Visible Records
What is Visible/Records?
According to their website, Visible Records (V/R) is “an artist-run gallery and studio space located in Charlottesville, VA.“ But that definition alone doesn’t fully convey all the roles V/R plays in Cville, in my opinion.
Visible Records is not only an affordable art studio and gallery space, but it’s also a variety event space, a meeting place for activists and diverse groups across Cville, a location to relax and take in the surroundings.
Most of all, it’s a blossoming community.
The following media was taken from my recent visits to Visible Records with the goals of (1.) learning what V/R is all about and (2.) discovering how it nourishes a lasting community.
Welcome to Visible Records!
Welcome to Visible Records!
Meet the Directors
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Morgan Ashcom (he/him) is the Founder and current main director of Visible Records, as well as the head of its Exhibition committee. Beyond V/R, he is an award-winning artist who produced and published a number of creative works ranging from artworks, books, and photography. Morgan has also previously taught at several universities, including Cornell University, Ithaca College, University of Hartford, University of Virgina, and Western Connecticut State University.
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Natasha Woods (she/they) is the current assistant director of V/R. Beyond that, she’s a filmmaker whose somatic works have been screened in many film festivals across the world. She also programmed several other events and screenings in artist spaces, from the Midwest to V/R.
Natasha was my point of contact to V/R who helped introduce me to the place, and she’s the main interviewee of all the upcoming audio break interview segments.
On 1740 Broadway Street, Charlottesville, VA 22902, Visible Records lies on the bottom right corner of a warehouse building complex, distinguished by the Augmented Reality murals on its outer walls. On regular weeks, V/R is open from Tuesday to Saturday, 11a.m.-5p.m.
Although it isn't rare for V/R to host an event outside those hours.Audio Break #1
Introducing Natasha
During my visits to V/R, I had the pleasure of interviewing its assistant director, Natasha Woods. You will hear from her throughout these “Audio Break“ sections as I ask her questions about V/R and the community there.
For this first audio break, Natasha gets into more detail about herself, how she landed in V/R, what her job entails, and what her thoughts are about the place. Click on the right modules to hear!
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LUKE SHEE: Hello, hello! Can you introduce yourself?
NATASHA WOODS: Yes, hi. My name’s Natasha Woods. I’m the Assistant Director at Visible Records. I use she or they pronouns. I am also a filmmaker and an artist and very new to Charlottesville.
LUKE SHEE: How did you first come in contact with Visible Records?
NATASHA WOODS: I was following the former Assistant Director, Brian Ortiz. We went to the same grad school in Columbus, Ohio, and he worked at a coffee shop in Columbus. And he told me he was moving here, and it was like an artist-run space. And I started following his journey here. He took the job knowing that it was just gonna be a year position, and so when he posted that they were hiring, I was just finishing with grad school and had been following along with the projects from afar and thought I would give it a shot. And here I am!
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LUKE SHEE: What are the specifics of your job here at Visible Records?
NATASHA WOODS: Yes, there are a lot of them. So, it’s just Morgan and I – Morgan’s the Founding Director, I’m the Assistant Director. So, I work under him. I do everything from making sure all the studio artists, that they have everything that they need, or finding people when they leave to fill the spots. A lot of them do work trades, so it keeps rent low, and then they help out with various tasks within the space. So, I make sure that they’re continuing to do that. I organize the Common Space Events, which means a lot of people will email me or submit a program inquiry about something they want to do. My job is making sure that they feel confident that they can host the event without me or with me.NATASHA WOODS: And I help with the artists in residency, which means a lot of emailing and coordinating to get people here, and when they’re here, I sort-of help them get situated, get materials, get groceries, whatever they need. And then I’m always working towards an exhibition. We change the exhibitions every two and a half months, basically. It’s, like, reaching out to people, it’s getting promotion, it’s adding things to the website. So it’s like all of the things fall onto me to make sure that they’re done.
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LUKE SHEE: How’s been your experience so far?
NATASHA WOODS: It’s been really nice. Being in smaller communities, the communities feel much richer. Like, in a city things feel music more spread out and more separate, where like in smaller communities in Iowa or in Charlottesville, it feels like people can really come together and get behind a cause, despite their own identities or ideas of who people are. People really believe in what’s happening, and I feel like Visible Records really offers a space of possibility and permission for folks to come together and try new things, and having that be my job feels like a dream.
