TRANSCRIPT Ep. 262: Future Self


Miriam Schulman: A lot of times people want to know how I’m able to do things and not be nervous and I’m honest with them. I think a lot of it has to do with my ADHD brain that I’m very impulsive. I don’t think things through. I just do things anyway without thinking about them. And that’s why I don’t get nervous. But that also allows me to take these big risks.

Speaker 2: It’s the Inspiration Place podcast with artist Miriam Schulman. Welcome to the Inspiration Place Podcast, an art world insider podcast for artists by an artist where each week we go behind the scenes to uncover the perspiration and inspiration behind the art. And now your host, Miriam Schulman.

Miriam Schulman: Well, hello, Artpreneur! Welcome to the Inspiration Place. This is Miriam Schulman, your curator of inspiration, and you’re listening to episode number 262. Holy cow, I can’t believe that I’ve done 262 episodes, but I am so grateful that you’re here and listening today. I know some of you might be new, and some of my listeners have been here since the very beginning, but to both, I am grateful for. So today, we are talking all about the future self. The reason I got this idea for today’s podcast is because I recently went to Montreal, to Cornwall, actually, not Mo–which is an hour from Montreal. It’s right in between Cornwall and I guess, Ottawa. I went there on an invitation for a speaking engagement. The Cornwall Business Institute was doing a talk called “Artpreneur,” and they found me and they kindly invited me, also paid for me to fly out there. They even bought 100 copies of my book, and around 40 people attended. So everyone who attended got a free book, and I gave a talk. I actually presented my boot camp talk to them. For anyone who has done in my three-day boot camp, I revised it and cut it down to basically a three-part series that we did together over two hours. And so there were some interesting lessons from traveling, so I wanted to share them with you.

Okay. So this is why it’s called “Future Self.” Let me just get back to my notes. I lost my notes, but I don’t think I even have any notes. Okay, like I have these show notes, and sometimes I write them very detailed when I do. Usually, it takes me several hours, and other times I don’t have time to do it, and I just start talking. And what I found is that sometimes those podcasts actually come out better than the ones that I spend hours scripting. So that’s what’s happening today. We’re just sitting here, like at a kitchen table, and I’m talking to my friend, you, about my trip and what happened and what the lessons were. Alright, so I told you they paid for my travel and they bought the books. And the week before, a couple of weeks before I left, I was speaking to the person running it, and she asked, “Would you like to be picked up from the airport?” I said, “Oh, absolutely.” And she asked me what time I was coming in, and I told her. She said, “Okay, I will send you the information.” And by that, I thought that she meant that she was arranging it. Now, it wasn’t until I landed in Montreal that I realized there was nobody standing there with a sign that said “Miriam Schulman,” that there was nobody coming to pick me up.

And I’m looking around and looking around, and my phone did not have service because I’m a dumb American who forgot that Canada is a different country and I wouldn’t have service there. And guess what? They don’t have Ubers there either, by the way. Not that that would have helped me because, remember, I didn’t have cell phone service. I could plug into the free Wi-Fi at the airport, which I did, and I pulled up the email. It was only then that I saw she had sent me the information. But the information didn’t say, like, Joe is picking me up. It basically said, “Here’s the link to the taxi we recommend,” type of email. So why am I calling this about future self? Because past Miriam did not think about future Miriam arriving at the airport. If I had thought a lot about future Miriam arriving at the airport, I would have double-checked that I knew who was picking me up and not assumed that somebody was picking me up. Now, let me tell you, this never, ever would have happened if I had been traveling with my husband because my husband is the risk manager of the family. I think I’ve talked about this before in terms of Enneagrams. My husband is an Enneagram, which is a personality type. He’s an Enneagram six, the risk manager of the Enneagrams.

And all the Enneagram personality types—I think there are nine of them, I think—and each one has a strength and a weakness. Sometimes the weakness is the strength. So he is the risk manager in terms of always thinking ahead, thinking of things. Like, he was so sweet the day before, he made sure I had my passport. He made sure I had Dramamine for the trip because I only recently started to develop some queasiness about flying. So he made sure I had all these things. If he was with me, he probably would have made sure that we had somebody picking us up from the airport. I, on the other hand, I’m not always focused so much on that risk management side of the future. On the other hand, because I don’t have fears of things going wrong in the future, that is what motivates somebody to really double-check and cross their t’s and dot their i’s and make sure that every little detail is taken care of because they have fears about things going wrong, which can be healthy. You see how he would never have had this situation where he would land in this foreign country without having prearranged some sort of ride. At the same time, it was also a strength for me because I realized, “Oh, that’s the reason I’m not nervous about giving a talk,” because in my future, everything’s perfect. I’m imagining my future self doesn’t have to worry.

