Aesthetic Arrest: Kathy Sheridan on Finding Beauty in Ordinary Moments

What if the most extraordinary art begins with the most ordinary moments?

In this episode, I chat with acclaimed painter Kathy Sheridan, whose luminous still lifes and intimate landscapes invite us to slow down and truly see the world around us. Kathy shares her unlikely path from pursuing science to studying with legendary painter Wayne Thiebaud, revealing how a single childhood museum visit—and later, an unexpected gift of oil paints—set her on a life-changing creative journey.

Together, they explore the power of light, the importance of mentorship, and the concept of aesthetic arrest—those rare moments when a work of art stops us in our tracks and reconnects us with the present. Kathy reflects on how her work has evolved toward simplicity, why aging has deepened her artistic vision, and how paying attention to everyday beauty can transform both art and life.

Whether you're an artist, collector, or simply someone longing to reconnect with creativity, this conversation is a gentle reminder that inspiration is always waiting in the quiet moments we often overlook.

IN THIS EPISODE:

• Kathy's unexpected journey from science to professional artist
• The childhood museum experience that changed her life
• Studying with renowned painter Wayne Thiebaud
• Why light is her greatest source of inspiration
• The meaning of "aesthetic arrest" and why it matters
• How her artistic style has evolved toward simplicity
• Finding beauty in everyday life and ordinary objects
• Encouragement for artists to trust the creative journey

KEY TAKEAWAYS

• Creativity begins with paying attention.
• The ordinary often holds extraordinary beauty.
• Great mentors can shape both your craft and your confidence.
• Simplicity can create the deepest emotional connection.
• Art invites us to slow down, be present, and truly see.

Transcript

Shannon Grissom (00:00)
Welcome to Made to Make. Here we talk about creativity, the challenges that come with it, and why we keep showing up anyway. Because hey, we are all made to make.

Welcome to the Made to Make podcast. I'm your host, Shannon Grissom. Today's guest is Kathy Sheridan, an artist whose work celebrates the quiet beauty of everyday life. Kathy believes that creativity isn't about making grand statements, but about noticing the small moments when time seems to stand still. And I gotta tell you, when you look at her paintings, you don't just look at them.

You're there. You're in them. I'm so excited to to talk to Kathy today. You're gonna enjoy this. So today we're gonna explore the how those seemingly ordinary moments have become the heart of her extraordinary work. Welcome, Kathy.

Kathy Sheridan (00:59)
thank you. It's so nice to be here and I'm very honored that you that you wanted to talk to me.

Shannon Grissom (01:06)
of course. So were you a creative child? Did you always create? When did that start?

Kathy Sheridan (01:14)
my gosh. so when I was growing up, I thought art was for chumps. I didn't think it had any value at all. even though I was always drawing or ex or or experimenting with oil paints, my first oil painting was on an old sheet with a leftover set of paints from a paint by number kit, you know, kind of thing. I never took it in school. I was a a science and math girl growing up. And so not really, but

Underneath it all, I've always liked to draw, and when I had quiet time for myself, that's what I would do. but my neither of my parents are particularly creative. My mom liked music, and it's it's kind of interesting when she was in school during the 30s. they taught art history in school. That was just a subject that was in there. And so she had a stack of postcards of famous paintings, and she would

Frame them and put them up around the house. And there were two paintings in particular. One is called Pinky, and the other one is called Blue Boy. Thomas Gainsborough and Joshua Reynolds are the artists there. And when I was on a field trip to the Huntington Beach Museum down in LA in sixth grade, they have the paintings there. And I remember that was a moment. That was a moment where I stood in front of the paintings and there they were.

in person and it was just shocking. It was absolutely shocking. I was completely mesmerized. So I think the inclination was always there. it's just from an ambition standpoint or what was valued for me at the time, art was not on the horizon, not at all. Yeah.

Shannon Grissom (03:00)
So when did you so you started to make the shift when you went to the museum? Was it was it later before you s began your art career? When did that all shift it to actually doing

Kathy Sheridan (03:12)
Not until college. and my boyfriend at the time had given me for my birthday an oil paint set of paints and brushes. And I took my first art class at a community college when I was, you know, eighteen, nineteen. And I loved it, but again, I was still majoring in biological sciences and going I was going to UC Berkeley and all all that kind of a thing. And so it came along very, very slowly, really.

I just didn't see it as a viable way to make a living or to spend a lot of time. Yeah.