My First Visit to Visible/Records
This is a picture of the art studio hallway that first came into my attention after my arrival. When we met, Natasha was writing event dates down on the chalkboard to the side of the right staircase. She gave me a tour of the place and allowed me to settle in before we began the interview.
Besides Natasha and I, the place was quite empty on that Thursday morning, at least in the main area. There would occasionally be a local artist who would enter, sometimes to converse or have lunch with Natasha. Gentle but toe-tapping music was lightly playing in the background; sunlight brimmed through the glass of the open garage door, having the whole area be softly illuminated by natural light. It was very tranquil.
The decor and greenery help make the space feel lived in and authentic.
Audio Break #2
The Visible Records Community
Following the goals for my visits, most of my interview questions to Natasha relate to the V/R community, from what it aims to be and what obstacles hinder it from doing so.
Check out audio recordings on the right to learn more about Natasha’s thoughts about the V/R community, challenges it faces, and V/R’s current mission.
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LUKE SHEE: So, how would you describe this community at Visible Records?
NATASHA WOODS: There are a lot of different intersections here inside Visible Records. We have 20-some studio members, we have everything from fiber artists, to screen-printing, to fine art, like painting, sculpture, performance. And the artists here are very eclectic in what they’re doing and also where they come from. Morgan is local to Charlottesville, I’m not. I recently relocated here. There’s a core group of people who do organizing here. There are two people, Aaron and Davis, that organize a lot of the music events. They book one or two shows a month, and they’re the people who we can count on to bring some music here.
NATASHA WOODS: We didn’t think about V/R being a music space when Morgan was designing it. He really didn’t think about musical arts, but he is someone who has thought about the history of artist-run spaces and third spaces where people come and gather without the expectation fo buying anything. Like, what can happen when we just share space with each other. So, with that, we have a lot of different people come in with their projects, and I get to meet a lot of different people.
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LUKE SHEE: What kind of other challenges do you think the Visible Records community faces, if any?
NATASHA WOODS: Yeah, so right now we’re trying to become a non-profit, which is really a tricky time with our current president, who's slashing a lot of funding for arts and especially the arts that we kind-of do. Like right now we have [an] exhibit that they’re all Palestinian artists, right? And I think that Trump would maybe think that is, uh… Could call us terrorists, you know, whatever it is that we’re not. And I think we are trying to figure out ways to have sustainable programming that doesn’t constrict what we’re trying to say and that we can be a space that sort-of uplifts these bigger ideas, if it’s like prison abolition, or harm reduction, or, you know, food for all, all of these different ways that we can come together. A lot of spaces right now I think are under threat of losing funding through government sources or whatever, like everyone’ sort-of feeling the pressures of this presidency. And so I think right now our biggest constraints are trying to find a sustainable model forward that we can still continue to offer these programs for free for people, if they’re in line with the community. But, yeah, I think right now, that’s sort-of something that comes to mind, and I do think we’re not alone in that.
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LUKE SHEE: What do you think is the general main goal or mission of Visible Records?
NATASHA WOODS: I think our main goal right now is to find ways to be sustainable so we can stick around for the foreseeable future. Charlottesville is so expensive. know, the housing is expensive, the food is expensive, and I think the first places to sort of go are artists-run spaces. And our mission is to find ways to stick around so we can continue to offer programming and adapt to what the world needs, which is different every day.
NATASHA WOODS: We weren't expecting to have shows here, but we saw that was a need in the community. So we opened our doors and we were like, yeah, it makes sense to have shows here. And so we tried different things. They don't always stick, but I think our main goal is to continue to uplift the artists that live here and bring in people who are sort of working and dreaming towards a better world in whatever way that they know best. I feel like my job is just to give the permissions [so] people can have those ideas. Cause oftentimes money is a barrier to really experience something and it's full effect.
The Visible/Records Space
The Gallery
Like the name suggests, this hall on the far right side of the building is where V/R’s recurring art exhibitions are displayed.
Every two months or so, Visible Records partners up with artist(s) and/or activist organizations so they can work together to design and set up an exhibition within this gallery space. The pieces on display range from artwork of any genre, photojournalism, poetry and writings, audio recordings, infographics on current events, and physical artifacts.
The picture of the gallery shown here was taken during V/R’s “Through their Lens: Gaza untold stories“ exhibit. The exhibit consisted of photos taken in Gaza by a group of photographers, hoping to convey the realities of Palestinian lives in the midst of the Israel-Palestine conflict.
Check out more of V/R’s gallery exhibitions on their Gallery webpage.
