- 6 days ago
In this video we visit the artist Donnie Molls in his studio in Los Angeles. Donnie Molls is a Los Angeles-based contemporary artist (born in 1970 in Redwood City, California), known for his innovative mixed-media works that blend photography, painting, and more recently, AI-generated imagery. As a self-taught artist, he has developed labor-intensive processes, including early use of hybrid photographic techniques and chemical photo developing methods, often exploring themes like the southwestern desert landscape, migration, family oral histories, Latino heritage, and cultural narratives.
In this interview, Donnie Molls talks about his beginnings as an artist, LA art scene influences, AI paintings as well as old-school techniques, desertscapes, lowriders - and bobcats!
Studio Visit with Artist Donnie Molls. Los Angeles, March 4, 2026.
In this interview, Donnie Molls talks about his beginnings as an artist, LA art scene influences, AI paintings as well as old-school techniques, desertscapes, lowriders - and bobcats!
Studio Visit with Artist Donnie Molls. Los Angeles, March 4, 2026.
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CreativityTranscript
00:00Hello, hello. Hello, hello, Donnie. Yeah, last time we met, or last time I filmed something was at CMA Gallery
00:09in Los Angeles.
00:10I had a show at CMA Gallery, 2024. It was called Oral History. And it was early when early AI
00:21just started.
00:22So I thought, why not dive into it a little bit and use this process, not be against it.
00:30So what I did was, I had all these stories my grandfather told me throughout the years of him growing
00:36up in East L.A. in the 1920s and 30s.
00:40But unfortunately, we had no cameras or no photographs of it.
00:45So I used AI to generate the stories that he had told me of all these times in East L
00:53.A.
00:53And AI generated these, what it thought meant. Didn't know how to use language. It didn't know how to use
01:03slang.
01:04So it would generate, like the burro was the donkey. So it would generate two-headed donkeys for some reason.
01:14And people in these, if you really look at the works, they would have three legs or the feet would
01:22be two left feet.
01:23Yeah, the cars had, you know, two fronts.
01:26Yeah, the cars would be two fronts. You know, I'd put a year car in. I would tell it a
01:31year of a car that I wanted in the picture or a year, you know, that my grandpa had.
01:37And it didn't know how to generate that in a good way. So I used all that in this story
01:42because it plays on how now AI is generating very good.
01:49And it's, you know, it's changed throughout the years.
01:55Tell me about, when you began with this kind of work, you didn't use AI. You had different alternative techniques
02:03or older techniques.
02:04I've always been a photographer. It's been the main form of my imagery.
02:08And I've always been into photography and the science of photography, light, camera.
02:13So I've been, I think, more into photography, but more than painting.
02:17But I want to mix the two because I've always loved painting. I loved studied art and painting and wanted
02:23to get further with it.
02:25But I just didn't want to be a photographer. So I'm mixing the two.
02:29So using the science of emulsion, silver, gelatino, bromide on canvas.
02:35So that's the oldest form. That's the degre type.
02:38So I've learned all about that and the process and how to use this process and transfer.
02:43So it becomes my drawing, in a sense, the ghost image.
02:46So what you're seeing behind me is more of ghost images.
02:49And then I go ahead and start painting on top of it and eliminating and fixing and generating what it
02:57is in the painting.
02:59Tell me a little bit about, you know, how did you get into the art business?
03:04When did you realize that you want to be an artist?
03:08Young age, a kid, more so a kid.
03:10I always loved drawing.
03:13I wasn't, nobody ever taught me or I wasn't around it.
03:17So I didn't know anything about it.
03:19I remember working in construction.
03:22I was a construction worker.
03:24And I remember talking to a friend about being an artist, what it would be like to be an artist.
03:31It was kind of a dream more so back then.
03:33And we started getting into it and painting.
03:36And I started diving into, this is probably when I was 18, started diving in more into art, like learning
03:45about it.
03:46Because nobody ever talked to me about it.
