CHARLIE BENNETT: So, if you had to label yourself as an artist, would it be abstract painter? Is that enough? DEANNA SIRLIN: I think that my art is twofold. One, it's about color. It's about color more than abstraction. Abstraction is the form, but color is the mode. And it's the place that I reside, in terms of my passion. But it's also about being, I can't help it, I'm a public artist. I like big works that envelop you, that put the viewer in the work. In fact, that's what I've always loved is when the viewer is inside my work. I want them to see it the way I feel it when I'm making it. [MUSIC - TELEVISION, "FRICTION"] CHARLIE BENNETT: You are listening to WREK Atlanta. And this is Lost in the Stacks, the research library rock and roll radio show. I'm Charlie Bennett in the virtual studio with Fred Rascoe and Wendy Hagenmaier. Each week on Lost in the Stacks, we pick a theme and then use it to create a mix of music and library talk. Whichever you're here for, we hope you dig it. WENDY HAGENMAIER: Our show today is called Artist in Residence 2. Our first Artist in Residence episode was back in March of 2020, part of our research for Georgia Tech's own artist in residence. FRED RASCOE: And after a lot more research and planning, we have one. WENDY HAGENMAIER: Our guest today is the Georgia Tech library's first artist in residence, the painter and installation artist, Deanna Sirlin. CHARLIE BENNETT: We talked about her process, why she wanted to be an artist in the residence at the library, and the work that she's done here, especially her installation on the ground floor of the Crosland tower, titled Watermark. FRED RASCOE: And our songs today are about how artists build up and tear down things that show up in unexpected places and bright candy colors. One of the great things about having an artist in residence is that the artist is not confined to the traditional gallery. The gallery is anywhere that the artist is, well, residing. So, let's start with a song about getting out of the gallery. This is "Gallery" by Eloy, right here on Lost in the Stacks. [MUSIC - ELOY, "GALLERY"] WENDY HAGENMAIER: That was "Gallery" by Eloy. This is Lost in the Stacks. And our interview today is with the artist, Deanna Sirlin, the Georgia Tech library's first artist in residence. CHARLIE BENNETT: So, tell me about what it was in the artist in residence description for the Georgia Tech Library that caught you and made you want to come be the AIR. DEANNA SIRLIN: Well, for me, whenever I'm creating a piece of work, a big transparent installation, I always say that the building is my silent partner. And I actually had been in Price Gilbert-- well, first of all, I've been in Price Gilbert before the renovation. And speaking of which, I think I went one day to get coffee. CHARLIE BENNETT: [LAUGHS] DEANNA SIRLIN: And I saw those steps. And I thought, this is a terrific building. And I saw those windows. And I love the quality of light. I love the fact that students were sitting on the steps, and everyone was sort of engaged in the space. And that engagement in the space, already, was something that was very desirable to me, in terms of creating a work for a place. The other thing is, my work as a-- the process of being a painter that engages with technology, I thought that Georgia Tech is actually the perfect place to engage with the viewer, because I come to the space, and the people who are interacting with it are physicists, engineers, computer designers, and people interested in having, maybe, the idea of looking through something. I also think that the work is a kind of lens that changes your perception as you look through the work. You gave me the opportunity to create a work of art for this space and to engage with the community at Tech. CHARLIE BENNETT: Is it very different from having your own studio and trying to find your way to a new work? I mean-- DEANNA SIRLIN: Absolutely, absolutely. [LAUGHS] The physicality of making the work did not-- it was more about the ideas, and the execution, and the installation, rather than the physical making. The physical making had to be in a messier space. [LAUGHS] CHARLIE BENNETT: Describe that, what is the messier space? DEANNA SIRLIN: My studio, my studio here. There's all kinds of stuff in my studio. And I make a mess when I work. Yeah. I have to be able to make a mess. So, I'll talk to you a little bit about the process of this work of art and how it gets made. CHARLIE BENNETT: Yeah. DEANNA SIRLIN: OK, so first, there's a painting. And it's a gestural painting. And the painting has to do with my connection to color, and to mark making, and to measuring. OK. Then I take that painting, and it's kind of a weird place where I decide that I'm going to do this. But I just repurpose it by destroying it. And that destruction is important as part of the process. Then I take that