The Common Space
This large oriental rug marks the central common space area. This area essentially serves as V/R’s community gathering space, making it imperative for larger events like live shows, dance parties, or exhibition openings. I also found it to be a great general hangout space.
The area is quite roomy compared to the art studio hallway, allowing for seats and props to be rearranged to whatever the events require.
Check out V/R’s future common space events at their Events Calendar.
The Front Entrance
Besides the wall murals, the front of V/R is unique for its glass garage door to the right of the entrance doors.
When left open, the garage door helps connect the indoor common space to the outdoors, whether to increase the space for events, give the plants more light, or brighten the atmosphere.
The Art Studios
V/R contains about 23 art studio rooms that artists can apply for to house and facilitate their creative endeavors. They are located throughout this hall shown to the right and divided between two stories, some on ground level and the others accessible through the balcony area.
Covered throughout this art studio hallway are a bunch of decorations, from plants, banners, paintings, t-shirts, pyramid ceiling decorations, etc.
As I better adjusted to the place, I also realized that a lot of the studios only had half doors or curtains. Natasha later explained to me in the interview that the studios were designed to have half doors on the bottom floor and no doors on the top.
For more details on the art studios and applying for them, see the Visible Records webpage on their Studios.
Audio Break #3
The Artist Space
While preparing additional questions before my interview with Natasha, I took some time to observe the interior of V/R and became more curious of what went into the design of V/R’s interior space, as well as how it may enhance and uphold the community there.
Listen to Natasha’s elaboration on V/R’s evolving interior design and artist support.
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LUKE SHEE: Would you happen know anything that went into the general interior design of the visible record space?
NATASHA WOODS: Yes, so Morgan designed it himself in SketchUp and he, like I said, is a photographer, so he's not an architect by any means, but he had spent time building out other parts of the warehouse. The first studio part he built looked more like offices and it's very closed off. It feels like very formal. And I think quickly he admitted to realizing that he wishes he would have created more of a community space. So when he was building this, he really wanted to find a way to do that.
NATASHA WOODS: When you walk in, there's a big glass door that lets in a lot of light right at our common space area. And so folks get like a pretty wide view of what's happening from the entrance. There are studios on the downstairs and upper level. Downstairs have half doors and upstairs have no doors and I think it was Morgan's way to create an environment where we are all together and there's no barriers. As you can see, a lot of us have curtains, so I'm not sure if that really works. I think a lot of us wish that there were more privacy, but it feels really nice to, you know, we're sitting here in my studio and I'm looking out and I can see what's going on.
NATASHA WOODS: The upstairs is sort of a U shape and it's a great place to watch bands when they're set up if you come up to the balcony. The common space is sort of like an L between the gallery and the warehouse. A lot of things can shift and move to accommodate a lot of different events. We've had potlucks, plays, puppet workshops, markets, all the things. And then the garage door was an effort to bring in a lot of natural light because we're in a warehouse. It's very sterile, concrete floors and white walls. So something we're constantly thinking about is how to warm up the space and I think the garage door really does a great job.
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LUKE SHEE: The art studios in your space, is there any specific design elements that go into fostering community or artistic ambitions in those spaces?
NATASHA WOODS: Yes, the studios themselves are pretty private. We get a lot of applications for them and I think unfortunately we just don't have enough space for the need. So we try to find people like when they do apply, like are they a good fit? But honestly, it comes down to timing.
NATASHA WOODS: The ways I think we foster community is through offering work trades. So people will have a job or a task that will help support the space in general. So we all kind of like pitch in in little ways to help keep the space clean and organized. And I think that does a lot to building community in a sense that like we all care about the shared space. Elena, who has worked at other artists residencies and now works at UVA, suggested that we do open studios. and we did one in January and I think it went really well. It was a snow day, so not a lot of people came out, but it was just a good reason for us to learn about each other's art. We'll try to have a happy hour or tea and coffee and just chat.
NATASHA WOODS: Gallery openings are a great way for people to come together. Every year we've had a visible records studio member exhibit to show the Charlottesville community what we're up to over here. The different events, we really want people to feel like they can come here. And when I look at different studio applications, I want to bring people in that want to be here. Like they need to be working artists. I want you to participate in the ecosystem. And yeah, I think it's always expanding and we're always open to new ways of interacting and engaging with each other. And I think as the different communities of studio people come and go, everything sort of changes all the time. And I think just being open and receptive to how that is shaped is really important.