03:49Nobody ever took me into a museum.
03:51My father wasn't into art.
03:53It was construction and building and how something's constructed.
04:00So, so my friend, Jeff Slingerland was his name.
04:05We, you know, worked together.
04:06It was like my brother.
04:07And then he eventually, you know, I moved to Europe.
04:15I ended up getting a job in the fashion industry.
04:18I kind of did a switch.
04:20I was in construction.
04:22Somebody took a picture of me, said, hey, why don't you, you know, go to this agency.
04:29And I went to this agency.
04:31And I didn't tell anybody, but ended up getting a job, booking it.
04:35The first job was with Levi's.
04:37So I'm with Bob Haas all week.
04:39And I'm looking at all the artwork he has in the building in Levi's Plaza.
04:44And I'm starting to look at it and go, wow, that's amazing.
04:46Look at this.
04:47And he's telling me the stories of it all.
04:49Warhol and what his collection is and how he collects art.
04:53So to see a person collecting art, I was like, started to get interested more so into it.
04:58And I got the bug.
05:01Moved to Europe.
05:03End up going to Milan.
05:04Working with great photographers, learning photography with Bruce Weber, you know, Greg Gorman.
05:12Many great photographers learning about lighting and art, you know, how things are lit in a production world.
05:20And then also working with Armani, Calvin Klein, all these things.
05:25Seeing how a business is run as well.
05:27Like these big businesses.
05:30So in the sense, I was like, okay, how could I take art in that level?
05:33And I know, I look at these artists that I've admired for years.
05:40Robert Rauschenberg and, you know, Sigmar Polkje, of course.
05:48Early on would be probably, yeah, Rauschenberg.
05:55I knew Rauschenberg, Basquiat, you know, Warhol, of course.
06:01All the ones you've seen as a kid.
06:06So I started in Europe.
06:12I went to art school in Spain.
06:15Put myself in the Picasso drawing school.
06:19And it didn't go very long.
06:23I did probably like a couple months and then I had to move.
06:26So I only went for a couple months to the Picasso drawing school.
06:31And my art career kind of, I just took it on in myself.
06:35I was like, I'm going to go see the Goyas, the Miros, the Dali.
06:40You know, so I lived in Spain for about two and a half years.
06:44And that's where more of the influence started coming together.
06:47I went to where Figores and all these places where Dali painted and Picasso painted and kind of saw the
06:55life they lived.
06:56And then I started, I studied with a painter.
07:02He was a street painter, but very amazing.
07:04But he traveled around and I thought that was great.
07:06Wow, this guy was able to travel and paint and sell his paintings.
07:13So I, you know, got the bug then as well.
07:18Came back to Los Angeles and started in on my art.
07:22Started creating and I think I was doing photo transfers was kind of my first thing I was doing.
07:29And I did more, they were more very religious based because I just came back from Spain and it just
07:36had an old world, old wood feel.
07:39And it was all on wood and taking the photographs I've taken there and then transferring them on.
07:46And, you know, and actually putting them in boxes and lighting them and doing interesting, you know, interesting things with
07:54them back then.
07:55Was it difficult when you came back to move into the art scene to get representation?
08:02Yeah, I mean, I was lucky to where I was doing it.
08:06And then I, somebody at LACMA saw something I was doing.
08:10It was like, oh, that's interesting.
08:11Let me, let's do a show.
08:14So right from the beginning, I kind of, we did it in a bar on Fairfax.
08:19It was called Max's Bar.
08:22Um, and it was, uh, and I, so I threw together a show.
08:26I was like, was my first show was in a bar, hanging it on the walls in the bar on
08:30Fairfax.
08:31Um, the place is still there today next to John and Vinny's and, uh, right in that little section of
08:37Fairfax.
08:38So she threw this big thing and it, it, it went well.
08:41Well, I remember a lot of people showed up, people bought a lot of, you know, so this was in
08:4896, 1996.
