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Connect/Contact: this is the land of my ancestors
In the month of June I went to Alberta to conduct some research on my family history and ancestry, visit archives, local museums and libraries; I also wanted to visit the land that my ancestors once occupied. My Great Aunt Ivy, my grandmothers' sister, lives in Grande Prairie and she opened her house to my mom and myself. We stayed there just over a week, visiting family and helping around the house. Along with visiting relatives I went to local archives and libraries, including the library in Grouard where my grandmother went to residential school. Ivy agreed to take a day trip to High Prairie to show me the dairy farm she grew up on, I was hoping to get some recording of oral stories and histories while I was there and include them in my show at the Anna Leonowens in July (the one that just passed). Unfortunately while my mom and I were visiting my Great Aunt Yvonne, Ivy's sister, passed away from complication at the hospital. It was an incredibly sad week. Ivy, understandably, couldn't bring herself to take a day to drive around High Prairie and talk about the times passed.
Knowing that I wouldn't be back in the area for some time I decided to take a drive to around the area on my own. Ivy drew me a map of where the old farm once stood and we had long discussions about the area and her time there. While driving I was struck by the expansive landscape, the Albertan landscape appears endless; you can see the weather moving in on you. This was the first aspect that inspired my installation piece at the Anna. After driving for a few hours and taking numerous photos I starting thinking of creating a document of the land. Something tactile and factual, something that replicated the articles I was looking for in my research. I sat with the thought while driving, thinking over and over again about this document of the land. While driving I finally came across Heart River, I parked on the side of the road and started walking along the river. Without really thinking about it I started looking at the plants along the river, imagining how people before me once stood here, in a completely different landscape, and looked at these same plants. Or did they? Have these plants changed with the construction of pavement roads, industrial farming equipment, oil pumps and green houses? As I thought of these things I started picking parts of the plant, not decimating the plant but removing parts of the leaves, small flowers and stems. I had an entire arm full when I got back to my car. I did this three times and then decided I had enough for the idea that was forming in my head.
The concept for this piece was to create a document of the land by using plants from the land of my ancestors in paper and assemble an installation that mimicked the landscape. As some of you may know, I just completed my first year of the Master of Fine Arts at NSCAD University. During this year you are required to write papers on various subjects as well as a draft of your thesis. I am a very tactile learner, I have to edit papers with a pen in hand and a draft copy in front of me, so, as you can imagine, all these drafts and papers added up to a lot of used paper. I had decided during the year to keep these and somehow reuse them later. While formulating this piece it occurred to me that this would be the best opportunity to reuse the papers in my recycling bin.
I went home and started work, there are about 140 pieces of hand-made paper made from reused academic readings and writings, and plants from the edge of Heart River. I spent days on my deck in the sun pressing the paper and drying it out. Once all the pieces were prepared I assembled a hanging device out of chicken wire and hung fishing line from it, later to be attached to the circular paper sheets.
I was extremely happy with the outcome of this installation piece. When I applied for the Anna Leonowens exhibition I imagined a show that consisted of research, documents, photographs and maps; I wanted to show what I had collected. I feel that this piece is a truer representation of what I had learned and what I had gained from the trip. This was the land of my ancestors, collected and mixed with all the work I had done in the month's prior. It was a cathartic experience to use the paper I had collected throughout my first MFA year. The action of combining the plants from the land of my ancestors and used paper was like combining two worlds I had previously thought of as so separate.
Connect/Contact, this is the land of my ancestors
Elsie in Edmonton
Currently I am on a research trip in Edmonton, Alberta. My mom was nice enough to offer to come along with me; sharing the experience has been amazing. Tomorrow we'll drive up to Grande Prairie and onto the Lesser Slave Lake area where my maternal ancestors lived since time immemorial.
Along with researching my maternal genealogy and the place they once lived I have brought along posters of Elsie. I screen printed over 200 of them before I left Halifax, and plan on posting them up along my travels. Yesterday my mom and I hit the streets of Edmonton and posted her up. Elsie is a character I created based on a historical classroom photograph of St. Bernard Indian Residential School, where my grandmother attended. Aesthetically she is meant to represent every female student but is individualized by her name, which was my grandmothers. Elsie seeks to engage the viewer with her eye contact, confronting the viewer and asking them to question the space in which she is placed. Posting images of Elsie up along this trip is an act of indigenizing, decolonizing, resisting and claiming space.
Untitled Plant 1 is a 91cm square painting that depicts a common houseplant juxtaposed with a pattern background. I have chosen to depict houseplants in this painting to draw attention to the shared histories of plants and human beings. Imperial and colonial projects touched both plants and humans at the point of European discovery. The histories of domesticated plants parallel indigenous histories in ways such as being taken and exploited to the point of extinction. This painting also addresses issues of authenticity and tradition with the use of design and pattern development. The plane of the painting is fragmented to add tension and to speak to my personal history of feeling fragmented and disjointed.
Plants have always had a special place in my heart. Since I was a child I have enjoyed their company. I have always surrounded myself with them all my life; they are a source of comfort on winter days and a live subject for drawing exercises when I need some inspiration. I chose domesticated houseplants for two reasons; first, I could rely on my own documentation for the paintings. In the past I have got my image sources from the Internet, as I was painting endangered plants. Secondly I see parallels between the history of plant cultivation and indigenous colonial histories. From the Age of Discovery at the end of the 15th century Europeans have been documenting their discoveries of these "New Worlds". Royals sent out scientists and artists to document, collect, dissect, and name new and foreign beings ('beings' in the sense of anything living). From that moment on humans and their objects, as well as plants, have been used for imperialist advancement, most notably in the form of consumerism. As Anne Whitelaw states, "Anthropologists in particular were concerned with collecting as many and as varied specimens from such cultures before the inevitable assimilation with European culture became too evident. While there was little desire to ensure the survival of human members of such cultures, great care was taken to safeguard the more elaborate and significant objects these members produced." [1] Indigenous arts, artifacts, and crafts have been collected, or rather stolen, to be shipped back to the Imperial powers and placed in museums and private collections. Throughout the centuries these objects have been taken, now being mass-produced in other places and then shipped back. You can see this in dollar dream catchers made in China or the souvenirs shops that sell totem poles made in Indonesia. The same can be said for plants around the world. Periods in time such as Orchid Mania[2] and fern fever, or pteridomania[3], were eras that decimated certain species, which even today are not found in their original habitats but can be found in your local flower shop.