The Common Field Gardens
While learning about V/R through their website, one tab caught my attention: the Common Field Gardens. Mentioned in the tab, the Common Field Gardens were originally a garden space that "some artists and community members decided to build... behind the warehouse building" that V/R is a part of. Built right before the COVID-19 pandemic, many people started regularly visiting this spot to care for garden. Fast forward to today, the Common Field Gardens is now a staple for the V/R community and others near the space, bringing in people who likely wouldn't have interacted with this community otherwise.The Common Field Gardens area has now split into 3 main parts: the original Common Field, the Solitary Gardens, and Operations of Care. The Solitary Garden Beds, in particular, are a part of a project created by jackie summell. The Solitary Gardens are dedicated to the prison abolition movement and "are gardened by people who are imprisoned, known as Solitary Gardeners, through written exchanges with those who tend the gardens," according to the page. Learn more about the Solitary Gardens project.If you want to help out or check out the gardens in action, the community gardeners usually tend to the beds every Sunday morning. Below are pictures I took when visiting and volunteering at the Common Field Gardens:
The Little Free Fridge
When the community members gathered the newly grown crops from the Common Field Gardens, those vegetables go to Cville Little Free Fridge, otherwise known as the community pantry in front of V/R.
Anyone around the warehouse building housing V/R can take out any of the food or snacks left in this little hut whenever they’d like for free, as well as donate more food to it (following the rules pasted on the fridge).
A worker at Decipher Brewing, the business behind V/R, kindly offered me some bread and dates from the fridge during one of my first visits. I declined the offer, though I honestly was tempted to have some of the refrigerated bread.
Check out the Little Fridge Instagram!
Audio Break #4
Common Field Gardens
For this break, I asked one of the veteran gardeners, Leine, to give their own thoughts about the Common Field Gardens and its community impact.
Click on the right audio modules to learn more about them.
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LEINE: Alright, my name is Leine, and I am a gardener at the Common Field Community Garden at Visible Records. By day, I'm a librarian in the back technical office at Piedmont Virginia Community College. I got into gardening at the Common Field Gardens in, I guess it would have been the summer and fall of 2022. I've gardened most of my life. My family kept a garden, had some chickens and some goats, and I've had house plants, which are not quite the same as gardening, but still plant care. I wouldn't call myself any sort of expert or particularly experienced, but I knew about it and I was committed to the idea of food justice. I got involved in the gardens because I had a friend named Erin who had been volunteering at the gardens. She was about to leave. She left Charlottesville the next spring, but I stayed involved in the gardens because she introduced me to them.
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LEINE: I think that getting involved in Food Ways can be an impactful way to get involved in your community. I think it's important to be involved in whatever way you can with knowing your neighbors, be involved in your community. I don't know, I there's an important part of being a person in our world and that I think that just Food Ways are a particularly approachable way to get into it because there are so many different points of entry and we all interact with Food Ways because we all eat.
LEINE: And so you can start just by thinking about, look at the food that you're about to put in your mouth and think, who grew that, who processed it, who made it, how did it get to be on my fork right now? I think that gardens are also a great way to do that, to really sort of appreciate the type of work maybe that goes into making food.
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LEINE: In the gardens right now, we're mostly growing cold, hardy vegetables as well. had a frost last night, which I suspect will be our last frost of the season. We planted some tomatoes, which are quite tender, last weekend. Had to cover them up last night, but I think they'll be fine now. We can probably plant a second round of them in two weeks. When you plant vegetables in succession like that, you get sort of this staggered harvest. A lot of the beds are still in cover crop or under tarps because we're terminating the cover crop and the main gardening season is probably gonna kick in in two or three weeks. In addition to not having frosts overnight, [we’ll] start to quite warm nights where it stays above 50 degrees consistently.
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LEINE: How do I think the Common Field Gardens affected the community within and surrounding Visible Records? Um, that's a thought exercise. I think the ways, they're either sort of like concrete ways that someone who's assessing a nonprofit might care about. We get thank you cards from people who visit the free fridges and take the food and are grateful to have had food that they didn't have to pay for. There are people who come to the gardens and make friends there and talk about how grateful they are to have found community and connection.
