artmobilewa

2011-01-08T11:02:00.000-08:00

Back in Calgary

2010-02-21T11:11:00.000-08:00

in a 3 month residency. We are half way through. Since January we have been exploring ceramic hand-building, batik soft sculpture, fabric collage stories, sewing, plasticine settings, drawing from collections and kinetic wire sculpture to expand the languages of learning and representation available to both students and teachers.

what was most beneficial to you and your practice?

2009-03-08T16:26:00.000-07:00

"...the opportunity to have a hands-on experience with the students. It's much easier to do again when you know how to do something. Also, Ewa shared with us the amounts, brands and where to purchase - this helps us to know how and where to begin to do these projects again. We have done batik and felting [on our own] again and the projects were successful."

teachers comments

2009-03-08T15:43:00.000-07:00

"learning a new art technique - another unique way to represent understanding (Canadian Identity - Social Studies)"

"the students really enjoyed it and were very engaged - all students were able to participate and experience success"

"I appreciate how effective the classes were in helping the kids express their individuality"

natural objects

2009-02-24T05:50:00.000-08:00

storyboards

2009-02-24T05:44:00.000-08:00

plasticine illustrations

2009-02-19T20:22:00.000-08:00

tell us something about yourself

2009-02-19T20:16:00.000-08:00

recording observations

2009-02-19T20:06:00.000-08:00

the character in fabric

2009-02-19T19:57:00.000-08:00

felted pouches

2009-02-12T10:22:00.000-08:00

green to red

2009-02-12T10:17:00.000-08:00

last dye bath and ironing out

2009-02-12T09:32:00.001-08:00

printing

2009-02-12T09:17:00.000-08:00

cloths: first dye bath, second waxing

2009-02-12T08:08:00.000-08:00

felting snakes

2009-02-12T07:42:00.000-08:00

cloths: printing the fabric

2009-02-12T07:32:00.000-08:00

cloths: fabric design

2009-02-12T07:20:00.000-08:00

settings

2009-02-06T14:53:00.000-08:00

sensory looking

2009-02-06T14:47:00.000-08:00

character and setting

2009-02-06T14:39:00.000-08:00

the collage

2009-02-06T14:33:00.001-08:00

the character

2009-02-06T14:23:00.000-08:00

art club at Mount View

2009-02-06T13:40:00.000-08:00

the suitcase

2009-02-06T13:31:00.000-08:00

life near gjoa haven

2009-02-03T16:56:00.000-08:00

a community of learners

2009-01-29T18:35:00.000-08:00

vessels in the kiln

2009-01-28T18:07:00.000-08:00

I have been firing since last week. This is the last bit of the kindergartens' fairy tale characters (peeking out from under the 1/2 shelf), and the first of the grade 6 vessels. They are an akward size to fire. Often I place them on their sides, but without any pressure on the handle. When the kiln is loaded, the pieces are in their most fragile (green) state. And the handles are extemely vulnerable to damage. The bisque fire at cone 04, leaves them a rich terra cotta earthenware.

batik studio with clay projects

2009-01-27T18:54:00.000-08:00

In between classes.
The newspaper accumulates. One table has been turned into the ironing station for wax removal. The newspapers, saturated with the wax, accumulate under the table over the course of the day - as long as the irons are being used. At the end of the day, we stack the papers and put them in the trash. But most of the newspapers are recylced.
And I've finally started firing the Grade 6 vessels.

batik- removing the wax

2009-01-27T18:42:00.000-08:00

drying the fabric

2009-01-25T09:54:00.000-08:00

batik - waxing and dyeing

2009-01-24T05:32:00.000-08:00

Batik tables are covered in newspaper first then paper off the roll from the paper cart. Batiks are pegged to drying lines strung underneath.There are two tables set up in the studio with two electric frying pans each. The wax is an even split of bees wax and parrafin melted to about 250 degrees fahrenheit.

This is the second waxing. Areas of color are preserved in wax before the next dye bath. The fabric darkens when the wax penetrates it properly. We use only primary colours, but a wide variety of colour combinations are possible. Analogous colour schemes are encouraged.