Shannon Grissom (03:47)
Well, I noticed that you studied with Wayne Thiebaud I mean, how was that had to be amazing? Tell me about that.

Kathy Sheridan (03:53)
You know, Wayne Thiebaud for for people who are not familiar with his work, you probably have seen it. He's very famous for doing a series on desserts of pies and cakes and gumball machines and portraits and he uses a lot of color and he uses a lot of paint. It's very thick, very imposto. And I was lucky enough to fall into a class of his at UC Davis. And not really knowing who he was, but he's tremendously famous.

He is a lovely, lovely man. He was so nice and so warm. And he used to bring his paintings into class and just line them up against the wall, so that the students get up and look at him really close. And I remember going up to one painting in particular, it's a portrait of a man with a cigar, and the cigar is coming right at you. So the perspective on it's just crazy. It's coming right at you. And I got really close to it, and there was on the man's nose this bright turquoise line of paint, just

Bright, bright, bright. When you stand back from the painting, it reads beautifully. It doesn't read bizarre. It doesn't read abstract at all. But when you get up close and you see what he can do with color, and that was another light bulb moment for me where I realized you could use any color you want, and it'll work. You know, you just need to find the right color for that particular circumstance. And it was another door that opened for me. and he

I've been to most of his shows. He was just the kindest, most generous person, and I was very, very lucky, total luck. Yeah.

Shannon Grissom (05:30)
Wow. Well I definitely notice an influence in in your use of space. And also and also you both have a a Zen contemplative calm feeling. I get I get that when I look at either both of them. That's wonderful.

Kathy Sheridan (05:47)
Yeah. So yeah.

Yeah, yeah, yeah, yeah. Thank you.

Shannon Grissom (05:51)
So what catches your eye first? What what gets you going on a scene that you wanna convey?

Kathy Sheridan (05:59)
Right. it's the light. So that's the first thing, and I'm pretty fussy about it. I like the light in fall and winter. I don't like it in spring and summer. there's a lot of water vapor in the air in spring and summer, and it lends a milky quality to the light, which I don't care for. so once the light starts to shift, usually late August, that's when I usually find my images or when they're I'm able to create something.

so light catches my eye first and then color. I like good strong color without it being

The I don't want the color to necessarily call the attention to itself. The the painting does not exist to show the color, but the color's a a signal. It's a it's a call. It's a call to stop and gaze. So I can't create those moments when that happens. they reach out and grab me. So I'll be cruising along and all of a sudden it's like somebody grabbed me by the collar and just kind of pulled me out of the picture there. I've I've tried to do intentional work.

Where I set up a black box and I have a certain light source and I put things in the black box. and they're okay. They're okay, but they're not anywhere near as good as these places that exist in sunlight with color all on their own. And I just happen to stumble across them. So that's usually what it does. And then I usually take photographs or I do sketches. sometimes I'm able, like around the house, I can

take maybe one photograph just to catch the light at that moment, but then get the object and then use it and set it up and be able to render it by actually having the object in front of me. So I did a painting of my husband's workshop and I was cruising through normally it's a place I want to burn to the ground, but when when I was walking through there and there was light coming in through the back door and it just hit this wall of stuff from Ace Hardware.

crazy. And so I was able to take a a photo of that moment and then one by one bring the tools into my studio and then use them as still lives to kind of work up the painting. Yeah. So

Shannon Grissom (08:18)
Yeah. Well I definitely feel like I'm there every time I look at any of your work. I think about your tricycle and the wheelbarrows. and the shoes. Tell us about the shoes.

Kathy Sheridan (08:31)
You know,

again it's n one of those things. the so the shoes that you're talking about are a row of ladies' high heel shoes in different colors and they were at a garage sale. And I was driving by with my car and you know, just kind of glanced out the window and here were these shoes in the sunlight and they're like pink and red and blue and they're just all lined up, right? So, you know, hit the brakes, find a place to park the car, run back, grab a couple photos and

It's it's perfect. And it's odd. The paintings in Arizona as far as I know, is that people relate to that. They relate to a bunch of shoes at a garage sale. That's something but my goal is to have people just stop and look and not assume, right? Just stop and look and catch your attention, yeah.

Shannon Grissom (09:24)
Well, you know, they do. I think when I when I experience and I'm not gonna say look, when I experience one of your pieces, you take me there. I'm not I that's how that's how I feel. it's not just like I'm looking at a painting. You are you are with the one with the painting. It's magical.

