Studio Visit with Ian Blackhall Scott

Originally recorded June 14, 2022.

George Irwin of Western Gallery visits with Ian Blackhall Scott, whose work centers on painting and who is based in Lake Tahoe area, for a wide-ranging conversation about the artist’s work, process, and studio practice.

Transcript note: Speaker labels were assigned from the source audio where available and dialogue context otherwise. Paragraph breaks were added for readability, and verbal filler was lightly edited. Joint labels mark rapid or overlapping exchanges. This was prepared from an automated transcription, so minor transcription errors may remain.

Instagram Live studio visit—June 14, 2022

Watch the original video on Instagram (37:56)

Participants: George Irwin and Ian Blackhall Scott

George Irwin: Hello everyone! It's time for another studio visit through the internets right into an artist studio. Today we're going to be talking with New Western Talent artist Ian Blackhall Scott. Ian is out in Lake Tahoe I think, in that general area anyway and he does these gorgeous paintings that are reminiscent of kind of like the Hudson River School style. And we spoke to them a little bit at our opening, but today maybe we'll get into some of the more I don't know details and whatnot so I'll see if I can get them on here and then we can start talking. Ian has three pieces as do all the artists in New Western Talent because It's a small body of work. Hey, Ian.

Ian Blackhall Scott: Hello.

George Irwin: Hey, so if you haven't seen them, go to western.gallery and check out his work. But maybe after we talk because we're talking now, right?

Ian Blackhall Scott: I'll show some work here.

George Irwin: Hey, nice angle there.

Ian Blackhall Scott: Oh yeah. Well, I got a lot of grief on the last one cause I'm kind of an old man with technology. So I was doing all the weird stuff not looking at the camera. It was just bad, so I'm hoping to redeem myself.

George Irwin: Oh, you know, I think you're probably doing better than you are recognizing. But this is a great setup and I hope that he didn't take too much offense to that picture I put up where I snagged part of your story it made you look a little bit like Bob Ross.

Ian Blackhall Scott: That's what I was going for, yeah.

George Irwin: Have you thought about putting cabins in your work?

Ian Blackhall Scott: I love cabins.

George Irwin: No, I'm not a lot of architect, right?

Ian Blackhall Scott: I always have little people or animals but no cabins there is a cabin this one I'm working on there is cabin up that Valley.

George Irwin: I'm just joking by the way, I think I mean how despite the, you know, Bob Ross being a wonderful figure. I think that your paintings are much more in the fine art realm and the cabin thing is I don't know if any of you guys aren't in on this joke but if you ever watched the Bob Ross like restreams on Twitch there's like a chat box that goes on everybody gets super excited when he decides to put a cabin in the painting so that's why that's the obscure reference I'm making right now. In any case, Ian so man you are a young guy out in the Tahoe area painting showing your work and kind of local galleries and New Western Talent and then where else have you managed

Ian Blackhall Scott: to get your workout too? Well the first gallery I started showing out was in Provo, Utah. That's where I went to school. Okay. Small atelier there and I was just asked to show some work there. It's got great work it's called Heirloom Art and Company. Okay yeah. I have a few like really small paintings there still if you don't know this is my main bread-and-butter here I'll show you. The

George Irwin: little uh yeah are they like yeah ultimate

Ian Blackhall Scott: sound size? Yeah and then I put them on these little wood stands like that. Wild. That's mostly what I sell but yeah i still have some there but um for the most part um that's where i started and then come to Tahoe it's just you know a couple local galleries here um wanting to branch out more this summer is I'm super booked up with shows so I'm doing eight shows. I've already done one, so I got another one in a week and a half so gosh it's gonna be a busy summer but

George Irwin / Ian Blackhall Scott: i'm just trying to get my name out there yeah well yeah I think you know that seems like

George Irwin: it's starting to happen how many like how many pieces do you have in these shows?

Ian Blackhall Scott: Well, I have a variety. Well, I try to get at least like 50 of those little tiny paintings done. Oh wow. And those usually sell out not as much off the wall, but I get a lot of people coming and buying stuff off the wall later contacting me. And I try get at least 10, you know, eight by 10 to 16 by 20 paintings ready for that. So wow.