It’s all going to be great and fine, and that’s what keeps me from being nervous. So, I just thought that was very, very interesting. Now, just so you know, I did make it from the airport to my destination, but it cost me a lot of money because in the airport, there are always people saying, “Do you need a taxi? Do you need a taxi?” And they prey on tourists like me. I said, “Yeah, I’m going to Cornwall.” And she said, “Well, that’s going to be very expensive.” And I’m thinking to myself, “Well, I’m from New York. How expensive could it be? You know, try me.” Because usually, the taxi from New York City to where we used to live in the suburbs was about $100. And she said $200 and, um, or maybe it was two. No, it was more. I think it was $240 Canadian dollars. But then I didn’t have Canadian dollars on me. So, and by the way, she didn’t tell me how much it was. As soon as I said, “How much is it?” she said, “Very expensive. I’ll tell you exactly in a minute.” And she picked up my suitcase and ran over to her car and put it in there. It wasn’t until we were driving out from the airport that she was calculating it and she said $240.

And I was like, “Well, turn around and bring me back to the airport.” But by then, I knew I was stuck. And she did too. She was like, “So what are you going to do? Everyone else is going to charge you the same amount.” Which, by the way, wasn’t true because when I went back to the airport (and I actually just got back today), when I came back from Cornwall to Montreal Airport two days later, it was less, but not so, so less. But it was definitely less, like maybe 20%. So yeah, that was Miriam not worrying about her future self. However, I did take care of my future self when it came to my food, which I think is so funny. So I did something that only my mother would have done: in my checked luggage, I put food because I knew that I was landing late and that there probably wouldn’t be anything good to eat. And I wanted to make sure that future Miriam had a good meal before I went to sleep. So I did. I packed some soup, and I was able to warm it up in the microwave. It was so good. So, yep, that’s about future self. The thing is, a lot of times people want to know how I’m able to do things and not be nervous, and I’m honest with them.

I think a lot of it has to do with my ADHD brain; I’m very impulsive. I don’t think things through, I just do things anyway without thinking about them. And that’s why I don’t get nervous. But that also allows me to take these big risks. So I’m not even quite sure what the lesson is here for you, because I’m basically saying, “Well, I’m this way because I have ADHD, and maybe you’re not.” But the thing is, you have to know that anything that you perceive as your weakness is also your strength. Look at my husband; you may be wondering, “Wait a minute, why is that a weakness?” He’s the one who always gets to the airport on time. But it is a weakness because if you’re always having fears about the future, that can make you very anxious. So his strength of thinking ahead and being prepared is also his weakness. Alright, so that was my Montreal trip. Now, I want to focus on New York City because there are so many good things happening right now. I am so excited, and I hope that you are too.

And I am going to be talking a lot about art exhibits in New York City. Right now, I do hope that you’re able to come. I especially hope that you’re going to be able to come and see me. I have planned a bunch of things. I’ve already started doing them. So, remember, I said earlier that I’m very impulsive, and I had this idea: “You know what? What if I just get a table at the Metropolitan Museum of Art and invite people to come?” And so, I just do it. I book a table and send out an email, and lo and behold, someone signed up, and it was so much fun. It was just me and another artist. I’m not going to share her full name because I don’t think I have permission to do so, but her first name is Kimberly, and she was absolutely amazing. So, Kimberly is a teacher and she wants to be a full-time artist. And because it was just the two of us and we had two hours together, I really was able to dive deep. I didn’t bring my laptop; I didn’t want it to be that kind of experience for her. But I brought her phone up on my website, and we went through every page. She was taking notes, and I was telling her what to change. We worked out a whole strategy on how to price her art, how to sell her art, and what she should be focused on.