Kathy Sheridan (09:45)
Thank you, thank you. That's so nice. Well, and I think it's only because that's how I feel, right? And so that's how I feel about that moment. It's that James Joyce in his novels talks about aesthetic arrest, where something is so brilliant or colorful or beautiful that it literally stops you in your tracks and captures your attention. And that's something that I would like to achieve with the paintings, is that

mm just for a moment people are taken out of their usual mindset and they just stop and pay attention for a minute, you know, and that's my intention. And those moments do that for me. So hopefully that comes across on the painting. Yeah.

Shannon Grissom (10:30)
It really does. do you think you're preserving moments that otherwise might disappear that that are you helping people notice or be in the present?

Kathy Sheridan (10:42)
I like that question. It's an interesting question. I don't think artists can I say this? I can say for myself. I don't think artists preserve anything. I I don't think it's about preservation. I think it's about drawing attention to something, right? Whether it's a moment or it's an idea or it's a cause. And then hopefully that moment will resonate over time.

So that what was relevant in 1850 is still relevant in 2050, right? and so it's not so much about preserving, I I don't think. although certainly in the past, you know, there there are paintings that are all about preservation of the moment and marking the moment. But I think a good painting is drawing attention to something that still exists. It's something that's still tangible and able to touch people. Yeah.

and and I know for me, my work is all about things that people miss. it's that's really all I ever do, yeah, is do paintings of things that people miss. They don't pay attention to, yeah.

Shannon Grissom (11:52)
Well they do as soon as they see her work!

Kathy Sheridan (11:56)
It's very yeah, yeah.

Shannon Grissom (11:59)
So I you've you've compared painting to petting a cat. Can you speak to that?

Kathy Sheridan (12:03)
Yes.

Yeah. so you know how if you see a really fluffy cat or if you see a rose, our first inclination is to then reach out and either pet the cat to touch it or to smell the rose, right? You don't even think about it, it just happens automatically. When these when I see these things, when I see these moments of light and color, my first inclination is to want to reproduce it, is to make it happen. And I can literally feel

the tangible pleasure I will have in creating that color or in creating that highlight or that shadow. And it's like I know I'm in for a good time. It's gonna it's gonna happen. and yeah it's compulsive. Yeah, I see it and then I just have to do it. Yeah.

Shannon Grissom (12:49)
Yeah. So has what grabbed you w or what grabs you now changed, evolved over time, or has it always been that moment?

Kathy Sheridan (12:59)
huh. You know, the very first painting I ever did was about a moment, which is interesting. And then there was an evolution over time where I did portraits, or I I I went through a period of time where I did much bigger things like a street scene in San Francisco, or things that are complicated and they have a lot of different things going on. I I do find myself right now as I get older focusing more on singularity and

quieter things, I think, only because

I I think you're able to focus better. I think when there's a was a bit when there's a busy painting and there's a lot going on, your attention gets scattered, it kind of goes all over the place, and you don't go to that place of focus and a rest and deep contemplation. I don't mean it to sound like, you know, I'm trying to initiate a zen session here, but I think I think most of the time, we all do it, most of the time.

Us humans are wandering around and we're looking at things, but we're doing it more as kind of a Google search. We have something in our brain and we're looking for something that's going to match that thing in our brain, whether it's a flower or grocery shopping or you're looking for people, whatever. what I'm trying to do is to get people to look without searching, right? To disconnect between what they think is going on in their head.

with what's actually in front of them and just to change that. And so I'm finding that s seems to be easier with smaller, more focused images as opposed to something's really big. The you know the other thing from a practical standpoint, if you do do a giant painting with lots of stuff going in it, what are you gonna do with it? Right? I mean, there's a there's a limited number of places that painting can go, right? and so it ends up under a bed someplace.

so I do things large periodically, but it's a little easier to have something a little bit smaller, you know, not not quite so big.

Shannon Grissom (15:13)
I used to paint huge. I mean you know that I used to paint huge paintings, but I don't do that anymore. Same thing. And also when you have a large inventory of big pieces, that ener that energy just weighs me down. So I'm I'm I'm I'm actually painting smaller. The paintings behind me are way bigger than what I'm doing now. And

And I am back to it's funny, I started off with like single objects when I first started painting and thinking someday I'd be able to do a whole painting with lots of stuff in it and what I realized now I like I like to focus on one thing or or or small set of things. So I I totally get that.