George Irwin: I think I'll be next one maybe. How much so what how much did the little card

Ian Blackhall Scott: size paintings go for? Well yeah, I got a variety of sizes. Like this size this is B it's kind of an oxymoron it's called my large mini painting. Yeah anywhere from like three by four inches to like four, I think it was four by four inches. I'm gonna sell those for $60 with the stands and then next size is like two by three inches so I sell those about 40. Goodness. And then my next size down is one inch by two inch. It's kind of a novelty at this point but I sell these for 20 bucks and I like it because it gets everyone into buying original art, it's kind of like sewing seeds for me.

George Irwin: Yeah that's really amazing and I mean it seems like those are great deals for people to have something original even if it is so small. It's not like these paintings that you're making that are at that scale are throwaways they're pretty nice

Ian Blackhall Scott: little tiny paintings. Yeah I mean I've gotten really good at them it's doing stuff that has become a real challenge. I did my, I used to do those plein air competitions. I did my first one two weeks ago and trying to paint bigger was a real challenging for me so because yeah I remember stamping those canvas because on these plein Air competitions they say stamp your canvas. Oh, man. You go out and paint everything that they've stamped in there kind of laughing at how small the canvas size point on. So it really take you seriously do something like eight by 10 or bigger. So I was able to do some eight by tens that I got, I got honorable mention which was pretty exciting.

George Irwin: Oh wow, congrats. That's awesome.

Ian Blackhall Scott: Yeah, I'll be doing another one in Drix Idaho next month so

George Irwin: I'm excited for that. Very cool. So we talked a little bit like during the opening, I guess about kind of like influences of the Hudson River School and the idea of kind of romanticism and luminescence in your work. I guess What drew you to their work and especially like to the point where you're feeling like you were studying it closely and kind of learning from them?

Ian Blackhall Scott: I do remember going to Washington DC when I was about 17 and seeing those paintings in person for the first time. That was pretty impactful but it didn't really, I wasn't like, oh, I had an idea. Oh that'd be cool to paint like that. It wasn't like I need to do this. And then it just kind of gradually grew as like wow this is the most sublime form of landscape painting for me. Okay. I thought about because I wasn t painting like that at all before. I was real into jazz music, cubist art Picasso, completely different. Something that you might have seen with those recent skis I've been painting that was for a show, a resort so it worked and they did well there but yeah i was very into cubist art so this idea of classical landscape grew on me gradually until I just became all consuming

George Irwin: So did you start, oh sorry I didn't mean to interrupt you, continue. Oh so it became all consuming and then you just like, did you just start kind of like to make, did you just try to make a piece that you felt had some of those same qualities?

Ian Blackhall Scott: Yeah I did. I remember it was in college where she chose an artist we admired. I really admired Thomas Moran. To cut like the thing, probably college they don't want you as far as universities go. They don't what you copy and they want to create your original ideas so you create the

George Irwin: it's like how can you learn?

Ian Blackhall Scott: I don't agree with that as a way to learn but it was a starting point. So I was creating this landscape in the style of Thomas Moran but I didn't really learn Because it ended up looking really cheesy, you know, that those attempts at those that luminescent romantic landscape and just turns out really cheap. Like there's a fine line between and sublime landscapes so finding that line, I'm still juggling it but That's when I first tried but I left the college university education and pursued more the atelier apprenticeship method. And that's where I was encouraged to copy a lot, and I try to keep a master copy. I try always be working on one because it just helps me continually get in that mindset.

George Irwin: And then, so, wow. Yeah okay, so then you are, by doing these master copies it creates like, not only are you discovering some of the techniques and I think you mentioned before you were doing some research into text as to how they accomplished some of these right?

Ian Blackhall Scott: Yeah, a lot of it, I know they did this process, they might do a good side stuff and I just ignore it sometimes so I don't have time for that. The expectation for painting back then is like you could spend years on a painting now. It's like, oh I gotta be pumping out a painting of decent size every month. You know, I can't... I wish in this modern world everything's much more fast paced. It'd be nice to take the time to really study and maybe I should and quit making excuses but I don't feel like I have the time to go through the full process of, but I try with especially getting outside painting and then using the plein air as a study not as a finished painting but as more of a means to what comes next. And then doing a grisaille, by doing lots of underpainting, lots and lots of layers. And that's something I don't quite have the patience for yet.

Ian Blackhall Scott: But yeah, that's the main thing is just lots of thin layers lots of glazing to create a very subtle transition of tone to create that luminescence.