And it was just the most delightful experience for me to be helping this young woman really pave the way for her career by giving her such a detailed look at her art business. And for the most part, we did at the Metropolitan Museum of Art Members Dining Room, which I adore. It has these beautiful windows overlooking Central Park. And even if you’re not seated exactly in front of the windows, you still have that beautiful light coming in. And then, after our meal was over, we took the elevator up to the roof. There’s this great installation by an artist named Lauren Halsey? Halsey. I hope I’m saying that right. So, it’s the Roof Garden Commission, and the way she made it look… And by the way, if you’re listening to this as the show goes live, you’ll be able to look at it until October 22nd, 2023. The roof is spectacular. You have views all around the city from on top of the roof. And this American artist, who was born in 1987, which would make her 35? Yeah, I think 35. 35 or 36. Anyway, it’s a very site-specific installation. And the way she made it look, it’s a full-scale architectural structure. It has the energy and imagination of South Central Los Angeles, where she was born and continues to work.

And what she did was she made it look almost like Egyptian art and architecture. So it has the same kind of ancient Egyptian symbolism but combined with utopian architecture and visual expressions like graffiti tagging. So combining graffiti to make it look like hieroglyphics. And there are also places where it looks like an African American head with symbols shaved into it. But the way it’s depicted is in a very Egyptian style, with sphinxes with clearly African features. I think that the museum has been doing a really thoughtful job of rewriting the narrative of its collections and its work. This is one beautiful example of that to encompass black American life within the museum and its collection. So, I do hope that you get to see that.

Now, in terms of other art events, these mini sessions or mini masterminds that I call “Mastermind and Dine.” You either have lunch or dinner with me. I book a table, and I never book a table for more than four people. Kimberly was lucky enough to have me all to herself, but there would never be more than just a couple of people. It’s perfect, especially if you’re socially awkward or a little bit introverted. And I am too, honestly. That’s why I like doing it this way because I’m really not great in big crowds with lots of people.

I like more intimate settings, so this is a great way for me to bring together my love for food, and my love for art, and combine it with my passion for helping artists just like you. If you want to participate in one of these mini-sessions, I’ve already planned one for June, so it’s not too late to see if you can book a spot at the table if it hasn’t filled up yet. And I also booked another one for July. Actually, I’m not sure if I booked one for July. But there should be at least two dates on the calendar when you go. The page where we’re listing it is

And at least one person on my email list wrote to me and said “Hey. What does IRL mean?” If you don’t know what it means, don’t worry. I don’t know what every acronym means either, but that just happens to be one that I know and love. So IRL means in real life. In real life. Because nothing compares to real life. That’s why I loved the speaking engagement in Montreal so much. I forgot how much I love being kind of on that stage and I was feeding off the energy of the people in the room. You know, in the webinars, people ask me questions but it’s like a typed question.

So, I love this three-dimensionality of really taking what I do into the world and not being what my husband likes to call the “invisible Society,” where you really don’t see anybody. Okay, so those are the mini sessions and the Lauren Halsey, or Halsey—I’m not sure how to say it—exhibit. Definitely, you want to see that. The other exhibits that you want to see also feature women artists. So, I will be doing a segment at the end of this podcast. We will be doing another “The Art World Remembers.” This one is about the artist who’s currently at the Guggenheim. She did not recently pass away, but it is an overlooked artist, one that I didn’t know until I saw her art at this exhibit. So hopefully, I’m introducing you to her as well. And if you already know about her, then you’ll get to celebrate her with me. So also, other women at the Met is Cecily Brown. I have not seen the exhibit yet. Hopefully, I’ll get to see that one with you when you do go to the Met with me for lunch. Obviously, I treat you to everything. I treat you to your museum pass, I treat you to lunch, and I treat you, of course, to all the coaching. So I hope you’ll look into that.

Now, I also planned an all-day event, and I have plenty of time to plan so we can take care of both future Miriam and future you. I always think about the food first, so I’m planning all the food and making sure every detail is taken care of. For the other events, Georgia O’Keeffe is coming to the MoMA, and I couldn’t be more excited. I know this is going to sell out, which is why I am reserving a block of tickets. So, if you come to New York for an all-day mastermind event on Thursday, August 3rd, I will have a reserved ticket for you to go to the MoMA and see Georgia O’Keeffe on that Friday. I know many of you live far away, but I purposefully planned this event on a Thursday with those tickets on Friday so that you can make a whole long weekend out of it. There’s so much to do in New York City. It is one of the art capitals of the world, and you can’t help but be inspired by everything it has to offer. The mastermind events are going to be a little different, and the spaces are already starting to fill up. One of the reasons that those spaces are starting to fill up is because I gave away some of the spots to boot campers who participated in my last two boot camps, and I’m also giving away spots to people who bought my book.