Complementary colours need to be painted on. THis design calls for green grass as well.

perspective and landscape

2009-01-22T20:31:00.000-08:00

With one eye closed, we measured by spreading our fingers to pinch the top and the bottom of shapes. Do you have to adjust your fingers between close up and far away? We first practiced with each other, noticing how the head of a person close to me barely fits between my fingers, while a head across the room fits easily.

line to shape in fabric

2009-01-22T20:23:00.000-08:00

landscapes etc.

2009-01-22T20:04:00.000-08:00

Hi Katrine,
How about shape collage? It lends itself to teaching background and foreground because shapes of diminishing size suggest perspective and the picture plane is flexible. Pictures can be arranged and rearranged until the problem is satisfied. It is also a good setting for a story.

We'd need black felt or burlap background fabric, and a variety of coloured felt and other fabrics for cutting. Good cutting scissors and some volunteers to precut a variety of natural and geometric shapes of all sizes and colours. But 1. avoid fabric prints, 2. avoid cutting shapes that are also symbols like a heart or cloud, flower etc.
Ewa

from line to shape

2009-01-22T19:55:00.000-08:00

shape party

2009-01-22T19:45:00.000-08:00

fairy tales in clay

2009-01-22T19:37:00.000-08:00

fairy tales in clay

2009-01-22T18:55:00.000-08:00

fabric picture party

2009-01-22T18:44:00.000-08:00

fairy tale characters and their things

2009-01-22T18:36:00.000-08:00

pinch pots

2009-01-22T18:33:00.000-08:00

first day - vessels

2009-01-22T18:06:00.000-08:00

vessels day 2

2009-01-22T17:53:00.000-08:00

shape to block

2009-01-22T17:29:00.000-08:00

batik preparation

2009-01-22T16:59:00.000-08:00

clay all day

2009-01-20T05:48:00.000-08:00

Today was devoted to finishing Grade 6 vessels, designed in conjunction with their study of Greece. The bodies of the vessels were leather hard. They had been sitting covered with plastic garbage bags on the table, for the last 3 days.

We were working on attaching handles and smoothing out the surface. I asked for the coils to be seamless in the upper portions of the neck and the lip. A rotation of 7 groups of students came through over the day. These were the third and final 45 minute sessions. Student teachers were with us as well.

Spray bottles were vital to our building process. The clay dried out very quickly, probably from over handling and the weather (we were in the midst of a chinook). Misting both the object under construction and the working clay kept up the plasticity of the material.

Sponges were used to smooth the surface and rinsed in buckets. Because we didn't have a sink in the space, the water served the whole day. All the tools were washed in the buckets and wiped down with sponges between sessions. Clay particles settle down to the bottom of the bucket. At the end of the day, the water was poured off the top and remaining sediment was scooped out.
The coils for handles were consistently too thin. I suggested coils the thickness of two fingers so there was enough clay to pull the handles. The points of attachment were measured, then the leather hard vessel was vigorously scored and slipped to ensure a good bond.

2009-01-20T05:19:00.000-08:00

A couple of weeks ago I arrived back in Calgary and began an intensive residency at Simons Valley Elementary School. The admin. team, 32 teachers and their students are involved over 19 days of studio programming and staff development. Each classroom is scheduled for four hours of contact time in the studio. The team planning took place in cyberspace in early December and we hammered out the details of the residency and the specific direction, media explorations and curricular links with each grade group.
A fundamental component of the residency was the creation of an art studio in which the work could take place. The school is large - and at capacity. So the multipurpose space in the centre of the school, which is used as the luchroom, was designated as the studio. For the course of the residency, the lunchroom was moved into the gym.

blind contour

2008-07-09T09:32:00.000-07:00

We spent a few sessions working on blind contour. We drew from collections of natural objects that could be held and explored through touch. We also drew each other - beginning with the eyes.

We set up a drawing round robin in which a person draws the person across from them. Everyone draws at the same time to alleviate the discomfort of being the model. The black pens record the details of the eye - often overlapping them on the picture plane. We then looked for closed lines and filled them in with colored pencils.

studio work

2008-07-03T10:13:00.000-07:00

garry oaks

2008-06-26T15:49:00.000-07:00

batik

2008-06-26T11:18:00.001-07:00

pastel resist

2008-06-26T11:07:00.000-07:00

Sketching on the Francis Barkley

2008-06-26T10:49:00.001-07:00

plankton lab

2008-06-23T18:56:00.000-07:00

tide pool study

2008-06-23T15:32:00.000-07:00

We walked in to Brady's Beach at low tide. After exploring the intertidal profile, we settled down to directed obsrevations.