George Irwin: Yeah, have the light interact with each

Ian Blackhall Scott: those layers as it passes through. Yeah, it's not easy to do and it takes a lot of time. I shortcut that a lot. It's kind of like... I want to achieve this goal but then I'm

George Irwin / Ian Blackhall Scott: creating my own shortcuts because I don't have time to achieve what I want. Well, I

George Irwin: I wonder like, you know, if, you know, like maybe the materials have there been like improvements in kind of like mediums and things like that that maybe can help to accelerate some of that process?

Ian Blackhall Scott: Well, yeah. I mean, I don't use anything other than just my turpentine and my oil so... Okay, yeah But yeah, the older the better it's this time. You know I don't use as nice of brushes for instance and that's, I feel like there's two ways to go with brushes you can either get the really expensive brushes that are soft and hard and have, they last forever or you can get real cheap brushes that work really good for about a week or two And then, so I just buy lots and lots of cheap synthetic brushes. That's the way I do it. Maybe I'm not saving money in the long run, but that's where I'm at.

George Irwin: So I think you were saying also that, you know, a lot of like the, or some of the, you know, inspiration and reason that you choose to make these sublime landscape paintings is for love of the environment. And you know to raise awareness of the natural beauty in the wider United States and the West. How do you and then you go out and you paint planar so you've got like kind of that natural inspiration and atmosphere education? And then also I saw

George Irwin / Ian Blackhall Scott: that you are a telemark skier? Oh yeah, yeah. I kind of got on that podcast just from someone

George Irwin: who liked a lot of paintings I paint of telemarker skiers so it kind of related to that. That's

Ian Blackhall Scott: That's a big part of, see this is my studio, but it's also my gear room. So that's where I keep all my skis and stuff. But yeah, I guess Tellmark is the old fashioned way of skiing if you don't know what it is. It's basically like skiing on cross country skis going downhill.

George Irwin / Ian Blackhall Scott: kind of hard but yeah it's like the one where you like have to like bend your

Ian Blackhall Scott: knee and change back and forth. Yeah, it's not the most efficient but it is I mean on that podcast it related a lot to how I paint and I'm not I don't do things because they're the easiest. I usually go about the more classic old-fashioned way of doing things, which is harder and more time consuming like I've been saying but it's just more rewarding for me and it just... the feeling is different so that has a lot to do with kind of my idea of skiing and art. They

George Irwin: relate a lot to each other. Interesting and then I mean the time that you're out there on those skis it seems like would be you know a lot of inspiration for what you're working on them another you know other times. Oh yeah, yeah I take

Ian Blackhall Scott: him out into the backcountry and I mean we have unlimited just well not limited but a lot is untouched place you can go. I'll show you out my window here. I live right at a ski resort. Oh wow. So I'm in an apartment at a skier's that's the that's a park maintenance parking lot for the resort it's straight behind me. Oh awesome. So it's just trees and hills as far as you can see so that's where I spent a lot of time just skiing and paying out my back door. I'm I'm about four miles from Lake Tahoe, the lake. So that's a nice view too. So I don't have to go very far to get inspiration at all.

George Irwin: Yeah no kidding. It's awesome. Cool. So I know that like you did you start doing the little paintings? tell me I guess like where the little paintings came into your repertoire.

Ian Blackhall Scott: Oh yeah, I know it started when I was studying in Utah. The whole wood stand thing started here from another artist I work with he's a woodworker and if you see a lot of these stands are they're like girlwood from manzanita like local woods. So he's just giving me leftover wood and say, hey make something cool out of this. And it gives a much better appearance before I had no idea what to do with them or how to display them. They were kind of there and people would buy him but it was just out of cutting boards because I prefer boards over canvases when you're working smaller because you get more detail on there. And there's just leftover pieces of wood I was like, this isn't getting used. I'm, I don't like anything going away so that's

George Irwin: how it started just not wanting to waste wood and but yeah, this

Ian Blackhall Scott: happened when I moved to Tahoe about two and a half years ago adding the wood stands and it creates a much better appearance than just a lot of people thought, is it a refrigerator magnet? It's like, no I don't want to go in the fridge. You put on a pedestal and it's like wow it's a nice painting.