That was one of the prizes: to have an all-day mastermind. But if you didn’t win the prize, absolutely, you can get your ticket to come with me. So I’m offering a VIP option, which is like the full first class, the works. You could have lunch with me, and you get dinner with me. And it’s not just with me, that’s the point. It’s the whole very bougie experience. Like I said, I’m reserving the tickets for Georgia O’Keeffe for you. And it’s a full day of coaching. Again, same page I hope you’ll join me. That one will also be small, a small event. I don’t anticipate more than 12 people being there. I’m pretty sure that’s what we’re going to cap it at because I don’t want to be responsible for more people. Okay, so that is that. And I do want to share some more lessons about Georgia O’Keeffe. So let’s talk for a minute about the lessons of Georgia O’Keeffe. I have not seen the exhibit yet. I just renewed my membership for the MoMA so that I can see it. And when you have a membership at MoMA, I’m pretty sure you can go see the show whenever you want to. You don’t need time tickets, I think. But either way, I’m seeing this no matter what.

And O’keefe. Of course, as you know, she’s best known for her flower paintings, but she also created an extraordinary series of works in charcoal, pencil, watercolor, and pastel. And she worked in series. She worked in series. So what this show is about are these series, and the show is called “To See Takes Time,” which is an exact quote that Georgia O’Keeffe once wrote, and it really exemplifies her work. You can see how she took something, experimented with it, and then developed it and reworked the same subjects, repeating and transforming the motifs, and creating more mature paintings and drawings from them. This was a breakthrough time in her artistic career. Mostly, I believe this show focuses on the period between 1915 and 1918, and she made many works on paper. She produced a progression of bold lines, organic landscapes, and nudes. I am so excited to see the nudes. I did get a glimpse of somebody’s photo on Instagram of the nudes—I just can’t wait. I really can’t wait. It looks so inspiring. Even when she was developing her other important series—the flowers in the 1930s, the portraits in the 1940s, and the aerial views in the 1950s—she kept her commitment to working on paper. Drawing in this way enabled O’Keeffe to capture not only nature’s forms but its rhythms. Whether tracing the sun’s spiraling descent in vividly hued pigment or committing to velvety black and shifting perspective as seen from an airplane window. Alright, my friend. I hope you will get to see it, and I hope you’ll get to see it with me. When we come back, we’re going to talk about the artist Gego in “The Art World Remembers.” In the meanwhile, we’ve got another troll email to share. Stick around.

**Artpreneur Review**

Miriam Schulman: All right. Welcome back to this segment of “The Art World Remembers.” Okay, so I was very fortunate to get a tour of the most recent exhibition at the Guggenheim Museum. In case you don’t know, it’s that museum that looks like a beehive designed by Frank Lloyd Wright. It’s on Fifth Avenue, just north of the Metropolitan Museum of Art. And this exhibition blew me away. It just astounded me so much that I decided we have to dedicate an “Art World Remembers” segment on it. The artist known as Gego, her real name was Gertrude Goldschmidt, had a fascinating life. Her family had to flee Germany in 1939, just before the outbreak of World War Two. And obviously, because she was fleeing Nazi persecution, she’s Jewish. Her father, a prominent lawyer, had his license revoked by the Nazi regime, and much of their property was confiscated. However, Gego, or Gertrude, entered Venezuela on an architect visa and she was able to practice that until her 40s. Now, the curator who gave the tour was very clear and I was very enchanted by this description, or at least I thought this is what she said was that she decided to become an artist after her divorce in her 40s. So I was trying to make sure I pulled the right talking points about her from ChatGPT because this is an artist I never heard of before. Not until I saw this exhibit.

And, like I said, it blew me away. I really want everyone to know about this artist, and I was trying to gather more facts from ChatGPT. I was like, “Well, did she become… you didn’t mention that she focused on her art after she got divorced.” And ChatGPT kept insisting that the divorce had no influence on her becoming an artist. Then he changed his story, like he was gaslighting me, and claimed that Geggo was never divorced because she was never married. I was like, “This is so wrong.” So I went to Wikipedia, which is much more trustworthy than ChatGPT, and did some fact-checking. So yes indeed, the curator was right, and Wikipedia agrees with the curator that she was married. She was married in 1940 to the urban planner Ernst Gunz. And I guess he was—Yeah he was an urban planner at the architectural firm where she worked. They had designed the Los Cabos estate for Louis Roche. Hopefully, I’m pronouncing everyone’s name right. I always worry about that. So they married in 1940, and let me just like double-check how old she was. Okay, she was born in 1912, so she would have been 28 when she got married. And so, I’m still arguing with ChatGPT.