08:51Um, so people, I had, uh, you know, people collecting back then.
08:56And then, um, I remember throughout the night, she, we had, there was candles and everything in the room.
09:05And I remember part of the night was she, uh, she went down to talk to somebody in her hair.
09:12This is the curator at LACMA and her hair got caught in the, in the flame and it caught on
09:18fire.
09:18And I remember her whole hair, the flames went up really high and we started pouring beer and water on
09:25her and tapping her out.
09:27And all these people ran over and, uh, and we got her, you know, basically singed all her hair.
09:34So, um, after that, I think she moved to Mexico.
09:37She felt embarrassed or something.
09:39So my curator at LACMA went away and, uh, and I, so then I just started painting more.
09:47It was like, okay, I got to find representation.
09:50Um, and, uh, I eventually found, I did a residency in Laguna in the late nineties, early 2000.
10:02That's kind of where I first started full-time being an artist full-time.
10:07I did a residency, um, at a place called Seven Degrees in Laguna.
10:13Uh, and then from there I got representation by Peter Blake gallery, which was the biggest gallery there.
10:19Seven Degrees had me at first, but then Peter, I went over with Peter and it was, um, yeah, it
10:25was really good.
10:26So I had, uh, lucky, it was lucky there.
10:30Did the, uh, the Los Angeles art scene influence a lot?
10:35Uh, yeah, it, uh, I mean, yes and no.
10:39At first, at first it was New York cause back in the early 2000, everybody was in New York.
10:46And it seemed to be New York was a bustling, more bustling scene, uh, than L.A.
10:52But then as time went on, everybody started coming to L.A.
10:58The, the art scene started to change in L.A.
11:01So luckily I stayed, I was here and, uh, and I always loved because of the light.
11:08I mean, we, uh, I paint outside.
11:10I'm able to, to work outside a lot, um, in a beautiful environment.
11:16Uh, L.A. just has beautiful palm trees.
11:20I mean, I've always, another big fan.
11:22I've been a fan of Ed Ruscha's work since the beginning as well.
11:26He's been a big influence on my work.
11:28Um, so yeah, L.A. has just always been a great place to, to be in the art world and,
11:34and start here, you know.
11:37Did you see a lot of, uh, art, uh, art shows, uh, during Freeze Week?
11:41Uh, this last week, um, yeah, I did.
11:44I went to a few, went to a few galleries and a few shows.
11:47Uh, I mean, again, Luke Timons.
11:50I saw the Luke Timon show at the David Zweimer Gallery and I've always been another big fan of his
11:57work.
11:58Uh, I think I, I did a residency in Amsterdam and I had one of the museums come and, and
12:03this was in early 2000,
12:05tell me about him and introduced me more to his work.
12:09And, uh, got to really know, you know, see, I've seen a couple of his shows and museum shows.
12:16And so to see and meet, you know, it introduced this time was a, it was a great week, you
12:23know.
12:24Um, what are you working on at the moment?
12:28Uh, um, I'm working, uh, so right now I'm working on a series called Open Doors.
12:33But it's about taking older work, uh, older desert scenescapes.
12:39But I'm using more in a dot pattern.
12:41It's about the printing aspect of how we all look at things in print.
12:46And how we're always, always analyzing thing in print and prints now going away.
12:52Everything's digital.
12:53So we don't see that much print anymore.
12:56So I'm trying to take it in kind of an old form of print to have a look of a,
13:01like a vintage print or something old, something nostalgic, I guess.
13:06And you said the desert is one of the scenes?
13:09It's a desert, but then there's also not LA scenes.
13:12And I'm, I'm, I'm, I'm working through it right now.
13:14Yeah.
13:14It's still a work in progress.
13:16Yeah.
13:16So I'm trying to do is, you know, just work through pieces.
13:19And, um, you know, usually I work on canvas and, and bigger work.
13:24So for me to compact and do it on paper, this is kind of my first works on paper show
13:30really to, to, to, to be truthful.
