Hold it! Ner Bell El! She gets a later in the cage right after us. Lala lala. Lala Lala. Lala! Did you get that mosquito? skateboard? What are you got? I'm going to fly over. I'm going to fly over. I'm going to fly over. My name is Jay Morgan Puyette. I guess you could call me an artist, because sometimes I'm an installation artist, sometimes I'm a sculptor, sometimes I'm a gardener. I'd rather call myself an ambassador of entanglement. Calling myself an ambassador of entanglement forced me to have an expanded understanding and act as a steward for the entire site we call Mildred's Lane. Right now we're at Mildred's Lane, which is an artist's project, and the deep woods of northeastern Pennsylvania, about 100 miles northwest of New York City. We're nestled in the woods and about a half a mile from any dirt road. There are smattering of 19th century outbuildings, artist projects. Many of our friends are working on these long term projects. We're kind of building an art site, an art park. It's not a commune, it's not an artist colony. I can't even say it's a retreat because we're working. It's something else that we're doing here. It's about critically engaging with every aspect of life. So again you're responding just instantly and intuitively to the way that things are going. You just go in. It's great. It's just kind of a practice. It's a whole little hush within a hush to undo it. So here at Mildred's Lane we're interested in the emergent process that makes room for great collaboration, making something new happen. The whole process of being is the artful part of it. I love all the flaws and the stains, French peasant sack here. It's a rigorous rethinking of the everyday and about every aspect of life being an artful experience. So here at Mildred's Lane, being is the practice. I grew up as an oil painter. My mother was a painter. My father was a writer. I come from a long line of beekeepers, four generations of beekeepers. I grew up in the turbulent 60s in South Georgia. From Georgia I went to the art institute of Chicago and Chicago, Illinois, in painting and sculpture and then I got my graduate degree in experimental filmmaking. But right after that, strangely I jumped in and accidentally got involved with the international fashion world. I went into series of stores in Manhattan. I was working with my friends. I was doing pretty much everything I do now, but in the context of the fashion world. I was looking around for a place to really dig in. So I bought this with three other friends and I got pregnant. I became a mother. I found myself as a single parent really. In my motherhood it was really, really realized how important it was to bring my practice into the domestic sphere. That's the feminist-driven subject here. It's centered around domesticity, the home, as a side of change. The one rule if there is such a thing, it has to be part of the living landscape. Someone has to be able to sleep there. We need to put people up. That's everything here at Nilder's Lane. It's not static. It's a living system so that you can actually live in the installations. That's really important. So you can all sort of climb up here and peek into the B-Museum. The Graph-Durshack is one of the projects that's really special to me because it's about my family. It's kind of an homage to my family of Queen breeders. The Graph-Durshack is about my childhood visitations to my father's grafting practice. So it's a museum about the art of Queen B grafting. It's kind of the ideal writer's shack. Well, we're in the winter now. And there's not many people here. Nilder's Lane is a school in the summertime where we can actually work on large-scale projects with our students in a collaborative way. And we have these topical sessions that all of our friends come around from all over the world and we convene around an idea or a project. We might be all swarming around a building that needs to be worked on or it could be conceptual. It could be labor-based. But it's a school where we practice the philosophy of work styles, which is something embedded in this process here because this artist's work is our life. We have to weave our lifestyle through it. So it's been very important for an aspect of this project as a school to sort of transcend the institution to co-evolve into a new landscape. To kind of invent a new place where we could have these conversations openly, you know, around the fire, around the bonfire or on the dance floor, around a fabulous dinner table. You know, you got to remember how important the conversation is in the development of creative minds and, you know, a dinner table, exquisite food, good wine is some of where the world's best ideas are born. Itch by inch, you know? I know. What do you think of these as they all kind of go? They're yellowy. I like yellowy because it'll offset the... Yeah. So really it's a social and political engagement here that embodies systems of labor, how we are, how we work together, our behaviors. It involves our relationship, importantly, most importantly to the environment. It also embodies a new language, reassembling the terms and using terms like ambassador of entanglement. But most importantly, it's about creative domesticating in every day. And all of that balls up and sums up what I call an ethics of comportment, how we behave on this planet. Being is the practice and that, my friend, is social. It is political. It's a social and political engagement. It's a social and political engagement. It's a social and political engagement. It's a social and political engagement. Thank you.