So, I went back and said, “Hey, I don’t think you’re right.” She married this person here, and he was like, “No, no, no, no. Okay.” Then he changed his story again. Okay, “She’s—yes, you’re right. She was married, but she was never divorced.” I was like, “Well, actually, um…” Oh and the other thing I was arguing with ChatGPT, I was like, “Did she have children?” And so he was like, “No, no, she didn’t have any kids.” I said, “Well, actually, what about these two people, Tomas and Barbara, [inaudible]” They said she had these two children with Ernst Guns. And so then ChatGPT, of course, changed his story again. “Oh, no, you’re right. I’m so sorry. I was confused. Oh, my gosh. It was like talking to my mother who keeps changing her stories.” Okay, so we get it, ChatGPT. You’re very confused. I don’t know where you’re getting your facts from. There must be things on the Internet that are not true. So this is just a little bit of a warning for all those teenagers and college students out there who are trying to use ChatGPT to write papers, or adults for that matter, trying to write their books and blog content with ChatGPT. Be warned, it’s not a reliable source. Okay? So she was married. She had two children, Tomas and Barbara. And then they did get divorced in the early 1950s, and they closed their studio in 1944.

So that was before they got divorced, so she could focus on raising her children. And she returned to architecture in 1948. So in 1951, all these dates aren’t so important, but I guess the timeline kind of is. So after she separated from her husband, she met artist and graphic designer Gerd Lefort. So, and I’m assuming these are also, I don’t know about her husband’s. I could look it up, but they do sound like they’re also German Jews. I’m assuming. But I could be wrong about that. So she was partnered with him for the rest of her life, and their romantic partnership coincided with the development of her artistic career. So basically, yes, in her 40s, she got divorced and decided to become an artist. Or rather, she left her husband and decided to become an artist, which I think is just beautiful. So there are so many people in the community who ask me, “Is it too late? Who am I to think?” And here is this artist who began her artistic career in her 40s, and her art’s in the Guggenheim. Okay, now she’s no longer with us. She passed away in the 90s, I believe. She died in 1994, and she was in her 80s. Is that right? Yeah. So she was, yeah, because she was born in 1912. That’s.

Okay, so what’s most important that I want you to know about her art is that she didn’t consider it sculpture, and she didn’t consider that she was using a line to represent an image. The line is the image. And what she did was just so beautiful and so moving. So, like I said, the sculptures, she considered them line drawings in space, and then she had these drawings, which were sculptures on paper. So everything was just so beautiful. In her early career, you can see her watercolors, collages, and monotypes from ’54 and ’56. And what struck me the most about those early works was that it was kind of like looking at a baby picture of somebody and knowing what they’re going to look like. When you see a baby and you don’t know what they’re going to look like, you’re just looking at a baby as a baby, and you have no idea what the baby is going to turn into. But when you know the person at age 30, 40, 50, and you go then look at their baby pictures, you can see the resemblance of what they’re going to grow into. That was the same experience I felt while looking at her early works. They were like looking at somebody’s baby pictures. Initially, I was thrown off because the name of the exhibition is called “Measuring Infinity,” and I was reminded of Yayoi Kusama because she talks about her infinity nets, and Gego does these nets.

However, the two artists couldn’t be more different. So by the end of the exhibition, I concluded that it wasn’t like Kusama’s work at all. Yayoi Kusama, if you’re familiar with her work, she will replicate and replicate and replicate, and then she uses mirrors to give that idea of infinity. So Kusama’s work is like looking at art through a telescope, like looking at the universe through a telescope where you can see out into the vast, infinite horizon. Gego’s work, on the other hand, is almost like taking life and looking at it as a microscope under a microscope. Like you’re looking at organisms with things that look like cells. So it’s a very different experience. And her art is so alive because it moves in a way it never can be, most of it. Not all of it. It can’t be produced the same way again. A lot of the pieces were wires that were attached with black wire tape. So depending on how it’s installed by the curators, the piece completely changes. It was very fluid. Now, some notes I wrote down that I just wanted to share with you, other than the personal things, I just found the whole idea fascinating that here is this woman who became an artist in her 40s, and that’s why I kept arguing with ChatGPT.