painting that I've destroyed, and I cut it. I actually physically cut it up into pieces, because I, actually, there's this notion of paintings within paintings that I've always loved. You always find, I think everyone does it, you're looking at a Holbein and there's a little hand, a little finger. And you go, wow, that's enough, it could be a great painting. Well, even as an abstract painter, I have that as well. There's a piece that you just want. And you want to just cut it out, and have it, and hold it. So I started doing this with my paintings, sort of cutting them up, even if they were fabulous, even more so. And having that piece of the painting, being able to hold it in your hand. And then I make a new work with those pieces. And the other little kicker about that is that, these new works that I make, I actually use both sides of the canvas. So the linen on the other side, like I might flip it over. And I also take other drawings, and other paintings, and other pieces of things, of life, of contemporary life, and I insert those into this new work, which is a collage. And it's a layered collage. And it's a collage that I collage on, and I paint on, and I draw on, and I remove things. And there's a process within that. OK, that's step two we're up to. Now there's step three. Step three is the work gets put into the computer. And I don't do this at home. [LAUGHS] Maybe at Georgia Tech we could do this, but I use a very high end scanner to enlarge the work and make every pixel-- I usually enlarge it to a factor of 30 to 50. And then, that's just a technical thing that the information enters the computer. And then the next part is that I actually start to work on the file digitally. And in this case for Watermark, it was in response to 50 years of science fiction, because as someone who this was a bit new to, science fiction, I mean I haven't read a lot of science fiction, what I really noticed was how particular the color, both in terms of how it was described within the books, but also in terms of the covers and the illustrations that accompany it. And I was very engaged with this color. So I had this very-- started with the painting, becomes a collage. [LAUGHS] Next stop is into the computer, manipulated in terms digitally, that I do a whole bunch of things with it to alter it, to change, to make the under skin. And then there's the layering on top of that comes from the investigation of the color palette of science fiction literature. CHARLIE BENNETT: So, and a part of the artist in residence, the in residence part, is bringing students in and doing workshops for them, right? DEANNA SIRLIN: Yes. So one of the workshops was science fictionizing the library in a digital format. So the students came, and they were sent out to photograph the library. And then I showed them many images, actually mostly from surrealism, of kind of an altered dream space, and also artists that had been influenced over history, who have been influenced by science fiction. And, I have to say, what the students made was incredible. And then we-- it was a Photoshop, because Photoshop is a great tool. And through Photoshop, in the course of, I think it was four hours, they made new worlds within the library, which contain floors that were made of stars, and dinosaurs sitting on the deck, and whatever you can imagine, lured color. There was actually one student who did the most incredible, he just photographed book shelves. And then he took those bookshelves, and he made it into kind of an Escher-like composition. And it was very interesting also, because I said, do you know who Escher is? He said, you know, I haven't thought about him for years. But I actually wrote a paper about him when I was in junior high school. CHARLIE BENNETT: [LAUGHS] That's fantastic. DEANNA SIRLIN: And so, it is. And also that Esther was 20th century, right? So, it seems like a very long time ago. FRED RASCOE: We'll be back with more from Deanna Sirlin, painter and Georgia Tech Library artist in residence after a music set. CHARLIE BENNETT: File this set under N8520.M55. [MUSIC - CELBERATED ARTISTS BAND, "WHO DO YOU THINK YOU ARE"] [MUSIC - JON STRONGBOW, "MULTICOLORED LIGHTS"] JON STRONGBOW: (SINGING) Multicolored lights. WENDY HAGENMAIER: You just heard "Multicolored Lights" by Jon Strongbow. And before that, "Who Do You Think You Are" by the Celebrated Artists Band. Those were songs about the artist journey of tearing down and then building up. [MUSIC - TELEVISON, "FRICTION"] FRED RASCOE: This is Lost in the Stacks. And we are speaking with the artist, Deanna Sirlin, who recently installed an artwork titled Watermark in the ground floor of the Crosland Tower at the Georgia Tech Library. CHARLIE BENNETT: You went to the Georgia Tech Library. DEANNA SIRLIN: Yes. CHARLIE BENNETT: You encountered the exhibit, and the collection, and the