
Yes. And whether you feel it or don't feel it or whatever it is, it has you talking about it. Mm-hmm. It has you thinking about it. Has you wanting to make something from it, even if it made you angry, if it didn't make you sad, you're just like. Hmm. There's all these different emotions that I'm getting from this piece.
This is inspiring me to do something else. Yeah. You leave that space differently than you entered it. Exactly. That's the whole point. Yeah. That's what we're here to do. That's what art does. It disturbs and it's meant to, it's meant disturbing in a good way, a bad way. And that's what it's, it's necessary.
Mm-hmm. You know, it's another form of storytelling, or it is the storytelling. It is. And I think for some people it's maybe a little uncomfortable, but that discomfort is definitely just part of the art [00:26:00] experience. Exactly. And it's necessary. Mm-hmm. I mean, if you're in a comfort zone, so much like get out of it.
Yeah. Get outta your comfort zone. Ruts are not great rituals. Good. Ruts bad. Yes. Yes. Exactly. Like, come on, let's get it going.
I'm gonna end every episode with my Magic eight ball.
Uh, but I did forget it today, but have it right up here. It's magic eight ball.com. She's gonna do the job for us just fine. I love it. Let's do it. Let's go. So what's your question? And I'll type it in. Oh my God, it could be anything. It could be. Personal, could be large, small. What is the question that I would love?
Um, will I sell a ton of art this year? Okay. And then this button says shake eight ball. Let's see if it gets a graphic. Okay. Oh, it's shaken. She's shaken. Out Outlook. Good. Yo. Oh, that's great. That is a good, I'm gonna take it from magic eight ball.com. Yes. [00:27:00] Thank you. Magic eight Ball. You're amazing. it's been so fun having you.
Um, and hopefully this episode just connects with people and lifts them up. Yeah. 'cause that's what you try and do. Oh, thank you. Appreciate it. I'm excited for you. This is gonna be great.
Thanks for listening to Art Yap. If you enjoyed this episode, the best way to support the show is to leave a rating or review. Share art Yap with a dreamer, a maker, a friend. Because good ideas are better when they don't end. For video trailers and sneak peeks, follow us on Instagram at Art yap underscore podcast.
Until next time, keep imagining. Keep creating and keep yapping.