In Untitled Plant I there is the inclusion of patterns and designs. This, for me, is an act of reclamation. Beading patterns and designs adorned Metis and Cree garments to signify tribal and familiar affiliations as well as Metis garment production during the fur-trade[4]. As I am just becoming familiar with my own family's history and ancestry I am creating my own patterns and designs responding to archival research. The technique I am using to create these patterns is no less laborious than beading; the act of this laborious practice connects me to my ancestors through the dedication of time and practice. Through acts of connects me to my ancestors through the dedication of time and practice. Through acts of designing, taping and painting I am celebrating and claiming ancestral practices in contemporary painting techniques. By engaging in this I am building my own traditions and creating body memory similar to beading techniques. Much like Christi Belcourt[5] I am engaging in notions of beading of my ancestors but also European influences. Robert Houle states,
"Today, there is an emergence of a new art by a new generation of young artists. These come from two different aesthetic traditions: North American and Western European. The first is deeply rooted in tribal ritual and symbolism; while the latter is an irreversible influence committed to change and personal development. This new art is traditional and contemporary in source. Also, it is innovative and sophisticated in style and technique."[6]By activating both these aesthetics, I invoke a contemporary indigenous mixed-race art practice.
[1] Trepanier, France, and Chris Creighton-Kelly, eds. Understanding Aboriginal Arts in Canada Today: A Knowledge and Literature Review. Rep. Ottawa: Canada Council for the Arts, 2011. 46. Print.
[2] "These orchid hunters desire for discovering and collecting, and the insatiable demand for the flowers in Europe and America, was devastating to the native orchid populations as well as the trees on which the epiphytic flowers grew. There are still areas in Central and South America in which the plants never recovered." Amelinckx, Andrew. "Old Time Farm Crime: The Cutthroat World of Victorian Orchid Hunters." Modern Farmer. Modern Farmer, 01 Aug. 2014. Web. 09 Apr. 2017.
[3] "Pteridomania." Wikipedia. Wikimedia Foundation, 27 Feb. 2017. Web. 09 Apr. 2017.
[4] "Frugality, efficiency, family labour units, and an acute sense of shifting market trends enabled Metis women to maintain access to consumers. The longevity and volume of their production, and their use of marketing strategies ranging from contractual arrangements with fur-trade companies to community-based entrepreneurship, suggest that much of the material in museum collections came from their hands." Racette, Sherry Farrell. "Sewing for a Living: The Commodification of Metis Women's Artistic Production." Contact Zones: Aboriginal and Settler Women in Canada's Colonial Past. Ed. Katie Pickles and Myra Rutherdale. Vancouver: UBC, 2014. 41. Print.
[5] "Christ Belcourt Bio." Christi Belcourt. N.p., n.d. Web. 13 Apr. 2017.
[6] Trepanier, France, and Chris Creighton-Kelly, eds. Understanding Aboriginal Arts in Canada Today: A Knowledge and Literature Review. Rep. Ottawa: Canada Council for the Arts, 2011.17. Print.
This series of silkscreen prints was made from an exposure of a beading I made on an embroidery loop. The original beading design was adapted from an archived photo of the garments on the Museum of Anthropology (MOA) website. The beading contains three colors, blue, white, and black; the shape is a long rectangle with three evenly spaced diamond shapes hanging from the bottom.
The prints are a circular shape with a semi-translucent fabric, when exposed to a silkscreen the weave of the fabric is accentuated and the beading becomes muted, the delicacy of the beading almost completely disappears. This series was about process rather than exercising printing techniques. The process of this print series was to continue printing until the image disappeared. The result was a series of over 50 prints that resembled moon cycles, from a complete circular shape (full moon) to a half (half moon) to a sliver (crescent waxing) to finally just speckles of faded colour (new moon). This process of degradation could point to notions of disappearance or of emergence, which is reflective of my concepts in lost histories and traditions but also point to building memory which is what my practice aims to do.
Moccasin Project
This project is a series of synthetic moccasins adorned with oil company logos. Drawing from my Cree and Métis ancestral histories, I am currently exploring decorative and garment production histories of my Cree and Métis ancestries and how these traditions changed with the introduction of cultural exchange with settler peoples. According to the research put forward by researchers at the Canadian Museum of History, Métis women started adorning their garments with floral designs after contact with Europeans as well as due to the inter-familial relationships with the Cree nation. Adaptation and innovation with technologies and materials, which are recognized by Indigenous scholars such as Sherry Farrell Racette and Steven Loft saw the change by historic Métis artists from quills to imported beads. My produced concept imagines the future of North America with the continual over taking of capitalism and expansion of resource extraction sites and engages with the notion of Indigenous cultural traditions of adaption and continuities to explore the idea of inverting the traditional moccasin into a synthetic and non-disposable object of the future.
MFA Year 1/Semester 1
They say the first semester is the busiest. They say you have a lot of academic work that takes priority. They say studio time takes a bit of a hit. They were RIGHT!
The first semester of your MFA at NSCAD you are required to complete Pedagogy (a class based on teaching and learning practices), a seminar class, which I substituted so I could do a research/internship with the MSVU Art Gallery and Walking With Our Sisters (so I have to take that next year), and studio worth 6 credits. It doesn't sound like much but trust me it wasn't easy. Especially because in the middle of the semester you are encouraged to write a SSHRC grant application that takes far more time than you think it will.
So now that that is all over here is a synopsis of my studio practice…
In my studio I have been working on a variety of different approaches, alternative mediums, and attempting to expand my methods of practice. I have been experimenting with different mediums such as beading, gouache and books. Specifically I have been working on two very separate practices; continuing to explore plants and their symbolism, in regards to colonial histories, globalization, westernization and Indigenous knowledges, practices, and methods, and Elsie, a character that was created to speak to these same themes and concepts.
Elsie, the character.
Elsie is a character I created in order to talk about things I was having a difficult time saying in my previous work. Although conversations in my work have revolved around colonizing, aboriginal histories, westernization and globalization, I have never strayed from portraying subtle and gentle critiques using botanicals. Elsie was created with the intention of being loud and direct. She is an outlet, a statement, a friend, and a memory. Elsie is inquisitive, thoughtful, and outspoken (in her own way). Elsie is based on a historical photo of residential school students I found in the St. Bernard Indian Residential School (Grouard, AB) archive website. She represents every female student in the fact that her haircut is the same as all the other female students, her uniform mimics theirs and her quiet demeanor replicates each individual student. The name Elsie was my grandmothers who attended St. Bernard in the 40s, she passed from complications in 2008. Elsie represents every female residential school student but is individualized through her name.
Elsie, the painting.
Elsie is a 4 by 5 foot portrait painting of the character I created. She is painted in oil paint with little detail, simply a line drawing blown up. I was looking at artists such as: Clare Rojas, Yoshitomo Nara, and Barry McGee. Elsie is engaging with the viewer through direct eye contact and holding a sign that reads "Decolonize". She is critiquing multiple institutions: the university, the gallery, the space, the city, the province, and finally the country/ies. By engaging with the viewer she seeks to have the viewer question the space and institution. By not detailing who Elsie is in the title or in other modes of communication, during the exhibition, my aim was to reference the fact that so many residential school students haven't had their stories spoken about. So many of them were lost in the terrible histories of residential schools. Even today many residential school survivors don't feel comfortable telling their stories. With Elsie's quiet critique I aim to draw attention to these histories but also seek to promote change within institutions though this small act of resistance.