13:34I've, I've only do works on paper a little bit studies, and then they go away.
13:39They never really get sold or seen because everything gets made on the canvas in a bigger format.
13:45Yeah.
13:45Yeah.
13:46Um, I just had a question, just, um, uh, forgot.
13:52Um, how do you work?
13:55You know, um, we see a lot of, uh, I think photos.
13:59Yeah.
13:59And then you do studies, you know, I do studies.
14:02I, I try to pull things.
14:03So, um, I take most of my images, I'm, I'm, photograph them.
14:08It's places I've been, moments I've seen, uh, images, you know, I see.
14:14And then I take that and start to play with it, manipulate it in Photoshop if I need to, or
14:19lay it out differently in Photoshop.
14:22Um, and then, uh, so I'm working on, yeah.
14:27So I just throw up images to kind of give me a board, a sounding board or a working board
14:31to work off.
14:32And are you still working with AI or is, was that just a moment?
14:39Just a moment.
14:40I, I haven't really, I kind of pulled away from it.
14:43Um, I'm, I'm, I am working a little with chat GPT when I, when I do have questions.
14:50So AI I think was more of that moment.
14:52Cause it was so brand new that it was just like, I wanted to embrace it at that moment.
14:58Um, but every once in a while I will put something in AI and have it generate something, but, but
15:05not as much lately.
15:06I think this year I kind of stayed away.
15:09I went back to the old form.
15:11I went back to the raw, you know, contact sheets and going through the contact sheets again and then finding
15:17stuff and scanning them.
15:19And then now manipulating them for the show.
15:22Wow.
15:22It's difficult to choose, you know, if you, um, do an exhibition or choose the work that you want to
15:29produce.
15:30Uh, yeah.
15:31And do you have a lot of photos now?
15:33Which one do you choose?
15:34Is it?
15:34Yeah.
15:35That's, that's, that's my problem.
15:37And I had that this morning late last night.
15:39I got, I mean, last night I was printing negatives and then I, I looked and you could go, I
15:45think, um, you could go many different ways.
15:50And I'm trying to just lock it into one thing right now.
15:53So yeah, it can be a difficult thing to really choose and, and, and, and have the dialogue be one
15:59thing, you know, cause you can go everywhere.
16:02You can.
16:03Um, so, but this is more of America, you know, again, I was, I was looking at sign signage.
16:10I have a lot of signage and I haven't, I'm starting to do those and then I have to pull
16:14back and I may do, I may print another print on top of it as well with the sign.
16:21I may do something like that in color that may throw it off a little.
16:25So these are kind of more of the raw studies underneath.
16:28These are the start of, um, um, did you travel specifically for this project or did you, do you just,
16:34you know, I've been traveling for years on this and this has been kind of, I pulled out old archives
16:41probably from the like early nineties.
16:45Some of them are early nineties.
16:47Some of them are newer, um, you know, throughout its kind of gamut of everything.
16:52Even I think the, the newest one was the, uh, working on those, the cat, I think was the, this
17:02was this, this week, which was the, um, Bobcat.
17:09The, so the Bobcat came to me this week and I said, I was like, okay, I gotta do, you
17:14know, so it came into the show.
17:16So I'm, I'm trying to work it into, into the show.
17:20Um, the cats are always good.
17:22Cats are good.
17:23I don't know why everybody loves a cat.
17:26So Bobcat.
17:27And I haven't seen the Bobcat for 15 years.
17:30He hasn't, I haven't seen him.
17:31And the other day he came by and I saw him through my window.
17:34So I went outside and he, he, he let me get a picture of him.
17:39Um, for a moment, we had a moment together and then he's gone and then they disappear and you won't
17:44see him for another 15 years probably.
17:46So the Bobcat was a rare, rare occurrence on that.
17:50Yeah.
17:52Um.
17:55Yeah.
17:55If I, you know, um, your images, um, I, I like really, um, the, um, exhibitions that you did at
18:05CMA, uh, gallery.