LEINE: Personally, I know that being involved in the gardens has been a source of meaningful activity for me. But I think the actual impact of a space like this isn't immeasurable like that. It's about stuff that we're not gonna know for 10 or 15 years from now. There's gonna be someone who met someone here at this garden, or who learned something here at this garden, who thought differently because they were at this garden, or who is around because they eat food from this garden. There's gonna be something like that where maybe even that person doesn't know about the impact, but they're gonna do something, or they're gonna know who to call when they need help. There's gonna be some sort of connection that was there because we tended to this garden, and that connection is gonna have an impact. I think that the importance and the beauty of community spaces like this on is the stuff that we can't know, the trees that we plant, that we don't see bear fruit.
The Community Potluck
I brought some bags of pretzels.
Sitting down with my loaded plate, one of the gardeners invited me to their table where I mingled with some new faces:An adult software developer who works remotely for a big IT companyA young accountant and researcher pair who occasionally visits V/RA nice woman who went into Native American Studies at the University of North DakotaAn elderly lady who goes to technology classes taught by that same woman aboveAn old married couple from the Cville area who simply joined after seeing an advertisement for the potluck at the Downtown mall
And a bunch of other guests young and old, bringing their own backgrounds with them. I was the only current UVA student there, alongside my great unfamiliarity of the outer Cville area. Yet weirdly, I still felt welcome, like I already belonged to this community despite my actual newness to it.After helping out in the Common Field Gardens for a while, the gardeners and I went back to V/R for the Cville Community Potluck hosted there.All kinds of people—V/R staff and artists, Common Field gardeners, employees from businesses around the warehouse, recurring event attendees, new folk who came from advertisements—came along bringing a stunning selection of various dishes to try out.There were blueberry pies with Krispy Kreme donuts on the side,Scalloped potatoes, chili, some tasty rice dishes,Whole trays of veggies, crackers, meat and cheeses,Chickpea salad and chickpea marsala,And homemade soups from the potluck organizer, who’s an employee from the Infinite Repeats printing store next door.
Audio Break #5
Shared Values of V/R
On the topic of community, here are some thoughts from Natasha as I gave her the question,
“What values do V/R community members share?”
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LUKE SHEE: What values do you and this community share, you think?
NATASHA WOODS: I think that we all are interested in finding a different way of living. We all are interested in finding more sustainable or different futures that can exist and we work towards that. And I feel like sometimes we operate like they're already true. Like you kind of have to think like we can uplift each other and hold space for each other to dream up these new worlds. And I'm talking about basic needs, thinking about the garden in the back. And that started, I think, in 2020. During the pandemic, people shifted to wanting to grow their own food and get to have real hard skills. And that's something that's continued on for the last five years. And we've watched it grow. And even during my time here, which has only been less than a year, it's been one of the most beautiful things to witness.
NATASHA WOODS: We come from all angles and find different ways to challenge and inspire each other. But like the garden folks will put food into the free fridge, which goes out to anyone who wants it. The free fridge is 24 hours. You know, it's just a fridge in a shelter that anyone can access. There's also like COVID tests and masks and other things that people can sort of take when they need it. And how radical is that, right? Like they can go to a place that they can get a meal and not be expected to have anything in return. So one of our biggest values I think would be radical generosity. What happens when we can give a space to folks for free so they can try out their ideas and bring people together.
NATASHA WOODS: And because of the ecosystem that we have here, think a lot of people rub up against people who are outside of their maybe normal communities. So beautiful connections can be made. We do really want to focus on the sort of relationships that are possible here through artists and larger communities. I think at the core, we kind of are just daydreamers and like world makers. We're making the world that we want to be a part of. And I think artists and activists are really good at that. We are an art space, but we do host a lot of activists and movement work. I think it's really important.
“Seeds of Connection: Dreams of Freedom” Exhibit
The following are collage of pictures taken during the opening of Visible Records' current exhibition "Seeds of Connection: Dreams of Freedom."This exhibition culminates the efforts and art pieces from activists for two prison abolitionist community projects. The first one called The People's Paper Co-op originated in Philadelphia and strives to free incarcerated Black mothers and caregivers from their bails through their campaigns. The other is V/R's own abolitionist project collaborating with incarcerated people to foster the Solitary Gardens. Learn more about these projects through the previous links.The creations displayed below include campaign art and infographics from The People's Paper Co-op project; drawings, poetry and crafted flowers sent by prisoners who V/R connects with; and other artifacts made for the Dreams of Freedom Exhibit.
Audio Break #6
Dreams of Freedom Exhibit
To look more into the background and “behinds the scenes” aspects of the Dreams of Freedom exhibit, check out these audio recordings in which Natasha talks about the exhibit, as well as the Solitary Gardens, before its opening.