Our discoveries required patience and stillness as the drama of the tide pool unfolded.

There was a particularly agressive and hungry sculpin that we watched for a long time. Any morsel that floated down was gobbled up immediately to the resignation of its fellows.

Back in the studio, we used these sketches as ideas for larger works or continued to add to them from memory.

alberni inlet - going to Bamfield

2008-06-22T16:09:00.000-07:00

Each year, the Grade 5 class goes to Bamfield Marine Science Centre (BMSC) for a three day field trip. This year, they took their sketchbooks and their artist in residence! (Yipee!)

We bused to Port Alberni then boarded the Frances Barkley to take us down the inlet. It was cold and misty. We were still new with each other. I pulled out some pastels and tempra blocks. Some joined in. Recording experiences and exploring materials.

experiences in the field

2008-06-22T15:31:00.000-07:00

The Garry Oaks Preserve is an easy walk from the school. From the beginning of May many classes spent time making observations there.

We were not the only ones. A couple of biologists were also working in the field, flagging and mapping rare flowers that enjoy this particular ecosystem. We met them a few times. They showed us their field books and we shared ours.

Since the pen is water soluable, we used small brushes to manipulate the ink and create tonal washes. Sketches capture the sensory information and save it for further reflection. They become the raw material for studio explorations.

experiences in the classroom

2008-06-22T14:36:00.000-07:00

Drawing from collections was the first exercise in observation. Each class went through the same process. Slowing down and noticing edges and details was essential in discovering and recording the objects.

Using mark making as a means of describing our experience. Notations on paper - evidence of careful looking.

The line is bold and fluid. And permanent. Enlargements encourage detailed descriptions. Practicing noticing before taking our notebooks into the field.

Art Show

2008-06-22T13:45:00.000-07:00

Last Wednseday we put up the show at school. Children toured adults and each other through the hallways - pointing out their work and ideas. In the community area, I set up a drawing, painting and collage station for people to explore.

I'm back - with a little rant about dial-up, and new postings...

2008-06-22T12:37:00.000-07:00

I'm on Vancouver Island. A lot of interesting things have happened at school this spring but I have not had access to high speed internet at home, so I've not been posting ongoing experiences. Blogging on dial-up seems impossible. However, thanks to friends, internet cafes, the school server and free floating wireless signals, we can continue...

I came out in February to do a workshop with the staff. We all began to work in our sketchbook, using it as a place to explore and record sensory experiences. Drawing from collections, from obsevation, with a watersoluable black pilot fineliner in a hardbound 5 x 7 sketchbook. I came back in April ito begin working with the students and parents as well. Recording, experimenting, remembering and documenting our experiences. Visual field notes. Our project involved the whole school in creative research, production and reflection as part of grade specific, collaborative inquiry projects based on authentic experiences in the natural environments. Sketchbook journals became tools for observation, documentation and reflection, both in the classroom/studio and in the field.

what teachers say

2008-04-02T13:44:00.000-07:00

"It was great to see that all students knew they were artists. I liked that it encouraged students to really look at art and allowed freedom of choice. All children rose to the challenge and felt good about themselves. The residency was very beneficial and well received by students and staff. It was timed greatly to coincide with class curriculum and schedule. Ewa was fun, relaxed and comfortable with all grade levels."

"I loved Ewa’s commitment to the children and their art!"

"Doing visual journals helped K students become more comfortable with drawing as a way of communicating. Using fabric as other medium with Ewa guiding us was wonderful. Lots of “hands on” moving of the fabric pieces to make a story collage really helped even the speech and language IPP students express themselves. Ewa motivated us to do a follow-up project of a Leo Lionni torn paper collage – the kindergarten quality of work was so high and extraordinary that it inspired us to make torn paper art trading cards as our final project with Ewa."

"The kids had lots of fun and really loved the project – it was not an idea I would have thought of doing otherwise."

"Program strengths were that it was easily managed and fit directly into our plans for the curriculum. The activities planned did not feel like an “add on” at any point in the process. Ewa provided great direction and a plan that could easily be managed and organized. It did not take a great deal of added work to collect materials for the project, have the materials sorted, the burlap cut or to have the finished product created."