Kathy Sheridan (15:58)
Yeah, yeah.

Shannon Grissom (16:00)
So

What do you have what what do you wish you could tell your your younger artist self that you know now?

Kathy Sheridan (16:12)
So art was never a way for me to make a living, right, to make money. I made money being a bureaucrat, right? And I'm really good at organization and administration stuff. And so I would paint because I enjoy it. and I always worried that nobody's ever gonna see my work except in Modern Maturity Magazine, right? It's gonna end up in some AARP piece. And and that was that was the destination for my work.

Not that there's anything wrong with that, but I just thought that was going to be the extent of it. I guess what I would have told myself is just relax, right? It's okay. getting older does not mean that your work will be less. if anything, it means it'll be more, it'll be better. and that your your ability as an artist will actually become more valuable the older you get. And I wish I had known that when I was younger.

It didn't stop me, but I think that it that idea that an older person maybe doesn't have as much to contribute to society is filters down, I think when you're younger and you ha feel like you have a limited amount of time to produce something of value or to make your mark or whatever it is. And and that pressure is not necessary, if it's if anything is the opposite. is that I think the work gets better as you get older. Yeah, for sure.

So I would have told myself, relax, it'll be okay. Yeah. Yeah.

Shannon Grissom (17:44)
That's great advice. I still need to tell myself to relax.

Kathy Sheridan (17:49)
No, out yeah, you know, it's okay. I mean I don't Right. I will pat myself on the back in that I never gave up painting. I did it my whole life in between baby naps and in the evening or on weekends. And it wasn't like I was dedicated. I just squeezed it in where I could. and you can see in the work, some of the work's very rushed, you know, it looks really busy. But I I kept at it and

Shannon Grissom (17:53)
Yeah.

Kathy Sheridan (18:16)
And there were times too where I was told by various people who are in the business and and they're in the industry of art making that as an older white woman I have no value, right? I have no value being a baby boomer and you know coming from a middle class background that there's no value. And I've been told that multiple times. And and yet I kept painting. And so I give myself credit for at least not letting that stop me from

Continue the work. Yeah.

Shannon Grissom (18:49)
Now do you still use I know you started off using a limited palette. Do you still use a limited palette?

Kathy Sheridan (18:54)
I do, I do. when I first started, oil paint's really expensive. and when I first started, we I really couldn't afford to buy gobs of paint. So I just use a warm and a cool of a red, a blue, and a yellow, white, burn umber, sometimes raw umber, and that's it. You know, that's really all I ever use. every once in a while I'll

I'll pull in like a Viridian green or something that's actually kind of difficult to achieve. But I find I can do just about anything with those colors. With that palette. Yeah, with that palette, it works just fine. Yeah. the cadmium colors are really expensive, you know, the reds and the yellows. earth tones, not so much. They're a little bit more affordable. So I just stay with that. And I paint very thinly. I don't paint with lots of texture. I like my canvases to be ultra fine.

linen canvases, I stretch my own because I don't want texture, I don't want bumpies on on the canvas and and I use very soft brushes. I rarely use a a bristle brush. Maybe in the beginning when I'm trying to cover a big area, but almost never, yeah. So

Shannon Grissom (20:08)
Have you ever tried wood? Do you paint on w wood?

Kathy Sheridan (20:11)
I've

done wood. what I find with wood for me is what's lovely about a canvas is that it gives. Yes. So when you press even just the slightest amount of pressure, especially if you're doing curves or if you're doing something that you want to have more of an organic shape, the canvas lends itself to that. whereas wood does not have that forgiving surface and I it's a little more challenging. so I've yeah, I've tried it, yeah. like masonite or something like that.

but I do prefer the canvas. Yeah, stretched nice and tight and no texture. It works.

Shannon Grissom (20:48)
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Kathy Sheridan (21:29)
that's funny.

Shannon Grissom (21:32)
Do you have a favorite? I mean that's like asking do you have a favorite child, but do you have a do you have a favorite or one ones that you've paintings that you've kept for yourself just because they just

Kathy Sheridan (21:44)
Right, right. so when I do a painting I usually like to keep it for a while because it's like having a kid and you just want to have a baby and then send it out, right? You want to keep it keep it around for a while. And then at some point I'm like, Okay, I'm done with this painting, it c it can move on and go wherever it wants to go. I've kept the trikes, which you mentioned earlier. and where that came about, my daughter and I used to go out for early morning walks and she was into photography at the time, and we would go out like before seven AM.