Invading Plants:
These paintings are an experiment that is in progress. My intentions were to form a conversation between the last series of paintings, titled It's Bigger Than This…, that depict endangered plants across North America and the current series that are supposed to represent invasive species across the country. It's Bigger Than This…is a series of paintings that portray different endangered plants in a realistic, naturalistic, and soft style. The paintings are perceived to be incomplete because certain parts of the plants anatomy are simply outlined instead of painted in; this is meant to symbolize the act of disappearance. The current series consists of sketches and paintings that portray the invasive plants are painted in bright, jarring, and noisy colors. My intension for this current series was to create a conversation between the two series. The current series is meant to be intrusive to the viewer, they were intended to 'steal the show' with color and vibrancy.
My intensions were met with disappointment; I do not think that the current series was successful. Alex and I have been talking and we think that the next step will be to revisit this intension but with an alternative method. I plan to make images (sketches, paintings, drawings, prints) that explore multiplicity. I will take an image of an invasive plant and multiply it several times on one plane. During the winter semester I will also be an exploring print media, I would like to experiment with both lithograph and screen printing in order to explore the theme of multiplicity in a new medium.
Craig Gallery 2016
It's been a great month. It was so nice to be given the chance to show my work at the Craig Gallery. Here are some photos...
Craig Gallery
New Studio
I apologize for not writing sooner. I decided to take September off and just focus on getting settled into my new place. Now half way through October I finally feel like I am in a groove and that I am fully ready to get back to work. I finished setting up my studio space this week- I am ready to write, paint and draw my days off away. I wanted to share some photos of my new studio space (which is my living room). It's a small space but thankfully I was made small so I fit quite nicely.
I am very happy with my space, I am very excited to see what I create in the coming months. I have lots of ideas and have started planning some out. I have a show coming up in March at the Craig Gallery in Dartmouth so I am working on some new works to include in the exhibition. Now that I have my space set up I am feeling inspired and ready to get to work! I'll keep you posted!
365 days to 30!
It's my 29th birthday! So I will keep with tradition and tell you about my yearly ritual. One of my best friends calls me "hyper organized". I get a great deal of pleasure from organizing and making lists. I love writing lists, writing goals, to do's, and anything else that can to be written down on a piece of paper in point form. To give you an example I have 4 working calendars and 2 journals that I write in on a regular basis, one visual and one 'dairy'.
I love organizing my day and time. Every year I sit down and write a goal list for the year. It consists of three categories; personal, art and financial. Personal includes travelling, happiness, health and fitness goals. The art category is usually the longest and it consists of applications, shows and production goals. Financial goals are just that - they are basically a run down of the debt I have to work towards and ideas of how to work on them (this is one I thought I would mention but not share too much info).
Travel - This year because of the residency and work I havent had much time to do any sort of travelling - with the exception of a four day jount around Toronto. Before this year my boyfriend and I went on regular camping and hiking trips so I am hoping that this year I will see more of that. We hiked Cape Chignecto last summer and we were hoping to do the other side of the Bay of Fundi this summer, but seeing as this summer is passing so fast we may have to postpone it to summer 2016. We really enjoy outdoor activities so some weekend trips are not far down the line.
Happiness - I wish to read more. I do read quite a bit but I find that since graduating from university I have lost patients with reading for a long period of time. I hope to improve this by making a list (obviously) and checking off the books I read. I try to think of things that will make me happy on a regular basis but once a year I try to think of a change that could possibly make the year better. Last year it was adopting my dog Jackson, the year before it was exercising more often and this year it's living on my own! As I briefly mentioned in my last post I am moving back to Halifax. This is the first time I will be living on my own and I couldn't be more excited. I found this article written by Lyndsay Rush a few months back and all I can think of is how awesome it's going to be. I consider myself a particular person (also known as anal retentive), I like a clean house, or at least I think I do and I am very interested in seeing if this renders true. I am beyond excited to decorate as I want to. One thing holding me back from decorating in the past was not wanting to take up shared space but now all the space will be MINE!
Health and fitness - The year prior to this I was working out at least 5 days a week. After I adopted Jackson I started going to the gym less and less. I was working a lot more, both at work and in the studio, and I didn't feel like I was spending enough time with him so I always felt guilty leaving him home alone unless I absolutely had to. He was too young to take for runs so we would basically just walk around town. Slowly I started loosing motivation all together. Now I have decided to pick up my running shoes again and work towards the Bluenose Half Marathon for 2016. I have been for at least 3 runs a week for the past month and I believe after my move I'll be able to develop a daily routine that will involve running at least 5 days a week. Stay tuned for my running schedule most likely to be posted in the next month or two.
Applications - This year I am planning on applying for a number of different opportunities. I would like to apply for my masters in fine art. I have four schools in mind; The Art Institute of Chicago, Nova Scotia College of Art and Design (NSCAD - the university I graduated from), OCAD (Ontario College of Art and Design) and The University of British Colombia. Other applications I wish to work on and send off this year are the Banff Residency application for fall 2016 and recently I came across an internship opportunity with The National Museum of the American Indian in New York. I will be working on these applications in between projects and work itself. I am currently working on a few grant applications just for my own art practice, I'll be sending those off before December.
Shows - This year I set a goal of two solo shows. Each year I like to think about what I am doing and what I think and hope I can accomplish. I already have a show placement at the Craig Gallery in March 2016, so that is one to count on. If I could find another space to show I will be thrilled. I would also really like to be a part of the Nocturne 2016, I have already started brainstorming ideas and locations around Halifax.
Production - I like to set goals about how much work I can get done in a year. I started this blog last year around the time I started the NSCAD residency. I have chosen to make this blog more of a priority in my daily life. One blog post a week is my goal for this year. Along with the hope of producing one finished art work a week (now it depends on the size and complexity of the piece but I will try to stick to my word). I really want to work on my colours in painting. I find that I still get a bit of anxiety when mixing colours for a painting and I believe that if I were to paint on a more regular basis this anxiety will lessen and become more of an innate practice.
Goals - I am not completely comfortable writing about my finanial goals but I thought I would just share a little bit. I have goals mainly centred around sticking to the budget I created and paying off my credit card and student debt. I also have a goal not to buy any clothes this year. For the past year I have worked at Luvly in Lunenburg and I have bought more clothes that I ever had in my life. I believe very strongly in the clothes Luvly carries and I haven't felt guilty about buying any one of their pieces. To explain a bit about Luvly I took this from their site; "Luvly in Lunenburg is a boutique that exclusively carries independent Canadian clothing for women. All of our designers are Canadian and their lines are manufactured in Canada. Many of our designers specialize in using reclaimed fabrics, while others focus on natural fibres such as silk, wool, cotton and bamboo." It was great working and learning from all the lovely ladies who work there and associated with the Burns Block (find out more about the building on at Luvly.ca). That being said though I have committed to not buying any more clothes for the next year - perhaps on my 30th birthday I'll go on a big spending spree!
