Archives for May 2014

Of Superheroes and Venerated Trees

This article originally posted on the Cleveland Foundation website June 5, 2013

Chilean Artist-in-Residence Daniella Pizarro Works with Youth and Age
It has been a busy week for Chilean artist Daniella (Dani) Pizarro: costuming superheroes and dressing trees.  Dani is one of the foundation’s Creative Fusion artists, here in residence with the Rainey Institute.

For the past weeks, Dani has been working with the very young children in Rainey’s afterschool program, empowering them to believe in themselves as the superheroes of their own lives, and creating masks that embody their superhero character. The joyous, paint-splattered workroom at Rainey and the smocked and equally paint-splattered children were featured in a short story broadcast last week on Fox 8 Cleveland. The smiles on the faces in the photos below show how much fun these children were having at the same time they were thinking about and learning to take pride in who they are and who they can become.

“We all need superheroes,” said Dani, who works with impoverished street children back in Santiago, helping them to find strength and purpose in lives often lived without much hope of either.

During her three-month stay in Cleveland, Dani is living at Judson Manor.  There she also interacts with the residents of this retirement home and has spent time developing a project to “dress” the trees that stand outside Judson’s beautiful building on the edge of University Circle. Dressing the Trees is a tradition in many countries from India to England to Mexico and by Native Americans. In South America, it is a tradition that is usually practiced as part of a young woman’s coming-of-age ceremonies. Dani learned that the trees across from Judson were about the same age as the residents of the Manor and thought this would be a lovely way to both honor the trees and the residents, and bring a bit of her cultural experience to Cleveland.

She collected fabric donated by the Judson residents and cut and sewed it into large quilts that turned into colorful swaddling for three of the trees. Several residents worked with Dani on the project to help fashion the tree dresses. They now stand in a small area where she hopes people would come and sit and reflect on life and nature and time.

Year of the Cleveland Snake

This article originally appeared on the Cleveland Foundation website June14,2013

Artists’ creativity has children dancing through the streets with the “Lake Erie Monster”
Creative Fusion artists Mely Barragan and Daniel Ruanova live in Tijuana, Mexico, but spend a lot of time in Beijing, China, where they maintain a studio for Chinese artists to create temporary exhibits. So it was a natural placement for them, as Creative Fusion artists, to be hosted by Zygote Press, whose studio is in the Asia town section of Cleveland’s Midtown Corridor – a mix of light industry, Asian businesses, and residences.

As part of the outreach activities of their Creative Fusion residencies, Mely and Daniel have been working with the students at the Campus International School.  Recognizing this was the Year of the Snake in Chinese mythological cosmology, they began looking for parallels in American mythology. They were delighted to learn of the legend of the Lake Erie Monster. Using that as the basis for study and art-making, Mely and Daniel developed a project with the students to create a giant snake – reminiscent of the colorful dragons that are always part of Chinese New Year celebrations – and construct it for entry into the Cleveland Museum of Art’s Parade the Circle celebration held a week ago.

Over the past six weeks, Mely and Daniel designed the amazing creature that snaked and danced its way through the capacity Parade crowd.  It was a wonder of engineering.  Light – so the children could carry it; flexible – so they could move and the snake could slither; and portable.  The whole 40 foot snake collapsed into the size of a suitcase so it could be easily transported.

Many rehearsals in the school’s auditorium helped the children learn a simple choreography they performed at the parade. With colorfully painted “scales” on their cheeks, the smiling children were a vision of herpetological delight as they slithered and flicked their long red tongue through the cheering crowd.

This wonderful community project aside, Mely and Daniel have been doing their own artistic work here during their three-month residency. They will have an exhibition and lecture at Zygote Press on June 26. at 6:30 p.m.  Titled “Bipolar Order: a Thought Process from Tijuana to Beijing to Cleveland and Backagain,” the installation and discussion will offer insight into how artists with a high level of comfort moving across cultures have found meaning in their residencies here in Cleveland.

In fact, the final week of the spring Creative Fusion residency will see activities by many of the artists. Here is the schedule:

JUNE 19, 7 p.m. Vietnamese musician Hue Pham Thi, hosted by Young Audiences, will perform ancient Vietnamese catru music and jam with local musicians at the First Unitarian Church in Shaker Heights.