science fiction stuff. DEANNA SIRLIN: And then I did my own research, right. I didn't-- CHARLIE BENNETT: OK-- DEANNA SIRLIN: --stop-- CHARLIE BENNETT: Yeah. DEANNA SIRLIN: OK. CHARLIE BENNETT: And followed that out. DEANNA SIRLIN: [LAUGHS] CHARLIE BENNETT: But that became the seed for a painting at home. Is that how you kind of took that away or-- DEANNA SIRLIN: I want to say a little bit. I mean, I had a certain-- you know, I've been thinking about this actually, just in terms of my own process, because I know that I need to explain that this very process-oriented endeavor that I am involved with. And why do I have to do it? Why do I have to do all that to get to there? CHARLIE BENNETT: Mhm. DEANNA SIRLIN: So I think the first part of the painting, there is a color palette that is maybe more connected to-- I'm not sure it's directly to the science fiction. I think it has to do with myself as a painter for the last 40 years. I think the science fiction comes in on a digital level, and also in relationship to the space and the place. But I also want to say about color is a really important part. I mean, I'm a painter. Painting is about color, for most of us. There are painters who don't care about color. But most of it, it's pigment and color that gets put on a two-dimensional surface, or three, I suppose. But for me, I'm really thinking in color. And I'm thinking about this particular piece, Watermark. For me, actually what happened was, I allowed myself to delve into the colors of my childhood, which were pop art. It was the 60s. So there's magenta. And there's a particular blue. And there's a lime green. Now this is not a new investigation for me. But it's one that I allowed myself to investigate even more so than usual. The other thing is these colors are not natural, but they're in our landscape now, the green lime vests, the orange cones. For an artist who's involved with color, this is something very special. For me, I saw these as colors of science fiction. CHARLIE BENNETT: So, I've seen Watermark in the process of being installed. DEANNA SIRLIN: Right. CHARLIE BENNETT: And it's quite beautiful. And it's huge. And it sort of overtakes this lobby area in the library. But also, there's no sort of meaning to it that I can discern that has to do with, say science fiction or the late 60s. DEANNA SIRLIN: No, it's not that obvious. It's not that-- CHARLIE BENNETT: Yeah. DEANNA SIRLIN: I mean, it's a relationship. It's not an interpretation. It's not a narrative. It's an abstract work. But the concept and the process of making it stem-- I recognize my elders, so to speak. CHARLIE BENNETT: [LAUGHS] So is it like a map of you thinking about color? Or does it get manipulated even farther away from the process? DEANNA SIRLIN: A map of me thinking about color? Well, it's funny that you say map. OK, because I think of these things as maps, as plan view. I mean, when I'm making the collage, it's definitely a plan view. And sometimes I feel like, when I'm placing the particular pieces, that they are in reference to a walk I might be taking through a city. CHARLIE BENNETT: OK. Yeah. DEANNA SIRLIN: So yes, that's part of it. CHARLIE BENNETT: There's a spatial component to it. Yeah. DEANNA SIRLIN: Absolutely. And absolutely plan view, that you're looking down and you're moving through this space. So it's not like walking the way you normally would. I don't know the words. Watermark is about measuring. CHARLIE BENNETT: Measuring. DEANNA SIRLIN: So that's what actually-- but also all the connotations of Watermark. But there's also another part of this that there's a simultaneous installation that I'm presenting in Venice, Italy. And Watermark actually, where that title comes from is from a book of poems, it's a long prose poem by Joseph Brodsky-- CHARLIE BENNETT: OK. WENDY HAGENMAIER: --who loved Venice. And it's about water levels. You think about fragility of climate change, which for me also the science fiction part, I should say, that as someone who came to science fiction. And also, my relationship with young artists who I work with in my studio. The last 15 years, I've had two to four artists, young artists, work with me. They do whatever I do. But we talk all the time. We have serious conversations. And one of the things that they have informed me about is about a utopian dystopian ideology. And when I went back and read Dune, there it was, that dystopian. And what it related to very firmly was climate change. CHARLIE BENNETT: Yeah. DEANNA SIRLIN: And we get back to Venice, which is the most fragile city probably on this planet. The idea of water levels, and marking those levels, and thinking about the Brodsky poem, and all these relationships sort of meld in to the work as I'm making it. CHARLIE BENNETT: So, if someone's listening to us right now, and they haven't been in the library, and they haven't