And there you have it. My goal lists painfully explained (I am actually surprised you made it here!).
Special Offer
So the residency is coming to an end at the end of the month and I am in the midst of moving. If you are an artist you will know all about accumulating both art supplies, materials and pieces, while packing I have noticed that I have a ridiculous amount of stuff. At this point the less I have to move the better.
So I have decided to make a special offer to all of you who are interested. The images below are the paintings that are included in this offer - beside each painting is its original water colour painting. The original water colour painting is the preliminary sketch I did before starting this series (It's Bigger Than This...). The original is normally sold for $120 and the painting itself is sold for $840.00 but for these four paintings I am offering both of them for $840.00.
Please email me if you are interested, I would love to give them to a good home.
Story time
I have always loved botany, especially flowers. From as far back as I can remember I have always been drawn to them. I used to sneak into my neighbours yard and pick her flowers, she had an amazing garden. I would concoct potions made from plants I picked on the way home from school, I would pretend I was some sort of witch or medieval pharmacist. When I was a teenager, my high school boyfriend and I set out to find the rarest of orchids on the west coast. We made a list and would carry around referance books with images to confirm. We would take trips to the islands off the coast of BC and hike through the woods looking for orchids, documenting them and checking them off. They remain to be some of the dearest memories I have.
During my university career I was interested in movements such as Minimalism and Conceptualism, I was drawn to the underlining meaning and the symbolic use of images. I have also been very drawn to simplicity and strong lines. As well as taking fine art courses I grew more and more interested in art history, specifically Indigenous art history. I decided to pursue another degree on top of my Fine Arts degree. During my art history academics I was encouraged by my professor to look into my past and research my family history. My family, on my mothers side, is Cree and Metis and I was interested in researching where my family came from. I discovered through this research that my great grandfather was a medicine man in Sturgeon Lake, Alberta reserve, this resonated deeply within me. When I was in my fourth year I really wanted to take what I had learned about my family and sew it into my practice. I was in an advanced drawing course and we were to spend the entire semester working on one project. I came up with the idea of making an installation using framed watercolour drawings. The drawings were of botanicals from across North America that were used in indigenous medicine. This piece was entitled The Place. On the outside facing the viewer were grid drawings to symbolize my previous years of minimalistic interest and on the inside were botanical watercolour drawings of indigenous medicinal plants.
During my last year I grew more and more interested in westernization and colonialization, I developed a great interest and respect for Aboriginal art history. Artist's like Recebba Belmore, Carl Beam, Kent Monkman, Nadia Myre, Brian Jungen, and so many more, were, and continue to be, incredibly inspiring to my practice and my thoughts. After my first semester in fourth year I got a scholarship to go to South Africa and participate in the Art in School Initiative. I was given a studio space and assigned to work on something for the next few months. I decided to take my interest in colonization and apply it to a South African context. I used South African botanicals to tell the story of colonization and westernization. I made Botany Colonized during my months in South Africa. There is a total of 42 pieces, all pieces have two layers. The first layer is a watercolour drawing of an invading plant, it is painted in a traditional botanical illustration style to symbolize the English and Dutch colonial regime of South Africa. The second layer is a lino print of a endangered indigenous plant, I used the lino cut print in white ink to symbolize some of the traditional motifs of South African art. The white layer is hard to see and thus engaging with the idea of extinction.
About a year after I made Botany Colonized I got a placement at the NSCAD Community Residency in Lunenburg, NS. The residency gave me a great platform and space to produce work. I decided I wanted to explore the same sort of idea as Botany Colonized but in a North American context. I believe that there is a connection between the indigenous plants nearing extinction and how traditional aboriginal ways of life have almost vanished within our modern day society. The westernization of North America has exterminated a traditional way of life for Native North Americans. The residential school regime, reserve relocation, the stealing of land, the banning of traditional ceremonies, and so many other horrors that these people have endured, are just some of the reasons these people struggle to be seen. This, to me, is similar to how these plants have been nearing extinction, these plants are all endangered because of the expansion of rural and urban areas, because of the growth in agriculture and the carelessness of our society. I used these botanical paintings to tell the story of not only the demies of a beautiful ecosystem but also the demies of a beautiful way of life.
I thought I would post some photos of Erin and I's final show at the NSCAD Community Residency in Lunenburg. The show is titled FLUX. We named the show FLUX because we believe that as emerging artists we are constantly in flux. As we develop we take advantage of every opportunity to produce work. It feels as though we are constantly evolving and changing, moving and exploring, so we can produce work and do what we love. I am not sure if being an established artist is any different than life as an emerging artist but I hope to always stay in motion. I hope I always find myself evolving and changing to produce work and do what I love.
Fisheries Museum Mural
This was the biggest project I have ever completed, it was enormous, challenging, fun and extremely rewarding.
The Beginning
In early April I was contacted by the owners of Luvly (the store I work at here in Lunenburg) Leslie and Brian, to see if I was interested in designing a mural for the Fisheries Museum of the Atlantic. Leslie is the brains behind Lunenburg Community Network (LCN) which "develops and supports collaborative initiatives across sectors that contribute to community sustainability". Leslie and Hilda Russel, of the Fisheries Museum, had been discussing opening up the Lunenburg waterfront, where the museum is located.
The ultimate idea for this project was to open the waterfront to the public and make it an inviting and welcoming space for the community and visitors . The museum worked with Terry and TJ from Waterfront Development to draft some ideas; part of their final designs and decisions was to have a mural on the pavement that would outline the public space and draw people to the area. As the LCN does it gathered the organizations together to get the ball rolling for this project. The organizations involved were Board of Trade, Waterfront Development, the Town of Lunenburg, First Impressions, the Fisheries Museum of Atlantic and NSCAD Community Residency Program. After hearing about this project I was really excited to get started. I was excited because rarely, as an emerging artist, you given the space to do something as massive as this. The space for the mural is 61 metres in length and 9 metres in width, a total amount of 4000 square feet.
First Meetings
Following the preliminary meeting with Leslie and Brian, Leslie set up out first meeting with the Fisheries Museum staff to discuss what their ideas were for the mural and the space. Prior to this year the Fisheries wharf was fenced, this was one aspect that the new plan for the waterfront was going to address. The fence came down opening the waterfront up to the public in early June. This would provide a more open and inviting space for people to enjoy. The museum wanted to celebrate the opening of the wharf during the Be a Tourist in Your Own Town - a new event that offered discounts and special events to the people of Lunenburg just before the tourist season was in full swing. The idea was to get locals out in their own community and enjoy their town, with everything it has to offer. Be a Tourist in Your Own Town let you eat out at the best restaurants with a discount, go on a free walking tour to hear the history and stories of your town, kayaking tours were discounted, the Fisheries Museum opened their doors to the public free of charge that day and the list went on. You could experience all the tourist joys right at home. This weekend was also the unveiling of the murals design to the town of Lunenburg.