18:06And I think the first time, yeah, I saw it at, uh, at Cologne.
18:11I think that was the first time I saw your works.
18:14Okay.
18:14It was more of the desert work.
18:15Yeah.
18:16The desert work.
18:17Yeah.
18:17And, um, I did the, uh, yeah, that was, uh, the desert scapes from really well in Cologne.
18:24And it, it was just, um, what was the name?
18:28I forget the name of the show.
18:30We'll cut that in later.
18:31Yeah.
18:32Anyways.
18:33Yeah.
18:33It was, uh, it was a bright show for me.
18:36Lots of color.
18:37Lots of, uh, big palm trees and, and it just brought, it's California.
18:42It's something I've, I see every day and I live every day.
18:46So it's trying to bring that to other people.
18:50Yeah.
18:51For me it's, as European, it's fascinating.
18:54Exotic.
18:54Yeah.
18:56And also, you know, uh, last time you had this, um, low rider, um, guy.
19:02Yeah.
19:03What's his name?
19:04Yeah.
19:06He was in front of the show.
19:07So the, yeah.
19:09So history of two is cars.
19:11I've always into cars and, uh, I always have a, you know, car piece.
19:16Low riders have been part of my background and heritage, always working on cars.
19:21I was taught how to work on cars and build cars.
19:24So it's a big part of my work.
19:27It is a big part.
19:27Cause I'm always, I always have cars in front of things.
19:31And I love, I love a nice car.
19:34It's a piece of art as well with a building.
19:37So, yeah.
19:38So it's in my mind, I'm like, Oh, two pieces of art, a building and a car.
19:43I mean, how about it?
19:44So sometimes I'll isolate the two.
19:47Um, it was funny because last time, um, I was here, uh, and during the show you had the,
19:54the Peterson also had this low rider show.
19:56That was really, uh, fantastic.
19:58Yeah.
19:58As you said, it's really a piece of art and now it happened.
20:01Uh, guys, we, yeah, it's, uh, we wondered when it will happen, but it's, it happened.
20:07Um, yeah, uh, that, that's, um, that was real, uh, really fascinating.
20:13Um, new shows.
20:17Um, can you tell us a little bit, uh, when, when will these, the new works be ready?
20:22And, uh, here's the car.
20:24Oh yeah.
20:32The new show is coming up.
20:34Um, we are, this will fall down as well, but that's okay.
20:39Uh, the new show is slated for, the new show is April 18th.
20:44It's, it's about open doors and new construction.
20:47As you can see, the studio is getting tore apart.
20:51Everything's kind of in new construction.
20:53So open doors is kind of a new beginning for all the work and everything I've been doing
20:59is, you know, you had a, I mean, you have a lot of experience in, not only in the artistic
21:09life, but, uh, in general, in life.
21:13Yeah.
21:13I mean, I, I, I, my mind works differently.
21:16I, I like to figure things out.
21:18I'm a tinker or a DIY guy where I could see something, know how it's built and re and do
21:28it and rebuild it.
21:29So I'm, I'm very hands on with all my canvases.
21:32I make all my canvases.
21:34I make my stretcher bars of my wood, you know, make all my frames.
21:38I like to do everything, um, everything myself.
21:43You know, I, I don't have a lot of assistance yet, but yet, but, uh, a lot of it, it's
21:50all
21:51hands on right now, all hands on.
21:53And so, and that's the way I do everything, uh, building every, everything I've been hands
21:58on lately.
22:00Yeah.
22:01Yeah.
22:01You have a lot of, uh, work here.
22:03I mean, beautiful, uh, space here.
22:05Yeah, thank you.
22:06It's coming together.
22:07It will be hopefully by another year, we'll be together once I finish all the details.
22:15You're never finished.
22:15Never finished.
22:16I think that that's also the point, you know.
22:18Never finished, yeah, yeah.
22:18If you're finished, then you're dead, you know.