George Irwin: Yeah gives it some little bit of respect I guess. Well, so I was thinking the reason that I was asking that is like how do people, we were talking earlier about like that fine line between the Hudson River School style being cheesy and being sublime. How do people? And I think for that reason there were a lot of painters you know They kind of did that vibe and it just pumped out a bunch of not good paintings. And then, that particular school was very like out of fashion for a long time. How do people respond to your work when they see this style and they recognize it as not the cheesy kind? Well yeah there's... is it going to be a Thomas Kincaid or a Thomas Moran you know?

Ian Blackhall Scott: I think not adding a cabin is a big thing. If I can pull off paying a cabin, not making it cheesy

George Irwin: that's fine now I've accomplished everything.

Ian Blackhall Scott: Well, so I show work at kind of an art co-op here in Truckee and people come in, lot of tourists come through and if someone comes in when I'm working there and says, oh this reminds me of something old, like Old World or even if they know the artist like Albert Bierstadt who is very famous in California. They'll come in and see us like, oh this remind you of something very old fashioned that's when I know I've accomplished my goal. Even though I don't think I've accomplish my goal yet. I always keep this painting

George Irwin: what's kind of in the corner here

Ian Blackhall Scott: I usually have it in the living room, but I have some, but that's a master copy. I did from Thomas Moran. It was like, okay, I painted that, but can I paint it without doing a copy?

George Irwin: And when once I've accomplished that, that's what I know, but

Ian Blackhall Scott: I'm not definitely not there yet. But at least when people get that effect, I know I'm

George Irwin / Ian Blackhall Scott: not, you know. Yeah, you're making the right moves I guess. I don't know like doing the right thing that you are trying to anyway. Yeah it's hard. It's not just

Ian Blackhall Scott: like the tele skiing if I wanted to make it easy I'd just ski like everyone else

George Irwin: or paint like everyone. Yeah so for example in that particular master copy you were showing and throughout like a lot of those artist paintings there are just like crazy light sources. How do you take that and

Ian Blackhall Scott: put that into your work? Oh yeah, I got one an unfinished one I'll show you it's just right here in the corner here so that's a Thomas Moran copy as well unfinished Grand Canyon if you look at it doesn't the light you're right the light doesn't make sense at all yeah and that's that's the great thing about cloud cover is it doesn t have to make sense in your clouds. Right I live for dabbled light that's my favorite thing in the world is I got one up here you can see instead as long as there's clouds in there you could make the light do whatever you want. Yeah that's a good point for sure. So unfortunate thing it's never cloudy here in the Sierras it's always perfectly blue skies so when it's cloudy it's like to get

George Irwin / Ian Blackhall Scott: outside because it doesn't happen very often. Start snapping photos or yeah this

Ian Blackhall Scott: this one right here it was just like had to go outside there's clouds. This time of year we're fortunate in spring to have lots of storms come through but in a month they won't see sun for a while or we won't

George Irwin / Ian Blackhall Scott: see clouds for a well, only see sun. Gotcha cool um well can you show us around

George Irwin: us starting to see some things in your studio that would be fun to look at not just I mean there's I would like to see some other paintings but I saw a mirror in there. Is that just to like check your hair

George Irwin / Ian Blackhall Scott: or is that for looking at paintings at a distance?

Ian Blackhall Scott: I know, it's just there. I was working on self-portrait and I never got rid of it so So it's a small little room but I mean it's pretty great for me. It's better than before I was working in on the kitchen table so this is great. I have my own room to get all messy. I cleaned it up for you hopefully before... I still like have stashed canvases and frames in every corner and but yeah so this is the table I work at. Okay got you a little. Lots of brushes, yeah as far as easel um I used to just have a big tabaret like a big piece of glass here but I was wasting a lot of paint just letting it dry because i don't use a lot of paint when I paint. So, this is one of my paint easels I use for when I go plein air painting and I just use it in here and it's pretty large so I just used one easel

George Irwin: when I got outside and inside that way i'm not wasting paint and letting it dry up.

Ian Blackhall Scott: Nice. Well on these little guys I use a little cigar box here.