During the meetings with Fisheries staff it became clear that they wanted something interpretive, colourful and a design incorporating whales, specifically the blue whale. It was important for the staff to have something they could use while showcasing the museum and something that beautified the space.
At first the museum staff wanted me to incorporate all the whales found in the atlantic; fin whale, blue whale, humpback, orcas, right whale and sperm whales. At first the museum staff wanted me to include all whales in a colourful design. When I sat down and looked at the outline of the space I knew it was going to be impossible to fit all whales in this narrow space. If I were to add all the whales into the design the space would look cluttered and messy. So I focused my attention on one whale for the design. I also had to keep in mind that the museum staff would be maintaining the mural in the years to come, so the design had to be simple enough for someone to touch it up at the beginning of the season.
I came up with a few rough sketches and brought them into our next meeting. We were caught between two designs but we decided to go with the design that had the full outline of the blue whale and fun geometric designs. Here is the evolution in pictures of the design.
Even though this mural seems very different from my usual practice it has elements that are very relevant to the work I do in my studio. For one the male blue whale is going extinct in the Atlantic. In my botanical drawings and paintings my subjects are always plants that are endangered or extinct. The mural also contains strong use of squares which is a form that is reoccurring in my work for some time now. We were all very happy with the final design and we were all very excited to start the mural itself.
Layout & Execution
Gillian Maradyn was my partner in all this, she was my main women. Gillian is a student at NSCAD University focusing on ceramics and she works for the LCN during the summer months. Gillian organized all the material sourcing, documenting, and volunteer recruiting and organizing. It was awesome having Gillian working with me, because all the organizing was in her capable hands and I was able to focus on executing the mural completely and work my two jobs. I can't thank her enough.
With over 23 volunteers and a combined 95 hours of work we finished the mural in the first two weeks of July. It was an amazing effort from all the volunteers, Lunenburg Community Network, Fisheries Museum of Atlantic, Waterfront Development, Board of Trade, First Impressions and Gillian and myself. I hope this project leads to others like it and I hope you can all go and see it soon! Here's a video made by one of our amazing volunteers Steve Sim.
Lunenburg Community Bouldering Wall
In Lunenburg we are lucky to have such an engaged community. Ideas are easily spread through peers and neighbours. People band together and support one another until the idea comes to fruition.
This is sort of what happened with the Lunenburg bouldering wall at the community centre. Robin Scott had the idea of an after school program centred around rock climbing. It took him months to jump through all the necessary hoops but finally construction started at the end of 2014. The first I heard about the bouldering wall was at the dog park. I see the same faces, both dog and owner, quite often and acquaintances become friends quickly. One of my friends mentioned that the bouldering wall needed to be painted and that if I was interested I should contact Robin. So that's just what I did.
It was a great opportunity to engage with the community and to be honest I've never had the chance to paint something so big. As an artist I try to challenge myself in different ways, whether it be in my own practice or in a more community, collaborative environment. As a emerging artist I am not set on a specific environment, I don't know whether I prefer collaborative projects to personal studio projects, whether I enjoy commissions more than self directed works. Fortunately being an artist in resident allows me to explore both the collaborative and independent art expressions.
I had a great time painting the wall and it was even more fun seeing all the people who came down on opening day to try out the wall.


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A buzz from Naomi's bedside table broke into her despondency. She rolled over and checked her cell phone to see an incoming text message from her friend Emily. It read, "Meeting Candace downtown in half an hour. Wanna come?"
Naomi checked the time while she decided how to answer. It was about 7:30 PM, too early to shut down for the night, especially since the hour and a half she'd just trimmed out of her day with all that skipping made it feel like it was just before six. And hanging out with Emily might be just the medicine she needed…
"Sure," replied Naomi. "I could use some cheering up."
"I can do that," texted Emily. "Or I could make you sad, or angry, or just really, really confused… Whatever you need! ;)"
"Just happy today, I think."
"Suit yourself. :) I'll pick you up in 15."
The prospect of spending some time with Emily and Candace already had Naomi feeling a little better, even disregarding Emily's special ability to look into people's eyes and affect their mood. Maybe tonight would provide an opportunity for Naomi to take her mind off of her futile job hunt and her complete lack of life direction. Or in the worst case, it would give her some people to commiserate with. Emily and Candace were easy people to talk to. They understood Naomi, typically better than her mother did. And that wasn't Mom's fault: there was just a certain empathy that existed between specials, something a normal person couldn't really gain insight into.
Naomi swung her legs off the bed and stood, catching a quick reflection of herself in the mirror beside her bedroom door. Oh, right, the rips in her jeans… Mom was right about the scrapes; it would be best to clean them up a bit. There was time for that before Emily came. Naomi pulled her jeans off, tossed them on the floor, and replaced them with a clean pair. In the bathroom, she dabbed the dried blood off her knees with a wet cloth. It stung a little, but there didn't seem to be much damage.
The doorbell rang. From the bathroom, Naomi called out, "I'll get it!" but Mom was already there to let Emily in.
"Oh, hi, Emily!" said Mom. "How are you doing?"
"I'm okay," said Emily with her seemingly perpetual cheery smile. "And you?"
"Oh, I'm getting on fine, thanks," said Mom. "I hear you got a job at that little ice cream shop on the waterfront."
"Yeah, just some part-time hours."
"I bet they love you there… You must put a smile on every customer's face!"
Emily shrugged bashfully. "I do what I can. I mean, some people just don't want to be happy, no matter what, but of course the ice cream helps."
Listening from the bathroom as she pulled the legs of her jeans back down over her knees, Naomi had to remind herself that Mom knew about Emily's ability—well, one angle of it, anyways. Emily was pretty open about telling people that she just made everyone around her a little happier all the time. It was simpler than explaining the full truth, and a lot easier for people to swallow. That was something Naomi envied about Emily. There was no way for Naomi to put a positive spin on what she could do. Naomi's only real recourse was to keep the secret or deal with the uncomfortable stares.
"Hey Em," said Naomi, emerging from the bathroom.
"Ready to go?"
"Yeah, just let me grab my purse."
"Have you eaten, Naomi?" asked Mom.
She hadn't, and the reminder made her realize it. Her stomach growled ferociously. But Candace would be waiting… "I'm fine," said Naomi.
"Are you sure? I can warm something up and send it with you in some Tupperware."
"I'm okay," Naomi repeated. And I'm not 14 years old, she didn't add. She ducked into her bedroom, threw her phone and wallet into her purse, and joined her friend. "Let's go, Em." She pushed out the door, startling a crow that had landed on the front porch. It flapped up onto a power line, cawing in protest and peering curiously at her through its beady eyes.
Mom called after Naomi, "Call me if you expect to be out past 10:30, okay?"
"Sure," mumbled Naomi, showing Emily a private eye-roll. She slammed her car door closed a little harder than usual. "I wish my mom would stop treating me like a kid!"
"Moms are always protective," said Emily, starting the car.