And on Thanksgiving morning, she and I went out and we're just walking around the neighborhood. and I had my camera, she had hers, and we're looking for things. And here are these broken down tricycles up against this acid green wall just up the street from where I live, and I took some photos of that, and it worked in just the best painting. I love that painting, in part because the images themselves and the colors were spectacular.

But it's fun how my daughter and I were out, you know, doing a walkabout and it just we sprang upon it, and there it was. And so I just have a really happy memory associated with that one. So I kept that one. And then I have one that I've never shown. nobody's ever seen because I never took painting classes. I took one at DVC and I don't think I took another for quite a very, very long time. so I taught myself how to paint by copying.

I would see a photograph or a magazine picture and I would copy. And there was a photograph of three Muslim women praying in National Geographic. And I think the photographer is Stephen McCurry, but I'm not positive. I've searched for subsequent, I can't find it anywhere. And I would think he would do it. He's the photographer that took that beautiful picture of the Afghan girl with the bright blue eyes that we've seen, right? So I'm pretty sure it's his photograph.

It was in National Geographic and I copied it. And what happened was is that I had a son who at one year old got spinal meningitis and he died. And so I stopped painting completely for a while, and that was the first painting I did after he died. And the faces of the women they seemed to reflect the emotions that I was feeling at the time, which is

There was sadness, there was resignation, and there was anger, you know, just how could this happen kind of a thing. And so I've never shown the painting. I keep it. It's a it's a copy of somebody else's work, so I can't say legitimately that it's my creation at all, but it has that connection for me. So yeah, yeah. And that was my first step back into painting after Joe died. Yeah.

Shannon Grissom (24:36)
How long did it take?

Kathy Sheridan (24:38)
Gosh.

Well, I had two other little kids at the time. It seemed like it took forever, probably months, you know. It's it's a fairly simple painting. The women are wearing white robes, so there's a lot of white fabric and a dark background, and then it's just their faces in these white robes. I think that photograph was also used on an album cover for a musician and I I know I've seen it and I can't find that either. I've been looking. but yeah.

So so I I kept that one. And then over time, you know, I keep paintings for a while until I'm ready to let them go and then they they go. Yeah.

Shannon Grissom (25:16)
Do you ever throw any out?

Kathy Sheridan (25:21)
yes, yes. there was one, my gosh, early on I tried to do a skirt on an antique doll that was plaid taffeta. And I I admit defeat, man. At that time, there's no way. I you know, he had he had the texture of the fabric and you got the plaid, and it was just insane. I think I could do it now, but at the time, no way. So yeah, that one got thrown out. Most of the time,

No, I I not very often. I don't experiment a lot. You know, it's not like I d I'm not developing ideas. I mentioned that in my statement. I don't have a creative process where I develop ideas and I make mistakes and then go back and do it again. I'm I'm not that kind of worker. I don't do it that way. So if I'm doing it, I'm doing it for keeps. Yeah.

Shannon Grissom (26:11)
Well, you know, with with writing they have planners who plan plan things out and and pantsters who do it by the seat of their pants. And my sister calls me a planster, I'm kind of in between. So what would you say if you how how would you call your painting style? Are you a a plotter or planster or somewhere in between?

Kathy Sheridan (26:37)
I often do an oil study, a very small, like a five by seven oil study. and then partly just to kind of warm up and get get into it. And then those in turn I give to the arts council to auction off at an annual fundraiser. So they'll come home. Yeah. So it works out. I'm a I'm a committer. you know, so if there's something I want to do, I commit. And as I'm working on a painting.

And you get to a point where it's really difficult and you have no idea how you're going to solve this. I tell myself, I'm gonna stay with this until I figure it out. And I I think each painting or and each image or a portion of an image has a code. And you have to crack the code, you have to figure out what is happening here and why does this read the way it does, and and what's actually going on. And once I crack the code, it's coasting.

in the home stretch and it's fine. So I'm just I commit. So it's like I skydive, right? I have my stuff and I just jump out and I'm committed. Yeah.

Shannon Grissom (27:47)
Yeah. I love that. That yeah 'cause it is a commitment. It's a relationship.

Kathy Sheridan (27:52)
Yeah.