22:20Yeah, yeah, yeah.
22:21It's good to have to, to do some work.
22:23Yes, it's a never ending project.
22:25It's a life.
22:26I've been here for 32 years on the property.
22:29Oh, okay.
22:30So I've been here for 32 years, um, and just working through what it is and what it's going
22:37to be and, uh, you know, trying to make my wife happy.
22:42So she has a great place to be in and live and my studio will get moved back over to
22:48the other house and then I'll move my studio again and I just kind of roam as I go.
22:55Work, work where I can.
22:57Yeah, I'm really curious to see and excited.
23:01Looking forward to your shows, you know.
23:03Some sheetrock.
23:03I mean, the, yeah, it needs to be redone.
23:10It's, uh, it's, uh, why so many studs in this area?
23:14I don't know.
23:15We gotta do this right.
23:17So it will be done right.
23:20The German-Mexican in me is always, you know.
23:23Yeah, tell me a little bit.
23:23You have German-Mexican.
23:25Yeah.
23:26Tell me a little bit about your...
23:27So my father's German.
23:29Um, he was born actually in America, but his, his father was from, um, from Bonn, Germany,
23:37outside of Cologne and, uh, they came over, I guess, around the war and, um, in the thirties.
23:47I think somewhere in the thirties.
23:48And then, uh, they moved to Wisconsin, which is all the Germans.
23:52And that's where all the family's farming.
23:54Very like, much like Germany.
23:56It looks, you know, exactly like Germany over there in Wisconsin.
23:59So all the Germans moved there.
24:02Um, and he was raised on a farm and then he moved to California.
24:06He was the only one that moved to California.
24:09Well, my aunt actually moved as well with him, um, when he was 18.
24:16And he got, he was, uh, married, had a baby.
24:20And then she left back to Wisconsin.
24:24He, uh, ended up meeting my mom who was Mexican, lived in Hayward, Saleandro area.
24:32And, uh, and so he married into the Mexican side of the family.
24:36So, you know, as, uh, Cheech Marin said, uh, you're a, you're a, you're a beaner snitchel.
24:43That's good.
24:45Um, yes.
24:46So I'm, uh, so I'm always, uh, get the work, you know, very, very, you know, very regimented
24:54about my work.
24:55And the other part of me wants to take a nap.
24:58The Mexican side wants a nap.
24:59The other one wants to get it done.
25:01So the German side.
25:02Yeah.
25:02It's good.
25:03You have a nice, you've built a nice pool.
25:05Yeah.
25:06For, for the, as German, you know, and, uh, as Mexican, you, you can enjoy it too.
25:12Enjoy the pool.
25:13I can enjoy outside.
25:14And then, uh, for right now, the inside's coming together.
25:17Good combination.
25:18Yeah.
25:19It'll be coming.
25:19It's coming soon.
25:20Coming soon.
25:21Yes.
25:21In the next couple months after I get the show done, I need to get the show done first
25:25and then back to building.
25:27Cool.
25:28Perfect.
25:29Yeah.
25:30Um, do you want to add something?
25:33The other thing I probably should talk about is the, uh, you know, it's all about the finish
25:38too.
25:38It's, it's getting layers of oil on top of all this.
25:43And then it's also my finish is car enamel.
25:46I use car enamel for my finishes.
25:48How did you do it?
25:49So that's why everything, I started doing this, uh, a while back.
25:52So it's the same way as you're painting a car.
25:55So getting that nice finish on there, which seals everything too.
26:01It seals the oils and these things become very UV protective.
26:07And, and it's like a car can be on the sun and just, you know, I think hopefully lifetime
26:13wise, it lasts a lot longer because I used to use, uh, just the art, whatever they had
26:20at the art store to do the finish on it.
26:22And I noticed after years it would kind of flake away or chip away.
26:27And I'm like, why is that?
26:28You know, that shouldn't be.
26:30It's just supposed to last for 50 years, a hundred years without having to put another
26:34finish on it.