seen the artwork, can you describe it? Can you describe what it's made of and what-- DEANNA SIRLIN: OK, sure. CHARLIE BENNETT: --it does? Because it's not just an object that you look at. It actually is sort of a manipulation of the space. DEANNA SIRLIN: Yes, exactly. So it's actually, it's an installation. It's a transparent work that addresses-- oh, I know how many windows, sorry, 26 windows. CHARLIE BENNETT: [LAUGHS] DEANNA SIRLIN: [LAUGHS] I should know. 26 windows. You know, I think the first thing that people think about my work is color and transparent color. But it's also, what I think is really important and something very beautiful that happens across land, is the projection of the sun through the work, which will change. It changes through the day. It will change through the seasons. And that kind of movement that I cannot control-- something as an artist I've learned, it's a hard thing to learn, but to relinquish control, because I think artists are actually control freaks. I know I am. I used to teach at the Atlanta College of Art. And students would ask why I was an artist. And I'd say, it's the only thing in my life I can really control, that a painting is the place where I am in control. But the truth is, the more you can relinquish that control, the more you're open to chance. Maybe this is a door opening, a new kind of view, a new kind of process that I'm embracing. WENDY HAGENMAIER: You are listening to Lost in the Stacks. And we'll be back with more from the artist, Deanna Sirlin on the left side of the hour. [MUSIC - DEF LEPPARD, "ROCK OF AGES"] DEF LEPPARD: (SINGING) I know for sure. There ain't no cure. JOHN LINDAMAN: I'm John Lindaman from the Watson Library at the Metropolitan Museum of Art and the Museum of Obsolete Library Science. And you're listening to Lost in the Stacks on WREK Atlanta, more wattage in the cottage. Tune it in and tear the knob off. [MUSIC - DEF LEPPARD, "ROCK OF AGES"] DEF LEPPARD: (SINGING) I want rock and roll. You betcha. Long live rock and roll. CHARLIE BENNETT: Today's show is called Artist in Residence Two. And when I was cutting this interview, I kept hearing Deanna say, I'm talking too much. You're going to cut this out, right? And I cut some of it out. But some of it I wanted to save. Here's one of those bits. You've been the artist in residence at a number of places, right? DEANNA SIRLIN: Yes, but it means something different. CHARLIE BENNETT: Yeah. DEANNA SIRLIN: So for instance, my first artist in residency was at Yaddo, which is in Saratoga Springs. And it's a very old and wonderful residency. And basically, it's an opportunity for artists, writers, poets, and composers to have time just to work. And you're taken care of like a child. Your food is made for you. CHARLIE BENNETT: [LAUGHS] DEANNA SIRLIN: No, I'm serious. You sit in a grand dining room. It's actually a-- Yaddo was endowed by the Trask family, who own the Pennsylvania Railroad. And it was their summer home. And they left all their fortune to this artist residency. That's a longer story. We could just have a podcast about that. However, that was a real gift to me early in my career. I actually did that residency for nine weeks in 1983. Nah, maybe earlier. And it was a huge gift. And it's a gift of time. I mean, in fact, that is what most residences are for. But it's also about a community. So it's a community of artists that come together, live together, work on their own stuff, and then have dialogue with each other, if they want to. And I think that's true at Tech too. So OK, you didn't treat me like a child. And you didn't take care of me in the sense of preparing my breakfast. CHARLIE BENNETT: [LAUGHS] DEANNA SIRLIN: But you gave me the opportunity to create a work of art for this space and to engage with the community at Tech. CHARLIE BENNETT: File this set under a QC1.U52. [MUSIC - THE SYLVERS, "COTTON CANDY"] [MUSIC - 1910 FRUITGUM CO, "GOODY GOODY GUMDROPS"] 1910 FRUITGUM CO: (SINGING) --doing flipflops. Gee what love can do. I'm gonna shout it from the rooftops. FRED RASCOE: You just heard "Goody Goody Gumdrops" by the 1910 Fruitgum Company. CHARLIE BENNETT: What is happening? FRED RASCOE: Some bubble gum pop for you. Love it. And before that, "Sunshine, Lollipops, and Rainbows" by Lesley Gore. And we started off with "Cotton Candy" by The Sylvers. Songs that use bright, shiny, colorful candy to evoke an enthusiastic emotional response. CHARLIE BENNETT: Once again, Fred, too much fun. [MUSIC - TELEVISION, "FRICTION"] WENDY HAGENMAIER: This is Lost in the Stacks. And our show today is called Artist in Residence Two. The Georgia Tech Library has been working on an artist in residence program. And our inaugural artist is Deanna Sirlin. CHARLIE BENNETT: Can you describe why you needed to move away from a single canvas and get to this process that you talked about, the