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LUKE SHEE: Can you tell me a bit more about Visible Records' upcoming prison abolition art exhibit?
NATASHA WOODS: Yes, this has been something that has already been planned when I started. It's called Dreams of Freedom. There are two groups. One is the People's Paper Co-op, which has been an organization out of Philly for like the last 10 years or so. And they've done a lot of things specifically with Black mothers and trying to create more sustainable ways to offer money to the commensary or for bail so people would sell art and then donate the money back.
NATASHA WOODS: These two people live in Richmond now and work at Studio 23, which is our fiscal sponsor and sibling organization in Richmond. They help us a lot with different things. So Mark and Courtney are at People's Paper Co-op and they're going to take the main gallery and they're filling it with 10 years worth of archives of posters and ephemera, video and audio. The other part is more connected to the solitary gardens component in the back. Yeah, each cell is assigned to someone who's incarcerated. So I will talk about Trevor, who's been, I think, maybe the longest one. I'm not totally sure. Like, again, I just moved here, but Melissa, who works in the garden and is working with us on this exhibition, interviewed him and he helped put this call out that we were putting together this art exhibition.
NATASHA WOODS: So Trevor became the curator in a way. Like, he got to build trust with people inside and asked them to submit their art. And we have received this whole bag full of different art from people that are incarcerated inside all across the United States. We're going to install it in conjunction to the People's Paper Co-op. There will be a lot of different programming that will tie into the exhibit. We're going to have like the letter writing, which happens every month anyway, but this will be like specifically writing back people who submitted artwork and we're going to make a zine with all the artwork to send back to folks because there are a lot of rules on what you can send to a prison mail and so we just want to be mindful and show like that they're part of a larger community. We're going to have a screening in the garden. We're going to have live music, different ways to sort of activate the space and talk about prison abolition.
NATASHA WOODS: And again, these are communities that are coming together of dreaming of a new world, what life would be like without prisons or borders or walls. What happens when the world we dream, just like our needs are met? We abolish all these systems that are oppressing and holding people back. And I'm really excited to see this come together. It feels like a special project. I came into it with them having started to organize it and watching it come full circle. It's gonna be really cool.
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NATASHA WOODS: And the other part is more connected to the Solitary Gardens component in the back. And the Solitary Gardens were envisioned by Jackie Summel, who's based in New Orleans. And it's like a copy left sort of situation where anyone can build the solitary gardens with the idea that it's shaped in the same size of a solitary garden and where you grow things or where people can move around. And ours have the prison gate as an extra component. Yeah, each cell is assigned to someone who's incarcerated.
Thank you for coming this far!
I hope that this website has helped show you more about what Visible Records is all about, as well as the quirks and practices that allowed V/R to gather its diverse community it has today!
If you made it all the way to the end and are interested in engaging with Visible Records, do consider visiting these button links: Audio Break #7
Final Remarks
You made it to the last audio break, congrats!
Here are the final responses of my interview with Natasha, going over her closing thoughts about the adaptability of Visible Records. Also find out some ways you can get connected with V/R!
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LUKE SHEE: Do you have any final remarks about Visible Records or community as a whole?
NATASHA WOODS: I think Visible Records adapts to what the community needs are, so we're always shifting and the policy is like our doors sort of always open if we're working towards similar goals and are aligned. What Visible Records is today isn't like what it was last year and it won't be like what it is next year. And I think our goal is to remain adaptive and continue to grow and to listen. We're often taking notes from other folks in the community, not knowing all the answers, but being willing to listen and being willing to share resources and just showing up for one another. In a world where we're on our phones and behind screens, it becomes really hard to connect with people. And so much can happen when you show up for other people, for events. Just the reminder that we're not alone in this, that there are people who care and want to connect, are dreaming and working towards a better future and a better world.
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NATASHA WOODS: For folks who maybe want to know how to get involved or what sort of things we do, you know, we're on Instagram. I'd say sign up for a newsletter. We have an events, a Common Space events tab on our website. Stay tuned for like our exhibitions. change every two and a half months. But they're things that we're very passionate about. There's gardening on Sundays, 10 to 1, letter writing, all these different ways that I hope reach out to the larger community and inspire them to ask themselves these similar questions about what is community and how they want to show up for theirs.
LUKE SHEE: Thank you so much.
NATASHA WOODS: You're welcome.
Information Sources Used: