And she still a lot has details to work out, which we'll talk about.

But this idea that it flows through and creates sort of an drama, the drama and the impact as well.

It's quite a large piece.

The panelists also want to encourage her to maybe you know twist and turn those instruments as well a little bit, not leave them so fat flat.

A lot of those details still have to be worked out.

They're very conceptual right now, and that's she's got a strong idea.

It gets tweaked as she as she fine-tunes the realities of hanging, the realities of suspending and weight loads and all that good stuff.

She'll work closely with the architect.

So she's looking at repurposing old instruments, and they'll be sealed and treated with fire retardant, and that their elements will be suspended with steel cables and painted in a way to get them to minimize.

And lots of times they do minimize, and so that's going to be worked out as well with her fabricator.

She has very, very credible fabricators.

They have a lot of experience and they're very well known in the industry.

She's gonna make sure it meets the earthquake code.

So she's very aware of a lot of stuff when she talked about it and presented.

She's aware that these are things she should be thinking about.

She knows her tree trunk itself might be too heavy, so she's looking at ways to lighten that weight, whether it becomes fiberglass, whether it becomes hollowed out, whether the pieces you know are you know totally made simulated, so to speak.

And the maintenance for this machine, this piece is pretty normal.

It's dusted once a year and probably with access to a scissor lift as well as you know, maybe some detail cleaning every you know, at a certain point.

All hanging pieces need this kind of work.

The second place in the theater is what we call the L Street lobby or the entrance.

And I kind of refer to it as entrance quite often because it is when you first walk into this building.

And sh proposed for both.

And she was the top contender for both.

So if you look at this map, you can see what its relationship to the main lobby, but you enter in from the from the plaza there.

So she had a wonderful, this is also another wonderful um statement piece about the work.

Um it's about the cacophony of tuning up your symphony and the noise that that makes and the anticipation that it creates.

And I found it even more wonderful.

Please read the whole thing because it's really kind of delightful, and it gives you, but she also wants to use our symphony and record it to create their sound waves and how they're gonna work.

So this is a recording of a sound wave of a any any, you know, I think it was any um symphony just tuning up and the kind of effect that it made this the the uh way the waves were.

And so she wants to translate that into a crystal chandelier.

And that piece is quite extensive actually.

Um it would be uh it's uh they have this picture of it, it shows you in its space, about 54 feet long, and it's it would actually be able to view it from the front as you're looking into the front windows of the gallery.

I mean of the theater.

And so if you look, that's taking up that whole area and in that in that lobby area there.

And hanging should also not be a problem with this piece, which is really good because we did have some weight load issues with um the theater ceilings, but she's with well within that.

Its size may vary a little bit, but pretty much the architect is very um enthusiastic about making this work and creating a major impact.

He's very uh pleased with how she related to Al his particular missions and goals, and so uh he sees this as a uh really um win for the theater.

So it will be crystal, it will also have an LED light from the interior, and it will meet all earthquake quotes, uh as which is important, of course, and it's normal maintenance.

In fact, chandeliers are cleaned all the time.

There's a special spray out there for them.

You split some down, put a paper down on the ground, and you're ready to go.

So it's another very maintainable work of art.

So these two pieces I am proposing.

I mean, sorry, the panel proposed that um to approve, and they're asking that the commission approve them so that we can commission these both these pieces from the same artist.

It's uh Nova Jang, and we're looking for your approval today.

And I have a quick presentation just to brief you on the overall timeline of updates to give you an idea what's coming ahead, real quick.

And we're currently in phase one, so I wanted to preface this is the very first selection for the theater lobby in L Street.

We have two more selections after that, which will be Plaza and J Street.

That's phase one.

Those are major commissions that we want done.

Phase two, which we will be coming back to you to talk to you about next commission meeting, is a focus on the artists here in Sacramento region.

And it's got a lot of different components to it in order to reach out and do a multitude of different kinds of programming.

And the la and the other most important phase in some ways is removing and relocating the art that already exists in that plan.

So some dates that I'd like you to put in your head is that August 13th is a commission meeting, and that that day we will be reviewing the phase two and asking for an approval.

And then the report on proposing the art uh I will actually show you who the proposing artists are for J Street and the plaza.

I can give you a report on that, like we did before.

And we're going to review and approve the decommissioning of a work of art so that we can stay on schedule with the decon uh the takedown of the building.

On December 27th, um that is when the selection panel will meet and make their final recommendations for the artists who have proposed for J Street and the Plaza.

And then on October 8th, the day that I need you to remember is we will be, and that's on the calendar already, it's not a special meeting.

And that is when you will approve their recommendations for J Street and the plaza, so we can stay fairly on time.