George Irwin / Ian Blackhall Scott: Okay, cool. Wow. I cover them with stickers, I don't know, but yeah. A long but funny story

Ian Blackhall Scott: is when I was in school, I lived in Salt Lake City, but I'd take a commuter train to Provo is about an hour away. So I was at the train station and everyone in the school some artists kind of brought up oh he uses PVC pipes with caps for a brush case so his brushes wouldn't get frayed and bent. So I had one of those, I had stickers all over it mostly. I went to a lot of environmental causes, I'd stuff like that. And the brush case fell out of my bag on the way to school one morning when I got to school, Oh, I needed to paint usually start the day off drawing and then you paint in the afternoon. My brushes weren't there, so I called the train station and some guy started laughing and it's like what? And he was like oh they thought that that was a bomb and they shut everything down. They had a robot destroy it and

George Irwin: yeah. So when i went to pick up what was left of my brushes they're just shards because they fired around in there. Oh my gosh! What did you think? Like they said

Ian Blackhall Scott: they're suspicious markings in the newspaper because they shut down all public transit for a couple hours from my brush case and they thought said their suspicious markings and so

George Irwin: how these like kind of environmental groups on there of stickers and it's like what kind of

Ian Blackhall Scott: if I was an eco-terrace right what kind kind of eco-terrorists would bomb a public transit facility. It was, so it was

George Irwin / Ian Blackhall Scott: a big joke and yeah. But were you glad that you just had cheap brushes then? No I didn't have cheap brushes. Is that when the change happened? Probably. But I

George Irwin: started kind of not at GoFundMe but just on my Instagram live like hey help

Ian Blackhall Scott: me. But the story was so compelling, I just had random people donating money for brushes so I got it back pretty quick.

George Irwin: That looks good. Cool. So... Oh yeah. Did you want to see more paintings? Yeah sure.

Ian Blackhall Scott: I just stacked them up. There's not a lot of room in here and I'm getting ready for

George Irwin: a show so I got a lot. I see one up in the corner is that one up in the quarter of the New Western Talent? Yep yeah that one's on the show it's

George Irwin / Ian Blackhall Scott: definitely the dry desert mm-hmm you got some bison in there um I really

George Irwin: I think you do have you know chosen your framing really well how did how does that work out for you? Do you buy frames and then paint and put them in there or do you make pieces and then go get them framed, or how do you choose

Ian Blackhall Scott: your frames and that kind of thing? Well if I had it my way I would have some high-end frame maker make everything for me but I can't afford that at the moment. So I'll buy some high end frames, you know, gold leafed and compote edges and all those things. But I can only... I think the ones that have in the show are, I didn't make they're made by a high end frame maker, you know, that's pure gold leaf and closed corner frames like those too. And this one I obviously didn't make, I don't have the skill to do that. But yeah, a lot of these I made myself, I just have an holding or other frames that are damage that I repurpose, I do the gold leaf and all kinds of stuff. And it looks as good. I mean, you could tell there's a difference in quality between those two frames. One's gold leaf ones metal leaf with other kind of rusticated stuff added to it but

Ian Blackhall Scott: it still looks good and it's what I can do in my budget. Obviously, if I want to do something better, I'll buy better. But yeah, I try to match it the best I can on my own.

George Irwin: Cool. You play the trumpet?

Ian Blackhall Scott: Oh yeah, I used to be real trumpet like when I was all into jazz. And that one in the corner I just keep there. I don't play it as often as I'd like but it's a plastic one so it actually sounds pretty good. I had a Scrata various that got stolen a couple years ago so So I just had to get a cheap plastic one to satisfy my need to play trumpet every once in awhile.

George Irwin: Jeez, yeah, I guess so. Hmm. Um, let's see.

Ian Blackhall Scott: Yeah, that's all.

George Irwin: I don't have any more like prepared questions for you. Tell me about this piece of furniture behind you with the painted door.

Ian Blackhall Scott: Yeah, well found this on a Facebook marketplace. I have a lot of junk. If I open it, junk will just spill out like art supplies but it's just a way to hide my junk. It's an old you know... I think it was from like 1907 some the people that got it so I love I love that Victorian furniture look. But as for the middle piece, there was a mirror in there. The mirror was broken so I just took a panel and started to do a little kind of Art Nouveau mural. I don't know where I'm going with it. It's unfinished. If I have extra paint on like a palette that I'm clean off, I'll just add it to

George Irwin: it. So it's like I'm just an ongoing evolving painting of that piece? Yeah, it's...

Ian Blackhall Scott: That's cool. But it's kind of like Narnia or you know that ideal Greek landscape bonds and dryads dancing at all something. And yeah.