26:35So I thought, well, the car enamel was a good way to finish out the painting.
26:40Interesting.
26:40Yeah.
26:41Cool.
26:42Other, other techniques that you want to disclose, you know, other tips.
26:47Yeah.
26:48I mean, um, so, uh, a lot of the stuff, like I said, it's, it's done in the dark room.
26:55So I'm, I'm very scientific.
26:57When I get into the dark room, nobody gets to see that.
27:00It's just a process of, you know, old school dark room.
27:03You're in the dark, you're transferring things, but I'm transferring things on big canvases,
27:09six foot by, you know, seven foot canvases, which is not easy to, to, to do all the fixes
27:16and emulsions.
27:17And the way I do it, you know, it's, I haven't seen that many people doing it that big.
27:23So it's kind of my own thing.
27:25Yeah.
27:27Do you still work with digital, uh, stuff?
27:29Yeah.
27:29I still work with digital.
27:31I still do digital.
27:32I mean, everything's digitized now.
27:34So the way I digitize it now is I go in the computer and then create a negative via the
27:40computer, um, which is part of the process, you know, to, to sit there and, and edit through
27:46and, and, and make a negative to know how the light's going to read when you do go in the
27:53dark room.
27:55So technical, again, another technical form.
28:00Yeah.
28:00So many techniques nowadays to choose from, you know, uh, AI, then, uh, you know, all the
28:05old techniques.
28:07The old techniques.
28:08The old, old techniques.
28:09The old, old photo technique.
28:11And then the painting is the oldest technique, you know, to sit and draw it out and paint,
28:16you know?
28:17So to mix them all, I think it's mixed media is what I do.
28:21Yeah.
28:23Yeah.
28:24I mean, on the one hand, it's, uh, some, sometimes, sometimes a little bit too much,
28:28but, uh, I mean, uh, we are in a lucky situation that you can choose.
28:33And, uh, um, you know, I was at the, the Getty, um, three days ago, Getty Villa with the old,
28:44you know, um, Greek and Roman and, uh, I don't know.
28:49And they didn't have these, this many technique, uh, techniques available.
28:54Yeah.
28:54I mean, things are stunning, but, uh, what we have now is really crazy.
28:58Um, how you could mix something and take something and, and yeah, even now I'm, I'm still learning
29:05new techniques actually this week.
29:07I was learning the new technique, um, how to transfer things and just get a light image
29:13on something.
29:14So I'm, I'm trying new techniques as, as we go, you know, I'm still learning, still, still
29:21trying to figure out new things.
29:23Yeah.
29:24And I think I, that's, that's an exciting, uh, thing.
29:28I mean, I was really blown away by your, um, AI, uh, co-created AI, uh, exhibition last
29:37time.
29:37Yeah.
29:38And, um, yeah, it's, um, you can, you can stay away from it, but if you embrace it, you
29:45know, you can do incredible things.
29:46You can do, you can really use the growth.
29:47Yeah.
29:48You can do incredible things with it.
29:49So that's where I'm at.
29:51I'm like embrace the, what you have, the tools you have.
29:55If we have those tools, use them.
29:57Don't be afraid of them.
29:58Yeah.
29:59And go for it.
29:59Have fun with it.
30:00Have fun with it.
30:01Cause that's what it's about.
30:02It's having a laugh.
30:03Yeah.
30:04Let's have a laugh.
30:08What a perfect timing.
30:10All right.
30:10Cool.
30:11I think that's it.
30:13Thanks a lot.
30:14Okay.
30:14Donnie, thanks for the invitation and the studio visit.
30:17Yeah.
30:18More to come.
30:19More to come.
30:19We'll show you more of the studio next time.
30:22Yeah.
30:23It's a little more done.
30:25And yeah, looking forward to the shows that you have.
30:27Okay.
30:28Thank you for this.
30:29Hey, thanks a lot.
30:31Ciao.
30:52Bye.
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