But besides that, I just want to share some of the art that she’s best known for. She is known for her Reticularea series. So that kind of sounds a little bit like “Reticulating.” These were large hanging structures made of wire and other materials, and she would vary the materials so that the lines didn’t always have the same thickness. The wire had a consistent thickness, but she might use something else to create a more complex web-like pattern. Some attribute her work and its influence to the minimalist aesthetic, looking at the relationship between space and form. But what I loved is the way she kept developing a series, which is not completely different from the curator’s point of view of the Georgia O’Keeffe exhibit that we talked about earlier, how that was about working in a series.

Her work had a significant impact on contemporary art, particularly in Latin America. She was not only an artist in her own right, but she also taught graphic design and art, and her students loved her. So there was a lot of evidence of that around. The other thing that I found really interesting, in addition to her Reticularea series and her Drawings Without Paper series, she had another series of artwork called, I think you pronounce it “Bhisho” or “Biko.” I’m not sure which translates in Spanish to bugs or insects or creatures. The joke that I was making with the other woman I saw this show with is that there was a picture of her with her cat, and she does these kind of mobiles, these web-like mobiles. We were like, “Well, how does she keep her cat away from these mobiles?” Like you can just imagine cats that jump onto Christmas trees and attack them. So the joke was when she moved from making these mobile-like sculptures to making these smaller ones, I said, “Well, it’s because of the cat, obviously.” They were saying that she started to work smaller because of her age, and I said, “No, no, no, it’s because of the cat. She didn’t want to give up her cat, and her cat kept making mischief.” So, if you are able to get to New York before this show closes, and it is open until September 10th, 2023, you’ve got to see this. Try to get to New York, go to the Guggenheim. And if you do, write to me and tell me if you were just as moved as I was by this fascinating art and fascinating woman who deserves every bit of this legacy that she’s being honored for in this retrospective. It’s so completely stunning.

**Artpreneur Review**

Miriam Schulman: Okay. So as we wrap up, I want to bring back more ideas about the ‘Future Self’, and these come from Jerry Seinfeld. Jerry has some hilarious jokes about future Jerry and past Jerry. I think he calls them Night Jerry and Morning Jerry. But I do want to share some things that he’s been quoted as saying. He says his future self is a stranger because somebody else is going to be in there, and he wants future Jerry to be as happy as he can make him. Jerry Seinfeld talked about his philosophy of dividing his day into Morning Jerry and Night Jerry. According to Seinfeld, Morning Jerry is the part of him that is optimistic, energized, and ready to tackle the day’s challenges. Night Jerry, on the other hand, is more reflective, introspective, and critical. Seinfeld believed that by dividing his day into these two distinct selves, he could better manage his energy and focus. He took care of his most important tasks during the Morning Jerry period when he was at his most productive and focused, and Night Jerry was for reflecting and evaluating. This is how he managed his time and energy, and this really helped him stay motivated and engaged. It allowed him to balance his creative work and personal life by recognizing these two selves that operate at different times of the day. And of course, he had some very funny jokes about that, but I can’t seem to find them, and ChatGPT wasn’t very helpful about that either. But one thing I do want to share that I do to help manage my time is I often think about future Miriam. So often, I may want to do something like, “Ooh, let’s see, what am I going to admit now? How about binging the newest Indian Matchmaking Season 3?” which, by the way, was hilarious. I don’t think she’s a very good matchmaker, by the way. I’m finally convinced after three seasons and Season 3. At the end, she was like, “Oh, I want to quit.” I was like, “Well, based on what we’ve seen on the show? I don’t know.” No, I’m just joking.

But here’s the thing. A lot of times, when I want to do something, instead of indulging in it right away, I’ll say, “Well, I really have to do…” For example, record this podcast. And after I record this podcast, then I can go watch an episode. Or it’ll be something of that nature. Like “Oh I have to make all these phone calls and book doctor’s appointments.” Something I’ve been dreading. And then I can go have that snack. So it’s not so much that I’m rewarding myself for doing the work, but I’m forcing myself to do the work before I do that thing that I really wanna indulge in. Alright, my friend, I hope you got a lot of value today from talking about the future self, how your strengths and shadows are often one and the same. Talking about Georgia O’Keeffe working in series, Gego working in series. And of course, I hope you will join me in real life in New York City. To check it out and reserve your spot, head on over to Alright, my friend, I’ll see you at the same time, same place next week. Until then, stay inspired.

Speaker 2: Thank you for listening to The Inspiration Place podcast. Connect with us on Facebook at on Instagram @schulmanart and of course, on


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