JUNE 25, 6 p.m. South Korean artist Yun Sabi, hosted by the Ingenuity Festival, will present an installation and discussion on the 4th floor of the Stokes Wing of the Cleveland Public Library.

JUNE 26, 6:30 p.m. Mely and Daniel’s exhibit at Zygote Press.

JUNE 27, 6 p.m. Indian artist Alka Mathur, hosted by Art House, will present “New Delhi to Cleveland: Tea Bags Measure Time” at 6604 Detroit Avenue.

JUNE 28 and 29, 7:30 p.m. Ana Paula Jones, from Brazil, offers a one-woman show at Cleveland Public Theatre.

What the World is Learning from Cleveland

This article first appeared on the Cleveland Foundation website August 21, 2013

More than 2500 Clevelanders – artists, students, and the public, had direct and meaningful contact with six international artists, in residence here through Creative Fusion – the Cleveland Foundation’s Global Arts Initiative. Many of these Clevelanders developed deep and extended relationships with these artists, working hands-on to co-create work and to share cultural ideas and perspectives. Many thousands more had the chance to know these artists and their work through lectures, exhibitions, informal gatherings and their contributions to Parade the Circle and other events.

In a week or so we will welcome the third group of foreign artists for a three-month residency. They will come from Senegal, Vietnam, Poland, Chile and Taiwan. We can’t wait.

Our experiences of the artists who have already been part of this program have been rich beyond our expectations. We are learning that our visitors feel the same way. I’d like to share a few of the comments that our artists from the just finished Spring residency shared about their time in Cleveland and what it meant to them and their work.

Alka Mathur, from India, was hosted by Art House, a community arts organization on Cleveland’s near west side. Alka uses conversation, teabags and quilting and collage techniques to document her daily life experiences. Until her residency here, this was a relatively private exercise – sort of her personal diary. But here, she worked with other artists, neighborhood residents and with children, employing her creative approach.  Here’s what she had to say:

“This is the first time doing something like this – reach(ing) out to the community. … There were so many people who joined into my work. …When I said I worked with teabags, nobody laughs about it here. … I said I want your teabags and your stories and so many people were sending me – and still are asking me – do you still want teabags and stories? … I said, of course. …The dialogue continues.”

Yun Sabi, from South Korea, wanted to experience an atmosphere of freedom for his work which uses multi-media to comment on the human condition. He was hosted by the Ingenuity festival and created a fascinating installation at the Cleveland Public Library. A quiet and very thoughtful artist, Sabi reflected on his experiences here, especially the openness and support of the people he met and worked with in Cleveland:

“In Korea, it is not so used to meet someone so very open and kind. … In our culture to be like that we need a lot of time. … But here, people are very open. … I could learn a lot from this kind of attitude.”

Mely Barragan and Daniel Ruanova, a husband and wife team from Tijuana, Mexico, who also maintain a studio in Bejing, China, were hosted by Zygote Press. These artists were very comfortable working in community and had a wonderful experience with young children from the downtown International Baccalaureate School, creating an amazing 60 foot long Lake Erie Monster for Parade the Circle. But they had their own exhibition of work at Zygote as well and were very clear about what they saw as Cleveland’s assets and attributes:

“..things we like about Cleveland – it has work ethic. … It is not like capital cities where the work ethic is conceptual. … Here, work ethic is – how we say in Spanish – get your hands (in it) and work. But I think that is the history of the city. Here there is common cause. Maybe you guys don’t see it, but we see it. I think (this is) something we can learn a lot from.”

All the artists we have hosted have expressed their gratitude about what they learned about “the real America” from their time here. Mely and Daniel said it this way:

“The history and presence of Cleveland opened our minds about life here in the States. That is important. …The people are the ones who make Cleveland. Working for community, working together. …Tijuana, where I’m from, has to learn about this.”

Happy Skin

This article originally appeared on the Cleveland Foundation website Januray 7, 2014
Meng-Hsuan Wu (Meng – pronounced Mong), is a Taiwanese artist whose work employs whatever means necessary for her creative expression – paper, painting, sculpture, performance, video. When Rainey Institute Director, Lee Lazar chose her as Rainey’s Fall 2013 artist in residence, he was totally charmed by her video documentation of a project, On the Move, in which she carried a small house on her back, equipped with a spy camera, and walked, in shoes with toes pointing both forward and backward, interviewing ordinary people about their sense of home.