destruction and then the remediation. Was painting not enough? Did you want to complicate it? Were you seeking-- like, can you describe that process? DEANNA SIRLIN: So first of all, one of the things that is intrinsic to who I am as an artist is that I'm a public artist. For the last 22 years, I've been making large-scale public works that cover sides of buildings, everywhere from Atlanta, to Venice, to Germany, to Turkey. So that's part of something I like to do. Why do I like to do it? How did it start? So I will say that, actually, my first public artwork was probably, I'm going to say the date was 1981. And in Ithaca, New York, I was invited to wrap 12 columns on the main, it was called The Commons-- it still is-- with large-scale paintings. And I wrapped these big paintings that were layers of color. Little did I know, I'd return to this idea 40 years later. The second place I want to reference in terms of my thought process was actually at Georgia Tech in 1996. The Arts Council for the county of Fulton County sent me a request to do make art in odd places for the Olympics. And I have to tell you, when I first read the call, I threw it away. [LAUGHS] CHARLIE BENNETT: [LAUGHS] DEANNA SIRLIN: Because I said, I'm not-- because I think they said something like painting on dumpsters or whatever. I'm like, I'm not painting on dumpsters. But what happened was, I was driving, and Georgia Tech just got their new lightboard. And it was the first lightboard in the city of Atlanta. And it was sitting right over 75, 85, which it still is. Although that's not the lightboard that is there now. That one from '96 was a much cruder light board. And somehow I got this idea that I wanted to put my paintings up there, because everyone would be stuck in traffic [LAUGHS] and would have to see my painting, have to be entertained, have something to look at. CHARLIE BENNETT: That's the most Atlanta art statement I've ever heard. [LAUGHS] DEANNA SIRLIN: Except what happened, and I'll tell you, Charlie, what's funny is that, yes, this all worked out. I made the proposal. Georgia Tech athletics, who owned that lightboard, were very delighted to do this with me. They gave me a graduate student. I was totally un-digital at this point, OK? CHARLIE BENNETT: Mhm. DEANNA SIRLIN: I had to be taught to use the mouse. That lightboard also originally was-- when I got to the room where they program the vents, I guess you could say, the pages, it was a Commodore computer on the outside. And I was told it was totally jerry-rigged on the inside. CHARLIE BENNETT: Oh boy. DEANNA SIRLIN: And you had to program it one bulb at a time. So you could choose the colors, and the sequence, and how to-- there was no scanning in. There was no-- it was-- but you have to remember also, I didn't even know how to use a mouse. So-- CHARLIE BENNETT: [LAUGHS] DEANNA SIRLIN: --the graduate student had to teach me how to use the mouse, which is really, he had a great time. I think he probably thought, this is crazy. But we did it. And we had seven images. Now the irony of all this is that during the Olympics, the traffic wasn't bad at all, because everyone was afraid to drive. Everyone took public transportation. CHARLIE BENNETT: [LAUGHS] DEANNA SIRLIN: And if you drove, you just drove right through. But so many people saw that. And I think they saw it, and they didn't know that they saw it. Is that a strange thing to say? CHARLIE BENNETT: No, that makes sense. It's part of the landscaping. DEANNA SIRLIN: They would tell me, oh, I know your work. Yeah. And I kind of-- but I loved the whole thing, this lightboard, OK. So the next time was a work for a library. It was commissioned by Fulton County to do a work for a library. And it was very particular work called Looking Forward, Looking Back. And it was for a particular community about change. And I made these, I think there was 10 large-scale glass panels, that were tan-tinted with a laminate that actually had to be poured through, they don't do this anymore, and silk-screened, and etched with a text. And then the text was actually etched around the library. And it's a very beautiful work. The colors that I chose were ambers, and purples, and blues. But when I was finished and it was so well received, I looked at it and I said, but you know that's not painting. That's not my painting. And I said, what a shame that I made it so much for this place and for this library and not really making a work of art. And then I had this opportunity to create a work of art for the High Museum. And that's Retracings. And that's my first large-scale site transparent work. And it's a pivotal work. And it's a very large work. The size is 60 feet by 90 feet. And it fit on all the windows of the Meyer building of the High Museum that face Peachtree Street. And I also had to invent new software, or mix software. Now you're