"But I'm 21!" protested Naomi. "At some point she has to let me take care of myself, you know? It's not like I ask her to worry about me." She watched in the rearview mirror as Emily pulled the car away from the curb. Mom was still watching from the front porch. "I do enough worrying for myself…"
"Same old problems?" said Emily.
"Pretty much." Naomi rolled down the car window. "Is anybody in Victoria hiring students this summer?"
"I could see if the ice cream shop needs anyone else part-time."
"I don't need part-time. I need full-time hours, or I'm never going to save enough for tuition in September. I can't keep taking out student loans, either, or it's going to take me 10 years to pay them all back when I'm done. And that's if I can find a job after graduating."
"Something will work out," Emily assured her. "Just be glad you've got your health."
Naomi sighed. "Yeah, barely."
"What do you mean? Are you sick?"
"No. Nothing's wrong. Just…" And whether Naomi wanted to tell it or not, the story of the car in the cul-de-sac spilled out, and Naomi found herself reliving that moment, right down to the look in the driver's eyes. The more she pictured his face, the more real it seemed, like he was looming over her, dead set on smearing her across the pavement. "I could've died, Em. I could be dead right now. And I'm not even sure if I actually saw what I thought I saw—maybe it was an accident—but the thought that it might've been intentional makes it seem so much worse somehow. Scarier. Why would someone try to run me over? Who would do that?"
Emily was quiet for a minute. "And you haven't told your parents?"
Naomi shrugged.
"Because you don't want them to worry about you…"
Naomi sighed. "I'm going to tell them. I know I should. I just needed some time to process it, I think, and make sure I was okay first. Hanging out with you will help."
"You know, if you asked your mom," said Em, "I bet she'd say it was her job to make sure you were feeling okay, not mine."
Naomi didn't respond to that.
"Have you thought about reporting what happened to the police?"
"Not really," said Naomi. "Think I should?"
"They might be able to figure out who was driving, and maybe the guy's done something like this before, or they could make sure he doesn't do it again. Did you see the license plate?"
"I didn't have time to look. By the time I came back from skipping the car was gone."
"What about the make and model, or the colour even?"
Naomi shook her head and rested her arm on the ledge of the open window as she watched the crowds of tourists along downtown Douglas Street roll by. "I don't know anything about cars. It was blue, I think, and had four doors. That description would really narrow it down for them, eh?" A traffic light at the next intersection turned red, and Emily brought the car to a stop. Naomi watched a crow hop along the sidewalk and take an exploratory peck at the McDonald's logo on a discarded paper bag. It looked up at her, then flapped away over the traffic that had begun to cross in front of them on Johnson Street, one of the one-way streets that characterized Victoria's downtown. The crow circled past the cars lining the curb. "I guess it looked kind of like that one parked over—" Naomi stopped mid-sentence.
"Where?" said Emily. "Which one?"
"Em!" Naomi gasped. "Em, that's him!"

subset: commoncrawl


text:
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Love is hard work. You will get pissed, you will want to quit. There is no destiny, there is no "meant to be." There is you, and the person you love, and how much work each thinks the other is worth. If it's always easy, it isn't love. If it's never easy, it isn't love. If it's worth it, it's love. You'll know.
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Love is hard work. You will get pissed, you will want to quit. There is no destiny, there is no "meant to be." There is you, and the person you love, and how much work each thinks the other is worth. If it's always easy, it isn't love. If it's never easy, it isn't love. If it's worth it, it's love. You'll know.
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Car Window Tinting
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Twisty Noise Hoops
Twisty Noise Hoops-72 Pieces
Create a fun sound when you play with these Hula Hoops. These assorted striped color hoops are sold in a 72 piece set with 36 34 inch hoops and 36 30 inch hoops. Express shipping is not available on this item due to dimensional box size.$299.95


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Review of the Year 2010: Restaurants
Star-struck year
The year kicked off with a fanfare of Michelin stars for the industry, most notably for Alain Ducasse at the Dorchester, which became Britain's fourth three Michelin-starred restaurant. The Ledbury was the only new two-star restaurant in the list, while 18 establishments, four of them pubs, picked up their first Michelin stars.
Gordon Ramsay's troubles
It looked to be a triumphant year for GRH, what with the reopening of Petrus in Kinnerton Street and the Savoy Grill at the Mayfair hotel. But come April and one of Ramsay's most promising protégés Jason Atherton announced his departure from the group to pursue solo venture Pollen Street Social. His exit was swiftly followed by James Durrant in July and Angela Hartnett in October. Come November he was also without a chief executive after firing father-in-law Chris Hutcheson, who proceeded to take the newly reopened Petrus with him. The year hasn't ended so badly after all, GRH managed to grasp back the Mayfair restaurant after a "commercial settlement" with Hutcheson.
Noma tops El Bulli
Months after Ferran Adria announced the evolution of El Bulli from a three Michelin-starred restaurant into a culinary academy, the restaurant that had held the World's Best Restaurant accolade for four consecutive years finally fell from its top spot. Rene Redzepi's groundbreaking Denmark restaurant Noma was crowned the new global king of cuisine on the S.Pellegrino World's 50 Best Restaurants list.
Scores on the Doors gets revamp and national roll-out
Escaping the Government's quango cull in July, the Food Standards Agency proceeded with the roll out of the National Food Hygiene Rating Scheme, officially launching at Bluewater shopping centre in November. With the aim of replacing the many confusing hygiene rating systems, including the star-rating Scores on the Doors, with a single, standard system, the FSA hopes to roll out the FHRS to 167 local authorities by July 2011.
Pierre Koffmann returns to The Berkeley
2010 marked the year that Gordon Ramsay Holdings parted company with The Berkeley for good. Boxwood Café closed its doors in April, and was swiftly replaced by Pierre Koffmann's much anticipated return to the hotel with Koffmann's, at the original location of his esteemed former restaurant La Tante Claire.
Pop-up restaurants
One of the biggest trends of the year has to be the pop-up restaurant, kick started by Pierre Gagnaire's Sketch back in November 2009. By the end of 2010, pop-up restaurants had been erected by the Masterchef 2009 finalists; patissier Claire Clark at Harvey Nichols; Jason Atherton; numerous Michelin-starred chefs on the London Eye; the First Restaurant Group; restaurateur Brenhan Magee; and Rebecca Mascarenhas, in aid of Action Against Hunger's Haiti appeal.
SRA launches
The Sustainable Restaurant Association launched in March with promises of helping its members produce more sustainable businesses. It launched with 85 members already on board, including Leon, Carluccio's, and Le Manoir aux Quat'Saisons, and hoped to attract 1,000 by the year-end. However, with just 500 now signed up, the association is well short of achieving its aim. That hasn't stopped it from predicting a stable of 1500 members by the end of next year. Viva sustainability!