Meng is deeply interested in how people experience their lives through all of their senses and she explored this in a remarkable project she created while here that included video, a pool of water and goldfish. Working with sight-impaired people through Rainey’s partnership with the Cleveland Sight Center, Meng created a small indoor pond, filled it with small goldfish and invited people to take off their shoes and allow the fish to nibble at their bare feet, recording their comments in the process.

Although the fish, the water and the pond were the mediums, what the work really became was an incredible series of memoirs. People sat quietly so as to not frighten the fish, and allowed themselves to be open to the gentle and strange touch of these creatures which we know, but rarely if ever encounter directly as living beings. In the process, which required trust, particularly among those who were without sight, the experience allowed memories, often of childhood, to rise up from the deep well of the past. It was a kind of meditation and therapy session. I finally understood why Meng chose the word(s) happyskin as part of her email address.
Meng is a natural teacher and collaborator. As the resident artist at Rainey, she worked every day with the children there. Interestingly, more and more of Rainey’s clients are Asian, and so Meng was able to make a strong cultural bridge between the increasingly diverse population of youth served by the Rainey Institute.
Before she left Cleveland, Meng’s parents came to visit her as did her sister and brother-in-law who live in Boston. Director Lazar invited them all to his home for Thanksgiving – and Hannukah. Meng’s father, who coordinates services for underserved youth in Taiwan, was interested in how Rainey serves this population, and so there was another, unplanned opportunity for cross-cultural sharing through Creative Fusion.
Meng, we miss you. Our skin is happy just thinking of you and remembering your joyous sense of wonder and delight.

Dear Mayor Jackson…

Cheikhou Ba, from Senegal, was the quietest of our Fall 2013 Creative Fusion artists – but only in his speech. His work spoke very loudly indeed, and his presence made a profound impression on all those he touched – especially the young people with whom he worked during his residency here. Even Cheikhou’s name – which we all struggled to pronounce properly out of respect for him (Shaykhoo is as close as I can come in American English and that’s not quite right) – bespoke the gentle, thoughtful and sweetly generous spirit he brought to all his encounters.

I remember at the closing dinner we host for our artists, Cheikhou stood with the beautiful, handmade cast-glass award we present to each artist that represents the continents of the world crossed by the trade routes and flight paths artists travel to share their cultures, and said he wished he could break it in pieces to share with everyone he worked with while here. It was a very moving and heartfelt moment.

But his paintings – amazing work: large, incredibly colorful canvases, linked to a body of work he calls the Mouth of Freedom and which he has been pursuing for some time, now, based on the writings of Martinique poet Aimé Césaire’s in his “Notebook of a Return to the Native Land” (Cahiers d’un Retour au Pays Natal); “My mouth shall be the mouth of those calamities that have no mouth, my voice the freedom of those who break down in the prison holes of despair.”

Identity is a central concern for Cheikhou, who spends half his time in Dakar, Senegal and half in Geneva, Switzerland, with studios in both countries. He is an international artist and citizen with deep concern for the planet and its diverse people and cultures. His resume is incredibly impressive, with solo and group exhibitions around the world.

With the young women of the Cleveland’s Sisterhood program, he explored the issue of identity – so important for young people, and in particular young people who must find themselves in a world sometimes absent the guidance of a caring family. With these young women he encouraged them to express the often dual nature of their personalities, the face we show others and the face we keep hidden.

Cheikhou’s artist statement from his exhibition at Waterloo Arts for the close of his residency says much about an outsider’s experience of our city and carries a gentle but pointed message to not only the people here, but for our Mayor as well.

I have come to love this beautiful city of Cleveland and dream of seeing more underrepresented people reaching galleries, museums and theaters. I would like to go to the football game and not see the people reduced to the demeaning task of serving others, as the vendors of beer and sandwiches. I dream of a united and solid city.

My dream for Cleveland is to see this great city have a brilliant future by bringing in more color to this country. I would like to slightly alter the Honorable Mayor Frank Jackson’s words when he says: “Cleveland needs to be where the world is going, not where the world is”. With respect to the mayor, I would add, “Cleveland needs to be where the world should be, not where the world is going”.

We will miss Cheikhou’s quiet dignity, his deep caring, and his brilliant smile, and what he taught us about people being greater than the sum of their parts.