"My future art projects with children will now include fabric art as it was a fun, doable and creative activity. It was a new way of looking at fairy tales. Working with creating setting out of fabric was more concrete than looking at pictures or even drawing them. Looking at characters through fabric creations also gave a clear understanding of what the children had learned and how much they had gleaned from discussions."

"Personally, I loved this residency. It was one of the best ones I have ever participated in and the comments from parents about the art and the learning that took place during our celebration of learning night made it even more worthwhile. Ewa was easy to work with, flexible and made learning a new form of art fun. I looked forward to her time in the classroom and learned a great deal myself about how to teach art, do unique projects with the children, and experienced a new appreciation for art education. Ewa fit in so well and the connections to the curriculum made this residency meaningful and positive for me and the students."

what students say

2008-03-28T15:44:00.000-07:00

March 11, 2008

Dear Ewa,

I would like to thank you for educating me on how to do gesture drawings and learn about the shape of our bodies. I did not like art very much before and thought it was very hard but your talent and kindness inspired me to do more art and see how easy it was…The sculpture process was really cool. My favorite part about it was painting the sculpture. At that part we got to think outside the box about what role we wanted our sculpture to play. I really liked it when you showed your process and tricks to drawing because most artists just show their work. You taught me a lot and inspired me, so I hope to see you again,

Sincerely,
Liam

…My favorite part was you modeling. That really caught my eye.
- Emily

…doing contour drawings. it was fun and funny how they turned out.
- Lexi

…At first I thought art was really boring and not that exciting, but now I know that art is funner than I thought. What motivates you to go to other schools and share all your work with people?
- Spencer

…Thank you for teaching me that when you’re working on art it doesn’t have to be perfect. I enjoyed the time we worked together…Modeling, I always thought, was just about walking down a hallway and looking good. But I learned that modeling can be used in art in so many ways. And blind contour, who knew that drawing without looking could be so fun…
- Emily Z

…We had a wonderful time. People around the school such as the students and teachers are commenting on the beautiful sculptures you helped with. You are a great artist and you should never give it up. Thank you for walking through my classroom door!
- Kylie

…I loved to do the wire sculptures with you. My favorite subject in school has always been art but I don’t think I have ever had so much fun. You inspired me to do more art and take more time to be better at my art. I think the other kids will love to have you in their classroom.
- Christal

the figure in plaster

2008-03-19T15:53:00.000-07:00

the print

2008-03-13T13:54:00.001-07:00

I did the inking 4-5 people at a time. We shared the process of ink transfer - from the slab to the brayer; to the block; to the paper. Our first prints - our proofs - helped us deterine if we needed to alter the block.
Many of the blocks needed fine tuning - trimming edges or regluing - before coming back for another print. We used water soluble block ink and a retarder that slowed the drying time.

Each participant has two or three prints each. Because these blocks are small and can be used as stamps, it would be interesting to put them all together in one large class print.

printmaking: the block

2008-03-13T13:10:00.000-07:00

Printmaking was undertaken in conjunction with the study of the Canadian Arctic and the Inuit. We examined Inuit artifacts from a museo-kit and researched arctic animals and stories. In the sketchbooks we recorded our explorations and began to work out a design for our relief print. Over the two week period, each class also participated in a school program at the Glenbow Museum.

I asked for several drawings of arctic animals. I also encouraged other subjects that reflected their learning about the north. One drawing was chosen and reworked as a design using simple shapes within a traced rectangle. It was then redrawn directly on foam rubber and cut out.

First the general shape was cut out. Then other parts were cut away to produce positive and negative shapes in the design. The pieces were puzzled back together, glued onto a cardboard cereal box and tightly trimmed.

school projects

2008-03-01T22:23:00.000-08:00

Alena does a lot of work with clay in her classroom. These vessels were made in response to Goldilocks and the Three Bears. They are bowls for oatmeal.

Children glaze bowls with the help of an aide, student teacher or parent volunteer. Groups of 5 are taken out of the classroom to finish the project. Importance of glazing technique stressed in a class discussion of eating cereal out of the bowls.

I noticed these in the grade 2 hallway. Group of Seven images translated in acrylic. Careful looking and analysis visible in the paintings. The text reveals sensory writing - walking into the work of art and commenting on what one experiences through the senses, one by one.

wax resist and dye

2008-03-01T21:41:00.001-08:00

Designs were broken down to basic shapes, manufactured into cardboard blocks, and then printed with melted wax onto prewashed 100% cotton broadcloth. Each person brough their own shapes to the table to use. Inevitably they were shared.

The remaining egg dyes, (composed of vinegar and food coloring), were set up with paint brushes and we painted in our designs. Color theory played an important role in keeping the colors true in the jars.

Primary colors were painted directly on the fabric or mixed to secondaries by moving from lightest to darkest, in order to prevent contamination. The wax resist contained the dye and controlled the spread. Areas of color mixing become more deliberate: I want this to be green, so yellow goes down first, then blue...

wax resist

2008-03-01T21:22:00.000-08:00

We recalled shapes and symbols from the various countries through which students had travelled in studies curriculum. Most recently, we'd been exploring the Ukraine, ( as well as my own stories of growing up Polish in Calgary), through the process of creating pysanky. The remembered patterns and symbols were broken down to fundamental shapes and then created in folded cardboard blocks.

The blocks were heated in bees wax and then stamped on the cloth. In this case, groups of 5 are decorating the tails of a kite. Each participant created cardboard shapes in response to their own cultural study. As a group, students decided on a repeating pattern of symbols along the length of their kite tail. There are 5 tails in total.

fairy tales contiued

2008-03-01T20:34:00.000-08:00

Our second illustration was planned in the sketchbook a little more deliberately. The story was still the artists' choice: a fairy tale that we invent, or a fairy tale that we've heard.

Inspiration can be found in other artists' pictures in favorite storybooks. A collection of vividly illustrated fairy tales is a joy to read and to study.

In this piece, we focused on exploring a scene in the story that included the setting, (the where), the character, (the who that drives...), the action. Each of us chose to focus on those elements to differing degrees in their collage stories.

Setting is the most common content. Where do the visual referents for castles come from? When you are 6 or 7 years old, where have you seen castles before? In the landscape? In cartoons and Disney movies? Or maybe heard read aloud. Or read through illustrations.
The sketchbook drawing becomes a plan of the particular scene in the story. Setting, character and action have been considered. Notice the translation between the line of the drawing and the physicality of fabric.

body ornamentation

2008-03-01T20:11:00.001-08:00

The coil, if properly fulled, makes fabulous beads. We snipped them of in small pieces revealing their layered construction. I found some elastic cord for stringing.

The taperstry needle is sharp enough to penertrate the felt - sometimes with a little wiggling. And the elastic cord is easy to thread. We all sat together on the carpet and made these bracelets from our felted ropes.

soft sculpture

2008-03-01T19:43:00.000-08:00

Our felted elements included a coil, a ball and a vessel. Using, scissors, needles, threads and some found objects, we transformed them into sculptures.

Tapestry needles and yarn were used for sewing the elements together. The vessel can be turned inside out to aide in attachement. The coil is being stitched to the inside of the vessel.

Various notions were brought in including feathers, buttons and fine needles and threads.

Participants felted two or three elements that they then were asked to put together in some way. Many created containers. Some created body ornaments. A few created characters.

figure continued

2008-03-01T18:06:00.001-08:00

Rebar tie wire is black and greasy. Lengths were cut and each person had two pieces to work with to create an armature for the sculpture. We tried to keep in mind the proportions we'd noticed during our drawing sessions. The wire was shaped by hand - twisted and woven to the desired arrangement then attached to a base.

working with artifacts

2008-02-29T20:24:00.000-08:00

In Grade 2, students study the Canadian North. We've been exploring artifacts from the Glenbow Museo Kit, "Inuit: A Living People". We discussed materials, construction and function as an introduction to the objects. Artifact handling was discussesd and each of us had an opportunity to have the object in our hands, look at it up close and imagine its purpose, feel its weight and design... Imagine the person that used it last...

Later, we drew the objects.

Kindergarten collage

2008-02-29T15:25:00.000-08:00

Stories were arranged from pre cut shapes of fabric from home. Parents were asked to cut out a variety of natural and geometric shapes. Students could alter them using sissors.

Teachers extended the exploration through torn paper collage - no scissors. Next time we created artist trading cards in the same way...

drawing on experience: workshop reflections

2008-02-24T14:50:00.000-08:00

What were some insights acquired?

What would you have liked to spend more time on?

What applications do you see to you current practice?