George Irwin / Ian Blackhall Scott: It's interesting.

George Irwin: Is that like a good kind of energy reset, after you've been doing your very careful work in your normal style? Then you'll just find your leftover paint and do some crazy stuff and get some of that?

Ian Blackhall Scott: Yeah, I mean, that's the fun. I still do the cubist stuff and a lot of that is just, I don't like wasting paint. I think I got skis in here.

George Irwin: Careful in there. Oh yeah, so it's gonna fall out.

Ian Blackhall Scott: Well this is a small ski but yeah, it was just like leftover paint,

George Irwin: I do that more cubist one.

Ian Blackhall Scott: Oh yeah. Totally different.

George Irwin: Who is the artist you said it reminds you of?

Ian Blackhall Scott: It's like a depressed artist. I really liked his work.

George Irwin: Who was that? What?

Ian Blackhall Scott: It was either you or someone else who made... I don't know if someone else manages the account.

George Irwin: I'm sure it was me, but I don' remember what I said. Or which piece I was commenting on.

Ian Blackhall Scott: Oh, I just had to show all those skis I was doing. Oh, okay. They have definitely more of a like that 1930s style of...

George Irwin: Oh, like Rockwell Kent sort of thing? Yeah, Rockwell Kent, that was it. Yeah, yeah that's cool. I do like that style just that sort of like very shape and form oriented kind of

Ian Blackhall Scott: modernism is fun. Yeah and uh I still like it too. I mean Ed Mel for instance, like there were some I really wanted to emulate because he's able to accomplish that in the landscape. Um, yeah, part of me still likes that like but it's more of a like an outlet as you'd say when I was showing I had about 10 of these skis like that and then I had my more fine art on one side of and then these skis when I was doing a show a couple weeks ago,

George Irwin: and people thought it was a different artist. They're like, oh is this all you?

Ian Blackhall Scott: Or who's this artist? And I was like no, I'm just an awkward person. So that was a good idea because people got thrown off who's who and maybe I'll create an alter ego for it.

George Irwin: So people are wondering... Yeah or sometime like you know maybe years from now you'll have like subconsciously blended these two styles. Well that'd be crazy. It could be a pretty trippy, like luminescent, cubist, crazy

Ian Blackhall Scott: paintings I don't know. I think Ed Mel definitely accomplishes that his work's amazing so...

George Irwin: I see that too yeah I didn't- I never have thought about like kind of like the lighting in Ed Mel's work in this these kind of terms but I definitely can I can see that's interesting. Well, cool. Well Ian thank you so much for showing us around and for chatting today and thank you everybody else for tuning in and be sure to check out Ian's work both at Western Dot Gallery because three pieces in New Western Talent are really beautiful nice pieces here. Yeah, click in. Make sure you make sure you see them all in their frames and everything and And then also do you have a website Ian?

Ian Blackhall Scott: Yeah, it's my name

George Irwin: Ian Blackhall Scott. My middle name is Blackhall

Ian Blackhall Scott: Makes me stand out there's no other Ian Blackhall Scott So if you search that full name Ian Blackhall Scott, you'll find me

George Irwin: Google him yeah cool and And yeah, I'm excited to see at some point in time. I'm gonna keep an eye out and find these little bitty paintings of yours around somewhere when I'm up in the northwest.

Ian Blackhall Scott: Yeah well they're mostly just for shows and I have them at a shop meaning very popular with tourists because I live in a tourist area but it'd be nice to start Sino online. I do so many, it's like, I can't keep up. Like I said, that's my friend butter in art. Allows me to do the larger work, so.

George Irwin: That's awesome. Well cool, Ian. Oh cool somebody on here says she owns two.

Ian Blackhall Scott: Oh Natalie yeah. Yeah awesome. That was on a canoe trip, I painted a couple.

George Irwin: All right, well thank you again everybody for tuning in. Ian, thank you for your time and showing us around and for putting your work into New Western Talent. I love finding out about new talented interesting artists and this had not come across your work before so that I feel glad that you threw your work in the hat or your name in the head.

Ian Blackhall Scott: Thank you so much George.

George Irwin: What an honor. Cool, well I will catch up with you then in the future and thank you so much. Talk to you later.

Ian Blackhall Scott: We'll see ya. Adios.