Paper Magic

This post was originally featured on the Cleveland Foundation website January 24, 2014

Carolina Illanes uses the most ephemeral medium of paper to capture the stone and steel of a city’s infrastructure. You may be thinking that she is a draughtsman or watercolorist. But no. She doesn’t draw or paint. Her work investigates cities, capturing iconic architectural features in delicate, even lace-like patterns cut with a razor blade – X-acto knives and box cutters. She is a master of folded paper techniques and creates wonderfully intricate wall and table sculptures from heavy, fine art paper that intrigue and captivate the eye.

She was first inspired by the architecture of her home city – Santiago Chile, and has come to Cleveland as part of the Fall 2013 Creative Fusion team of international artists, to find new inspiration in our city’s architecture, and to share her skills with others.
Carolina was hosted by the Center for Arts Engaged Learning (formerly, Young Audiences) where she worked with students at Metro Catholic High School to teach them techniques used in making pop-up books. She taught paper engineering to the education staff of the Cleveland Museum of Art and teaching artists from her host organization and worked with more than 400 Cleveland residents – children and adults, as part of the Art Museum’s Second Sunday Family Day in the Museum’s Grand Atrium. Carolina also had the benefit of working with a commercial laser cutter here to create new work.
In a joint exhibition of all Creative Fusion artists held in the Hanna Theater in PlayhouseSquare at the close of the fall residency, Carolina showed a life size paper representation of a wrought iron gate she found in her journeys around Cleveland. Rock solid when seen from the front, one gasps, when circling around, one encounters but a sheet of paper suspended in thin air. Quite, quite stunning.

Carolina, we miss your quick smile, your good humor and your magic tricks with paper.

 

Calling All Playwrights!

This article originally appeared on the Cleveland Foundation website December 19, 2012

More than a year ago, the Cleveland Foundation sponsored the residency of George Seremba, Ugandan actor, playwright, and scholar, as part of our Creative Fusion program. George was co-sponsored by the Cuyahoga County Public Library and the Baker Nord Humanities Center at Case Western Reserve University. George came from Uganda to Cleveland by way of Ireland, as an exile from the repressive regime in his home country. You can read more about George’s background in several of my past blogs and hear him reading from “Come Good Rain,” his play about his narrow escape from death in Uganda.

But now I want to talk about what George has been doing here during an extension of his residency and a terrific event I attended this weekend.

Last summer, the county library sponsored a free playwriting workshop with George. Due to the enthusiastic response, the library and CWRU teamed to kick the effort up a notch, sponsoring a free master class workshop for emerging playwrights on the CWRU campus. A flier was circulatedthrough the university and the county  library, and 15 writers were selected to participate based on the evaluation of a writing sample. The playwrights worked with George for six weeks over the course of this past fall, developing and honing their scripts.

The culminating event was held Sunday, Dec. 9 in Clark Hall on the CWRU campus. Seven playwrights developed a short section of their work to be read in a public event. They recruited and auditioned local actors and/or other students, and rehearsed them for the reading. At the appointed time, an audience of students and fellow workshop participants assembled in Clark Hall and, for 2½ hours, we were treated to scenes from seven very different plays by seven distinct and colorful dramatic voices. Some scenes had two characters, others as many as eight actors speaking parts. And the topics ranged from life in an inner-city apartment building, to the death of a patriarch whose children all had very different experiences of his parenting, to twin musicians, both involved in a complex relationship with the same man. Oh, yes – and not one, not two, but three serial killers – all in the same play.

The playwrights came from the county’s summer workshop, from the humanities department of the university, and from the general public. They were:

  • Cornell Calhoun
  • Elise Geither
  • Mike Hammer
  • Deborah Magid
  • Sheila Sullivan
  • Craig Webb
  • Vickie Williams

I was positioned in the audience to watch George as he listened to his students’ plays being read. He was totally rapt – leaning forward as if to support the work itself with his body, smiling at well-delivered lines, laughing at all the funny parts, and intently focused on every word. It was clear that this reading was as important to him as it was to his students.

I spoke with several of the playwrights after the reading and was struck by how each of them independently wanted to tell me how generous a teacher and mentor George Seremba had been and how much they valued the experience. I even learned that one writer who was not chosen for the master class wrote an effusive and laudatory letter thanking George for his warmth and encouragement. Pretty unusual for a response to rejection.

But then I have to say how consistently this tracks with so much of what I have heard about George Seremba. His enthusiasm for his work with students, his engagement with the local theater community, and his unflagging kindness and humility of spirit has been an inspiration and an education for so many of the lives he has touched while here. George has left his mark on Cleveland – one which will not soon disappear.

Through a continuing commitment by the university, George will be able to stay on for another semester as an assistant visiting professor in the department of English. The university is considering offering another master class workshop in the spring semester 2013. So if there are budding playwrights out there, stay tuned, and check Case’s Baker Nord Center websitefor details.

Cultural Whirlwind Spins Global Artists Into the Cleveland Scene

It is just a week since our Creative Fusion artists arrived, and they’ve already begun to connect, frenetically, with the community.  After orientation at the Cleveland Foundation, a Lolly the Trolley tour of Greater Cleveland, a docent tour of the Art Museum, and an informal dinner at the Rainey Institute (all this between Tuesday morning and Thursday evening), the artists had part of a day off.

We all met again Friday evening at Negative Space at the Asia Town Plaza for a meet-and-greet with local artists.  Organized collaboratively with the Community Partnership for Arts and Culture, about 50 local artists showed up to meet their seven international colleagues and hopefully begin some new relationships.

Drinks; a very eclectic, delicious, and global cuisine; and lots of good music and conversation ensued.  Negative Space was the perfect venue for this event and we thank the owners/partners for their wonderful support and hospitality.

Tom Schorgl of CPAC talked about the truly remarkable variety of supports for individual artists here in Cleveland. We showed the Creative Fusion video to explain the program to those unfamiliar with it. Each Creative Fusion host presented their artist to the group and each artist spoke briefly and passed out their business cards (created for them by Michael Gill of Zygote Press – thank you, Michael). The meeting went past the scheduled time, but no one seemed to mind – even though the food was totally consumed.

Then almost everyone trooped from Negative Space’s fabulous facility the few blocks to Zygote Press’s equally fabulous artist space for Zygote’s annual 100 x 100 benefit event.  A totally rockin’ evening with one of Cleveland’s countless and always exceptional bands (Pompous Ass).

There were many hundreds of people vying to plop down $100 to get an original print by one of the 100 artists exhibited, and hoping to have their name picked early to get their first choice.  It was like hens clucking around the farmer’s wife at feeding time. (I clucked early and got a fabulous piece by Deborah Pinter).  I left around 11 p.m. and the place was still jumpin’.

Spoiler Alert: Opinion Forthcoming!

I love this benefit because people get to buy real art at a reasonable price and the artist can offer just one in a series of prints without having to donate a one-of-a-kind or go to the expense of framing it.  Much better than the ‘auctions’ where artists spend a small fortune presenting and  donating an original work and it gets ‘auctioned’ for a pittance.  The nonprofit and the artist both get cheated in that scenario – the non-profit never gets the full benefit of what the work is worth and the artist’s work is devalued in public opinion and the market by being sold cheap.

Off my soap-box now.

Look for more about Creative Fusion in upcoming posts.  This week, we are all off to see “War Horse,” then “Carmina Burana” and finally Shakespeare – “Much Ado About Nothing.”

Many, many thanks to PlayhouseSquare, the Cleveland Orchestra, and Great Lakes Theater for making this exceptional taste of Cleveland culture available to our global artists.

And Now, a Brief Analog Moment

This post originally appeared on the Cleveland Foundation website January 10, 2014

Przemyslaw Jasielski, or Przemo, pronounced something like pshemo came to Creative Fusion from Poland, bearing the most remarkable dreadlocks, an engineer’s sensibility and an artist’s sensitivity. A graduate of the Poznen Academy of Fine Arts, Przemo creates installations, objects, drawings and photographs combining art with science and technology. The hallmarks of his work are scientific research, close attunement to place (geographic as well as historic), careful planning, intellectual and conceptual creativity and incredible craftsmanship.

His Creative Fusion residency was jointly hosted by the Sculpture Center and Cleveland State University. While here, Przemo spent time getting to know Cleveland, responding to its its blue-collar roots, its 19th century immigrant population base, and its focus on its past. From this inspiration he created a technology-free space, a room, a kind of haven for those who want to escape the constant onslaught of digital technology, if only for a moment. In his own words, here is Przemo’s concept for Analog Immigration, the work he created during his residency here.