Topics for future professional development...

Other comments...

drawing on experience

2008-02-20T14:11:00.000-08:00

I'm in the Cowichan Valley preparing for a full day ProD workshop with teachers from SD79. We will focus on drawing as research and spend some time exploring the Garry Oaks ecosystem that is walking distance from Alex Aitken School.

visual research

2008-02-09T16:03:00.000-08:00

felting

2008-02-09T15:59:00.000-08:00

the figure

2008-02-09T15:57:00.000-08:00

wax resist

2008-02-09T15:53:00.001-08:00

pysanky

2008-02-09T15:46:00.000-08:00

illustration for teaching tales

2008-02-09T15:40:00.000-08:00

paper cut outs

2008-02-09T15:34:00.000-08:00

fairy tales

2008-02-09T14:47:00.000-08:00

winter story

2008-02-09T14:40:00.000-08:00

telling stories

2008-02-04T06:08:00.000-08:00

seeing with our fingers - closed lines

2008-02-03T19:42:00.000-08:00

seeing with our fingers

2008-01-29T05:48:00.000-08:00

Feely bags help us hone our observation, memory and imagination. Each table received an object inside of a plain canvas bag. Using our fingers like our eyes, we took turns describing what we felt - engaging touch as the first point of contact - without the mediation of our vision.
Description before interpretation. As each person put their hand in the bag and began to explore and articulate their experience of the object, the rest of the group listened and then wrote down what their neighbour had said. Research notes to help us imagine the contents of the bag.
Once we had exhausted text based possibilities, the bag was set in the middle of the table, and we drew what we felt inside. If we need more information, we could touch it again and translating our impressions with lines of black ink.

When our drawings were finished, we finally revealed the object. Then we toured the room, and read each other's work.

Learning from each other

2008-01-27T17:45:00.000-08:00

Towards the end of the session, we tucked in our chairs and went on a walk around the room to see what our friends and neighbours had discovered about their own objects - to examine the evidence of careful looking.

Drawing from natural objects

2008-01-27T16:42:00.000-08:00

The objects are small. They fit comfortably in one's hand. Information is gleened through touch first - an ancient and primary sense. The skin notes the texture, temperature, weight and fragility of the object and enhances what the eye can see. There is a certian intimacy that develops between the researcher and the subject; a relationship between the child and the object.

It was silent as we worked. I suggested 10 minutes of focused drawing and was surprised that we easily exceeded that framework. Everyone was engaged in a process of discovery that was made visible through line and shape. I put down my pen and toured the room, noticing their process and whispering a comment to each participant.

the residency begins

2008-01-27T15:41:00.000-08:00

We began with introductions. I went to each class with my sketchbooks and showed how I use a sketchbook as a site of collection, experimentation and reflection; a place to describe, take risks, analyze and represent through visual and textual languages. We talked about drawing from observation as evidence of careful looking. I passed out a collection of natural objects to each group. Each student chose an object and explored it with the senses for a few minutes before drawing with fine black marker. Slowing down, noting details, patterns and textures was encouraged in an enlarged format.

We all drew together. Sketchbooks were provided for parent volunteers so they could also participate in exploring these objects with us. Although initially it took a little convincing, this parent's participation in the process supported the feeling of collaborative discovery.

Teacher workshop

2007-08-31T13:19:00.000-07:00

We met at Kim's place - all 50 of us - to prepare a shared vision for the year ahead. The morning was spent exploring the idea of drawing as language. We focused on drawing from observation as a way of collecting visual research.

getting the hang of blogging

2007-08-31T09:01:00.000-07:00

Hi Everybody,

I really enjoyed our work together yesterday. I also realized that an ongoing dialogue would be benefitial to our process. I wonder if this blog could act as a space in which we could continue our conversations and reflections. I will post images and ideas related to the residency and I encourage your comments and input. I'm really new to this blog form so it may take a while to figure out how to use it to our full advantage. Stay tuned!

Right now its set up so you can visit the site and see everyone's comments and postings. You can also comment on any posting, send a message to me directly or send a link to a friend. So what do you think? If you have any comments about the day or the blog idea, please post them here or send them to my home email.

- ewa

drawing at kim's

2007-08-30T17:23:00.000-07:00

2007-08-30T17:22:00.000-07:00

2007-08-30T17:17:00.000-07:00