Yeah, and I I think there's a lot of problem solving in it. You're trying to figure things out. And and like a relationship or a marriage or whatever you're doing, you have to have the steadfastness to stay with the times that are uncomfortable and you don't know what you're doing and with trust that it'll work out. It'll it'll be worth the effort to do it. so I yeah, I don't normally throw in the towel. Except plaid taffeta.

Yeah. That didn't work.

Shannon Grissom (28:26)
Ha ha.

Do you ever have times when you feel blocked?

Kathy Sheridan (28:37)
no. no again because I don't work that way. I'm not I don't work from inspiration ever. it's very intentional when I want to do something. So I'm not I never wait for inspiration. I think painting is like ballet bar. You go and you work out and then you trust that the art will flow from that, right? You go, you do the work, and

you go through the motions and you commit and you stay with it and it'll it'll be there. So I think if I were to wait until inspiration bloomed, there's always laundry, right? There's always something else that needs to be done. And so I'm much more committed. So as a result, I there's no blockage, right? There there just isn't any. and then during times when like right now I'm I'm carrying or helping to take care of my sister,

I'm not painting as much, but that's okay. This is not the time to be doing that. I'm really focused on other things right now. And I don't feel bad about it and I don't see it as a blockage. It's just it's now's not the time, you know, to be doing that. So often it's funny though, because I will go through a period of d dissatisfaction with life. There's something wrong, right? So you go on Pinterest and you're goofing around and and you're

Rearranging flowers or your your clothes are all wrong and you're throwing your clothes out. and what I find is if I can just sit down and draw a little bit, just pen and ink, colored pencils, nothing fancy, nothing weird, that does it. That takes care of it. So there is something in me that is there and it bubbles up periodically and requires a release of some kind. It doesn't take much. If I

My calendar is a notebook that I create every year. I create a notebook and it's my calendar, but it's also where I put in ideas and cards and things that people send me and and drawings and stuff. And if I can just go in there and do a little pen and ink something of anything, that seems to be a release vow that seems to scratch an itch that's building. but yeah, yeah. No block. Not yet.

Shannon Grissom (30:59)
Yeah, that's great. Yeah,

I yeah, I I feel like I just show up and some days are more productive than others, but I the it's still going. Sometimes you have a br I have a brownout but I'm but I'm still moving. Still I'm still moving. So and if I waited for inspiration I'd miss a lot of good stuff. A lot of good stuff.

Kathy Sheridan (31:12)
Right now.

Exactly.

Right, right. No, the discipline I think is an important piece is just having the ability to be patient with discomfort for a while. I think that's a good thing. Yeah.

Shannon Grissom (31:34)
That's the challenge.

Kathy Sheridan (31:35)
That's

the challenge, isn't it? Yes, that's the challenge. Yeah.

Shannon Grissom (31:40)
So where can people find out more about you? Online?

Kathy Sheridan (31:44)
Yeah, so we have us. My husband is also an artist. He's a potter. and we have studios called Sally Street Studios. So if you Google Sally Street Studios, you'll find our website. and it has his work and my work. apparently I'm I'm not aware of having done this, but I'm also on Central Coast Artist Directory. somebody found me that way. I didn't even know I was in there.

And that will give you, I think, contact information and and a way to find it. Currently I have a painting at the Triton Museum up in Santa Clara, which is really Thank you. I'm just so excited about that. and and we do open studio once a year. and I I think that we'll be doing that for a while, a while longer. and that's that's pretty much it. So we also have a Facebook page, actually, now that I think about it.

Shannon Grissom (32:20)
Congratulations.

Kathy Sheridan (32:39)
We have Facebook, which I'm not very attentive to, but the website and Facebook also under Sally Street Studios. And so you can see both our work there.

Shannon Grissom (32:50)
Great. I will put all that information in the show notes. Well thank you, Kathy. you're in you and your work are incredibly inspiring, so I'm just happy to have you on the show.

Kathy Sheridan (32:53)
Thank you.

Well thank you for thinking of me. I'm just so flattered. And I've been a fan of yours, Shannon, forever, for a very long time. So I'm just thrilled to see this new adventure for you. thank you. I know it'll be fabulous. Yeah.

Shannon Grissom (33:14)
Well, thanks everybody for joining us today. Please be sure to like, subscribe, and share so that I can bring more inspiring guests to you. We'll see you next time. That's a wrap.