“Shortly after coming to Cleveland I realized that Clevelanders have a very specific sense of history. Whereas in Europe historical heritage is grounded in very old things and forgotten times, in Cleveland history is fresh — you can almost taste it or smell it. Most of the people I talked to explained things to me in an historical context, which is a very pleasant surprise to me. What is important is not remembering the good old days and complaining about the present, but to understand history as a continuum from the past to what we have now.

The second inspiration for the project was an idea created by Marc Prensky, the American thinker, dividing mankind into two groups: digital immigrants (individuals who grew up before computers were widely available) and digital natives (all who were born in the digital era).

Combining these two notions with the very present industrial character of this place I came up with the idea of ‘Analog Immigration’ – a specific back-in-time travel to the period when there were no digital devices. I’m going to create an environment that will allow viewers to experience the analog era – a place devoid of constant Internet access and cell phones.

With the help of CSU Sculpture students we will build a cubical wire-mesh structure inside the gallery. This structure, like a Faraday cage, will block and filter electromagnetic signals including wi-fi and mobile networks.”

Przemo recently sent this video that chronicles the creation of the work. In addition to the gift of his work, Przemo was generous with his friendship, his mentorship of students and his unique and very pointed sense of humor. One example is the Jack-o-Lantern he carved during a Halloween get-together with the other artists. After encouraging him to carve a scary pumpkin, Przemo came up with the scariest face he could imagine. See for yourself.
We will miss Przemo, as we miss all the artists who come, share and leave a part of themselves with us during their brief residencies. But we remain grateful to Przemo for his unique contributions to all the artists and individuals he met and shared experiences with while here.

Moved by the past

This article first appeared on the Cleveland Foundation Website on January 31, 2014

Bui Cong Khanh (Khanh) is probably the happiest and most playful artist you could ever hope to meet. He is also an old soul, wise beyond his years, whose creative work concerns itself with what we lose when the traditions of the past are cast away. Khanh works in an incredible diversity of media – clay, paper, canvas, charcoal, oil paint, video. He is a graduate of the University of Fine Arts, Ho Chi Minh City (Saigon) Vietnam and is the 2005 recipient of the famous Fulbright Fellowship at the Vermont Studio Center, USA.

In Ho Chi Minh City, Khanh saw a slum – home to the homeless – destroyed overnight to build new infrastructure. In one of his most memorable exhibitions, The Past Moved, 2010, he re-created the street façade as a charcoal drawing and invited the homeless ‘residents’ to have their photo taken in front of what was no longer home, giving them each at least a small memento of their destroyed past.

In Cleveland, he worked with children from several inner-city schools to help them draw their neighborhood as a large mural, and photographing them in interaction with the mural and each other. He also created spectacular murals of Cleveland scenes – our bridges, highways, buildings – the infrastructure of our city. Some of these works will be reprised at PlayhouseSquare’s International Children’s Festival in the spring.

In partnership with his Creative Fusion host, PlayhouseSquare, Khanh mounted these works across the huge stage of the Palace theatre as backdrop to a one-time performance by Inlet Dance. He connected with a local composer who wrote an electronic score, took charge of the theatrical lighting and made a video of the spontaneous dance event. Talk about a cross-disciplinary collaboration! Khanh and Inlet are planning to continue their collaboration.

Here’s what Khanh had to say about his time in our city and the work he produced here:

Until a few months ago, I had no idea where Cleveland was, in which state it was located. All the children here think the same of my city, Saigon, Vietnam. That is not ignorance. There is a whole, wide world out ther4e waiting for us to explore and like my people say; fate brought me here. I experienced a sudden wave of nostalgia when I was passing the old World War II industrial factories, the railway bridges, the wooden colonial houses. All those images reminded me of our history. And that’s how I would like to tell “The Past Moved” – our stories, in Cleveland, to Clevelanders with high hope they will narrow the gap between Saigon and Cleveland.

Just a few more observations about this delightful and constantly delighted artist. Khanh reveled in American pop culture. He could be caught at any moment singing – from Sinatra ballads to rock and pop songs. And although he had never bowled in his life, he got the second highest score of all the night we all went bowling at Mahall’s. I think there is nothing Khahn could not do if he put his mind, his big heart and his old soul wisdom to work on it. We miss him very much.

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