The great voucher debate
Restaurant vouchers – the savour of the casual dining market or the bane of restaurant operators' lives? In April, Britain's love affair with the restaurant voucher was showing no sign of waning, with numbers up 25 per cent on the previous year. By May, two-thirds of diners wouldn't eat out without a voucher. But while the humble coupon has been instrumental in encouraging diners to spend, spend, spend, operators are constantly being warned that the practice will force them to permanently lower their prices. By December, operators were urged to offer rewards for customer loyalty instead.
Rose Gray dies
River Café founder Rose Gray sadly died at the age of 71 in March, following a long battle with cancer. The revered chef who opened the Thames Wharf restaurant in 1988 with partner Ruth Rogers, was loved by many a chef that walked through her doors, including Jamie Oliver, Hugh Fearnley-Whittingstall and Theo Randall. She died just months after receiving an MBE in the New Year's Honours list, along with Rogers.
Nandos buys Clapham House
After experiencing a "volatile" trading environment over the past year, Clapham House Group, owner of the Gourmet Burger Kitchen and Real Greek brands, was sold to Nando's Group in September for £30.4m. Capricorn Ventures, the private equity backer of Nando's, said it would spend "significant investment and time" in reinvigorating the 53 UK GBKs and six Real Greeks.


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|Eunice Cho
Eunice Cho, born in New Jersey, is an actress. She voices the young Madison in Ice Age: Dawn of the Dinosaurs.
Beginning acting at seven years of age in New York, Cho first appeared in a sing-along video entitled Pat the Bunny. Not long after, Cho appeared in a number of commercials for Corvette, Lifesavers, Pizza Hut, Royal Caribbean and Verizon, as well as appearing a number of times on the show Last Call With Carson Daly, Saturday Night Live and Sesame Street. Upon relocating to California at thirteen years of age, Cho starred in the Cartoon Network live action film Re-Animated. Having graduated Orange County High School of the Arts in 2010, Cho was accepted into Brown University, set to graduate in the class of 2014.


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Beauty personality DIY
Beauty personality DIY world 3 design make to order a role experience specially to
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Meet Daniel, our newest member of the Active Chiropractic Team!
Sports Massage Therapist
Daniel is a Tampa Bay native and graduated from Florida School of Massage, Gainesville FL class of 2005. He is a Certified Sports Massage Therapist, meaning, he has extensive training in advanced sports massage techniques including Active Isolated Stretching, strength training, rehabilitation, and hydrotherapy with special emphasis on injury evaluation and treatment. He strives to educate the community about the many benefits of massage therapy in regards to preventing injury and restoring balance in the human body. He has provided tailored massage treatments for athletes all across Florida including the points of life marathon and the Holiday Swim Tournament. His technique is a unified integration of Swedish, deep tissue, trigger point, myofascial release and sports massage to relieve pain and reduce lactic acid.
Some of Daniel's hobbies include kayaking, Surfing, training and competing in triathlons. He is a USA Triathlon Association Member having completed several local sprint triathlons this year. He is also currently attending Saint Petersburg College with a degree path focusing on Physical Therapy.
What Should I Do About My Pain?
|Chiropractic Care and Neck and Back Pain
Your chiropractor is your primary resource for evaluation and treatment of neck pain and low back pain. The majority of these spinal complaints are caused by irritation and inflammation of muscles, tendons, and ligaments that help create the structure of the spinal column and provide for full mobility of the spinal vertebras. By locating regions of your spine where mobility is decreased, your chiropractor identifies areas in need of treatment. By restoring mobility to spinal segments, chiropractic care helps remove the source of neck pain and back pain.
An additional benefit of chiropractic care is the removal of nerve interference. Irritation and inflammation of spinal soft tissues negatively affects the normal function of spinal nerves. The ability of these important neural pathways to transmit information from your brain to the rest of your body is compromised. The result may be a wide range of health problems. By addressing the root of many of these problems at the source, chiropractic care helps contribute to your overall health and well-being.


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5 Great Teal Eyeshadows
5 Great Teal Eyeshadows
Here are five of my favorite teal eyeshadows! 🙂
Here are five of my favorite teal eyeshadows! 🙂
Discussion and debate are highly encouraged, and we expect community members to participate respectfully. When asking a question, please check the post above for information regarding pricing, availability, dupes, and availability, and keep discussion on-topic. If you have general feedback, an off-topic question, or need technical support, please contact us.
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I love UD's Flipside!
I own both MAC Teal and UD Flipside. I think Teal pigment is universally flattering (I am amazed at how stunning it is) and Flipside is better for lighter complexions. I tend to use Flipside as an inner corner shade or to layer colors. It's very cool toned!
I love teal eyeshadows!
oooh lovely selection of teals, its fast becoming my favorite color
I love flipside. I think I will get the surf USA one though… when it comes out.
Try using them to line the lower lashline and wear neutral eyeshadows.
I love teals. I really do like Sugarpill's Darling, Meow's GMTA, Fyrinnae's Catrina Cabaret, BH CM13… such fun shades!
I love the peacocky odalisque and mac moonlight night
Golds, greens, blues
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Published by: Maya
Resolution: 1024x768px
Label: Lighting Fixtures Design, More >>
Published at: Tuesday, January 03rd 2017 12:58:37 PM
Format: jpg/jpeg
Sconces have form that can`t be duplicated by anything else. For example, many people like to read in bed just before they go to sleep. A ceiling or table lamp produce a lot of light, but are not as efficient as a reading sconce light. Why? Putting the light directly behind you at the right angle illuminates the pages very well. Doorway sconces are another example of a hard to duplicate form. If you don`t have a roof on your porch, a sconce light is obviously the best choice. What other choice would there be?
Places where one can pick up one of these items vary. Home furnishings stores, lighting stores, flea markets, thrift stores, catalogs, websites, recycling centers, and classified ads are all potential sources. Many wall sconces can be refinished with paint, glitter, or whatever suits the decorator`s fancy. The possibilities are unlimited. A large number of grouped sconces can make a striking wall display.


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There's a long way to go yet – a lot of discussion, decision-making, planning and activity – but BCL is excited about re-establishing the Panguna copper and gold mine in Bougainville.
For some time, the company has been consulting with the Autonomous Bougainville Government, landowners, the Bougainville people and with the government of Papua New Guinea, which is a part owner of BCL.
From these discussions, we know there is a need to provide news and information about what we are doing now and what we want to do in the future.
There is also need for a lot more information about Bougainville to be made available within PNG and internationally.
We hope this blog will go some way towards providing this information.
Bougainville 24 is published and edited by BCL but you will find that it is not only, or even mainly, about the company.
It is about Bougainville, which gave birth to BCL, and about people, issues and events in this unique and beautiful island.
We welcome contributions, comments and questions about BCL, about what we're doing and about Bougainville.
Bougainville 24 will not avoid the hard issues and not fudge history. It will reflect on the sad outcomes of the first mining experience which ended in 1989 and also discuss what BCL is doing this time that is so different.