talking to a person who didn't even own a computer. In 2000, I didn't own a computer yet. I had to borrow my spouse's when I wanted to send an email, which I never did-- CHARLIE BENNETT: [LAUGHS] DEANNA SIRLIN: I actually wrote. [LAUGHS] I didn't-- and I actually, well most people had computers by 2000. I'm a painter. Why would I have a computer? So I actually created the proposal for that work at Kinko's using-- CHARLIE BENNETT: Mhm. DEANNA SIRLIN: --their color Xerox machine, and cutting and pasting, and making these proposal images. But two things happened. One, it was also about that painting had to get into the real space. That it had to get off the wall and into the space of the world. But also, conversely, when I did tests, and I put these transparencies on the windows at the High, I looked through them and saw Peachtree Street, and people, and cars, and clouds moving. And that moment is where I left the landscape, because the landscape was the real world. And it was the work engaging with the real world. So one of the joys about Watermark is you can look at the work. And you can see people moving through it, climbing up the rest of the hill to Cherry Street. You could have seen the person walking up the hill without the transparency, without the artwork, but, I think that looking through the artwork like a lens that tints and alters your perception of the world is what I love. CHARLIE BENNETT: Our guest today is Deanna Sirlin, the painter, installation artist, and the first artist in residence at the Georgia Tech Library. You can learn more about her and her work at her website deannasirlin.com. that's D-E-A-N-N-A-S-I-R-L-I-N .com. FRED RASCOE: And you can file this set under N6494.I56W67. [MUSIC - ART BEARS, "RATS AND MONKEYS"] ART BEARS: (SINGING) Rats and monkeys crowd the city as it crumbles into ruin. [MUSIC - NO VACATION, "OUT OF PLACE"] WENDY HAGENMAIER: You just heard "Out of Place" by No Vacation. And before that, "Rats and Monkeys" by Art Bears. Those were songs about things that show up where they're not necessarily expected. [MUSIC - TELEVISION, "FRICTION"] CHARLIE BENNETT: Our show today is called Artist in Residence Two, featuring an interview with the Georgia Tech library's first artist in residence, Deanna Sirlin. WENDY HAGENMAIER: Sirlin's piece, Watermark, was installed in the Crosland Tower last month. And she will be giving an artist talk at the library on Wednesday, April 13. Reception begins at 5:30 PM, talk at 6:30. FRED RASCOE: You can learn more about the event and the workshop Sirlin is running at the library by visiting library.gatech.edu/events. WENDY HAGENMAIER: In fact, you can find out about all the library art initiatives by going to library.gatech.edu/library-arts. CHARLIE BENNETT: I wonder if we have a website for the credit roll too. [MUSIC - THE SEA AND CAKE, "CULABRA CUT"] CHARLIE BENNETT: Lost in the Stacks is a collaboration between WREK Atlanta and the Georgia Tech Library, written and produced by Charlie Bennett, Fred Rascoe, Marlee Givens, and Wendy Hagenmaier. WENDY HAGENMAIER: Today's show was edited and assembled by Charlie, that's you, and then disassembled, and then assembled again, with some pieces in different places. FRED RASCOE: Legal counsel and a framed print of Rose and Vine by Joan Snyder were provided by the Burrus Intellectual Property Law Group in Atlanta, Georgia. CHARLIE BENNETT: Oh, Phillip's got good taste. Special thanks to Deanna for being on the show, to Catherine Manci, and the whole artist in residence team at the Georgia Tech Library. And thanks, as always to each and every one of you for listening. WENDY HAGENMAIER: Find us online at lostinthestacks.org. And you can subscribe to our podcast pretty much anywhere you get your audio fix. CHARLIE BENNETT: Next week's show is called, wait, Fred is this correct? FRED RASCOE: Well, that title on your script there, that's just a placeholder. I think what we're going to talk about is syndication in scholarly publishing platforms. CHARLIE BENNETT: No, I like the placeholder better. Next week's show is called Scholarly Publishing Supercontinents. And I am looking forward to finding out what that means and saying it correctly. FRED RASCOE: Boy, me too. All right, time for our last song today. And if, on a fine sunny day such as this, you wander into the Georgia Tech Library and find yourself bathed in the warm glow of candy color filtered sunlight, take a moment to appreciate how our resident artist and improve any space with a little creativity and a generous application of dynamic and radiant color. So let's close today with "Radiant Color" by Moon Revenge, right here on Lost in the Stacks. Have a great candy-colored weekend everyone. CHARLIE BENNETT: [LAUGHS] [MUSIC - MOON REVENGE, "RADIANT COLOR"] MOON REVENGE: (SINGING) [INAUDIBLE] planes at end of the day. I see the longing of--