Each day, we'll post new information – so make a visit to this site a regular part of your day to keep in touch with BCL, with Bougainville and with our important relationships.
The blog is edited by Ben Jackson on behalf of Bougainville Copper Limited.


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Queensborough Community College projects
Think about what career is best suited for you, and where you want to study. Request more information now.
Think about what career is best suited for you, and where you want to study. Request more information now.
Think about what career is best suited for you, and where you want to study. Request more information now.
Find information about Queensborough Community College projects, and registering for discussion sections. Which college degrees give you the best chances of finding employment after graduation? Whether you are considering an associates degree, or a bachelor of business administration degree, your investment may pay off with a higher-paying job, or an in-house promotion. Concentrating on Queensborough Community College projects, for example, you may gain an advantage in corporate recruiting being done on-campus. Check with the business administration department for course registration deadlines, and project management program requirements. Please use the form above to request admissions info for Queensborough Community College.
There are a variety of approaches to project management. Critical chain management (CCPM) puts more emphasis on the resources required to execute tasks, while event chain methodology focuses on managing events that will affect scheduling. Regardless of the method you choose, the Small Business Administration advises listing out specific project objectives, create a working timeline of both materials and personnel, and monitor all required costs as the project proceeds. Project control means keeping on-track, on-time, and under budget.
A project manager, therefore, is responsible for determining project requirements, and managing all elements of the task. Project management software is available that will help to organize both yourself and your team. Depending on the sophistication of the software, it may include estimating and cost control, decision-making trees, and a workflow analysis. Over the course of any project, the requirements may change mid-stream, without prior notice. Changes can be the result of necessary design modifications, altered site conditions, material availability or lack thereof. Finally, a formal, compliance-based audit may be conducted by upper management after completion. Beyond major requirements within the business administration department, you may consider Prairie State College GRE test scores as a complementary elective to your primary course of study.
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Heidi Wilson – Learning to Flourish
Posted by Rodan + Fields on Thursday, August 17th, 2017
Heidi Wilson gave up her career as a veterinary technician when her husband, Malcolm, joined the Army, and although she loved being home to care for their kids, she felt that something was missing. She didn't have a pursuit to call her own, and she wanted to contribute. "I felt I could be doing more for my family financially. I knew that we probably needed to be a two-income household, and I wanted to give my family choices in life." "I ... Continue Reading


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Flutter and Flash 10
Anyone find a fix for this and their SWFupload issues?
The image browse buttons are currently broken if you upgrade to Flash 10. I dug around for awhile, upgraded, upgraded wordpress, etc etc to no avail.
Heads up though, if you do upgrade, be careful, as it will blow away your flutter_files directory. Totally frustrating and embarrassing to my client.
Whats odd, is that the same SWFUpload stuff that is in wordpress works for 2.7 with Flash 10. It's something wrong specifically with Flutter's implementation.
Just thought I'd throw it out there and pray for an answer, lol. Asking my client to downgrade to Flash 9 sucked =(
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Westin Las Vegas Hotel & Spa
It's likely you've heard of the "Westin" brand before. When you stay at one of their hotels, you expect good service, a comfy bed (so comfy, it's got a divine name: the "Westin Heavenly Bed") and a squeaky clean room (OK, we're exaggerating here...your room won't squeak, but it still should be in very good condition). That's the nice thing about certain brands -- you can be confident they'll maintain certain standards.
So picture a typical Westin hotel. But now imagine that it's located a mere two blocks from the world-famous Las Vegas Strip. Ta da...jazz hands...and any other form of exclamation you can think of: You've got The Westin Las Vegas Hotel & Spa.
Situated on Flamingo Road, near Las Vegas Boulevard (which, by the way, is one of the busiest intersections in the city), you're practically a hop, skip and a jump from several major megaresorts -- like Bellagio, Bally's, Caesars Palace and The Cromwell. You're also almost next door to The LINQ Promenade (you might even catch a glimpse of its signature attraction, the High Roller observation wheel, from your window).
In addition, if you stay at The Westin Las Vegas Hotel & Spa, you can look forward to a combination of relaxation and laid-back fun. The relaxation comes from the Hibiscus Spa, which has a sauna and steam room (you are allowed to use these as part of the resort fee). This spa is a great place for head-to-toe pampering. Enjoy a variety of massages, body treatments, facials and salon services -- like the Tranquil Escape Detoxifying Mud Mask, which you may need to help you recover after a wild night on the town.
You'll find the hotel's outdoor heated pool just a few steps from the spa. Four private cabanas and plenty of deck chairs surround it. What better place to while away an afternoon?
Alternatively, if you want to keep up your exercise schedule, you can do so in the fitness studio. Burn off calories on an array of treadmills, stationery bikes and elliptical machines.
After your workout, or really any time you feel a hunger pang, head to Savona. Open 24 hours, this restaurant features American-style cuisine for breakfast, lunch and dinner. Plus, there are daily specials, a kids' menu, late-night eats and a variety of desserts.
Coffee, pastries and sandwiches are also available around the clock at Starbucks, which is located next to the hotel's gift shop.
Unlike a typical Las Vegas hotel, the Westin Las Vegas Hotel & Spa is non-gaming.
The Westin Las Vegas Hotel & Spa is also known for catering to business travelers. There's an excellent business center here as well as plenty of space for meetings, conventions or special events.
A quiet retreat with proximity to one of the most exhilarating streets in the world (and all of its wonderful attractions), The Westin Las Vegas Hotel & Spa not only has the rep, but much more.
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The resort fee includes:
- Wireless internet access throughout the hotel.
- Daily newspaper.
- Access to fitness center.
- Access to sauna and steam rooms at the Hibiscus Spa.
- Bottled water in room.
- Incoming faxes.
- Access to pool and spa tub.
- Unlimited local and 800 calls.
- Airline boarding pass printing.
- Notary services.
- Resort fee listed includes tax.
Offer subject to change. Prices do not include taxes and fees. Based on availability.


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JNP-Mfg is a responsible plastic injection molder who has specialized in mold manufacturing and molding since 1983, possessing a number of experienced technical staffs engaged in mold manufacturing and molding and state-of-the-art manufacturing facilities in Shenzhen, China. Our Products/Services: - Plastic Injection Mold Design - Plastic injection Mold Fabrication - Plastic Injection molding - Secondary Operations after molding - OEMs are welcome Our Competitive Advantage: - We are specialized in making injection molds and plastic parts - Prompt response (respond within 12 hours) - Complete quality control system for every stage of mould-building or moulding. - Competitive Prices - Adavanced Online Project Tracking System; - Short Lead Times: 5~9 weeks for mold fabrication after confirmation. - Rich Experiences in exporting molds to overseas markets.
Contact person:Paul
Country:China (Mainland)
Street address: 166 Baigang Road North, Huizhou, Guangdong, China (Mainland) /516023
About Us - Service - Payment - Links-Free Products - Contact Us - Sitemap - Add to favorite


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