The Jordan B. Peterson Podcast - 157. Beyond Order - the Illustrator | Juliette Fogra

Episode Date: March 7, 2021

Description: This episode was recorded on January 29th, 2021Juliette Fogra and I discuss, among other topics, the stunning art she created for my new book Beyond Order, her life story, artistic composition, her muse when creating, photoshop, fine art, music, living in chronic pain, and more.Greenchef - for $90 off and free shipping, visit: greenchef.com/90jbp and use code 90jbpCare/of - for 50% off go to takecareof.com and use code jbp50To pre-order Dr. Peterson's new book Beyond Order: https://www.jordanbpeterson.com/beyond-order-12-more-rules-for-life/​New episodes of the Jordan B. Peterson podcast will release in audio-form every Sunday and its corresponding video every Monday on YouTube and thinkspot. Please email [e-mail] for any business inquiries.Please email sales@advertisecast for any podcast advertising inquires.

Welcome to the Jordan B Peterson podcast. I'm Michaela. This episode was recorded on January 29th, 2021, and is with the illustrator of Dad's newest book, Beyond Order. Juliet Fogra. Dad has an illustration per rule in this new book that Juliet did, and they are stunning. You can get them in poster form at his Teespring shop on his website at JordanVPeterson.com under shop, if you're interested. He has a poster with all 12 rules on it with the illustrations that's pretty cool. Juliet Fograz worked as an art director in New York City for 13 years and is branching out on her own now. They discuss the stunning art she created for Beyond Order, her life story, artistic composition, her

muse one creating, Photoshop, Fine Art, and more. This episode was made possible by Green Chef. Green Chef is the first USDA certified organic meal kit company. They ship ingredients pre-measured, perfectly portioned, and mostly prepped, so you can spend less time stressing and more time enjoying delicious home-cooked meals. This is super helpful for people who don't want to or don't know how to cook well. Green Chef also has the first ever keto meal kit on the market. As you folks are aware, I'm on an all-meat diet for autoimmune issues,

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For 50% off your first care of order, go to takecareof.com and enter code JBP50. That's a whopping 50% off your first care of order. Take care of dot com code JBP50. Enjoy this episode. I have the great pleasure today of meeting for the first time, oddly enough, the illustrator of my new book Beyond Order, which is out March 2nd. This is Julia Fogra, also known as Juliet. We're going to use Julia. Thank you. It's very nice to meet you. Very nice to meet you. I thought it would be interesting

for us to talk today about the illustrations that you produced and also how that came about. So I'll start with that. My previous book, 12 Rules for Life, was illustrated by Ethan Van Siver. And I liked his illustrations a lot. I thought they were very successful. But he had other opportunities that he was pursuing. And so I was obliged to find another illustrator for beyond order. And I decided with my team, my daughter and my family members, actually, mostly in discussion to run a contest online

and solicit drawings. I thought that would be entertaining and interesting and perhaps allow someone an opportunity that they might not otherwise have obtained. And so we received hundreds and perhaps even thousands of illustrations of proposed illustrations. Do you remember, Julia, did I ask for the illustration of a rule or more than one rule?

Was that how the contest ran? No, I know exactly what you asked. You asked for one role first role, and you asked for line join. Ah, so it was a first rule line drawing, right? Because we needed something that would work well in black and white. It's a tricky thing to produce an illustration for a book because whoever's doing the illustration

has to know enough about printing to ensure that the illustration prints well can be reproduced well in print format. And so anyways, we looked through a lot of, we looked through a lot of artists illustrations and Eulia stood out. And I think that the contest was in consequence, very successful. I'm very pleased with the illustrations. I think they have an interesting fairy tale quality to them, kind of classic fairy tale quality to them, a Victorian quality as well, which seem appropriate to the content of the material. And so anyways, we received Julius entries and then worked with her over. Well, the contest was run in, it was March of 2020? March, yep.

March. A year ago. Yes, yes, and a very tumultuous year, which is part of the reason we haven't met. The pandemic locked down, of course, is kai-boshed any plans we might have had to get together. You're based in New York, correct? Yes, and so I, under normal circumstances, I'm going to New York fairly frequently, but of course, haven't been there for it's got to be at least two years now. to New York fairly frequently, but of course, having been there for it's got to be at least two years now.

So what, let's, I'd like to find out some things about you. So the first is, tell us a little bit about yourself. Where are you from? And I'd like to know a little bit about your life. Okay, so I was born in Riga Latvia, one of the trio. There is Latvia, Estonia and Lithuania, Baltic countries. We are worthy of the mix of Poland and Germany, I would say, and the old city was built by German. But I lived in the area where I was the only Jewish. I was the only Jew and the rest of the people were all Russians. There were no Latinans at all. And you would see in movies, nine story buildings, built like dominoes. It's all dominoes.

Concrete. I hated it. I saw a lot of that in Moscow. It's endless. An endless vista of 20 floor high apartment stretching as far as the eye can see in every direction. Yeah. Yes, very, very, un-welcoming architectural manifestation, I would say, cold and harsh. Exactly. And I was young enough to go outside of this neighborhood.

If I were 15 or 16, I would be able to start going outside and going along into the old city into cafes, which we had. But I couldn't. So by day, let's go back. So I had a talent for music. My mom was a music teacher, and I had a perfect pitch luckily. So they tested me and they said, I'm perfect for conservatory. I was seven. They put me in a music conservatory, obviously, no normal kid would show something like that for their life. It was vicious. It was a Latvian training combined with Russian training. What you would see in chess clubs, it was vicious. So tell us about that. So did you, was that a residential school where you're still living at home? I was still living at home.

I was still living at home. And how many hours a day would you spend at school and practicing? So when I was seven, I went to a regular school and to a music school. It's two different places. I had a level by tramwai. tramwai is something you see in San Francisco?

Oh tram. Yeah. Yeah street car. Three or four stops not far away. I had twice in a week over class, two hour class, and I had to practice every day at home, at least an hour. And that was my life. I also drew which was a side project. It wasn't taken seriously by anyone by me. Uh-huh. Your music was taken seriously by you and your parents and my parents and everybody around me and kids in school and I was known as a musician.

And did you take any pleasure in that was music good for you or what? No, no, horrible. It was I was good at it. But it's a I blame the teachers and I blame the school because they would prepare kids for orchestras. They would just process talented kids for orchestras. There was no love of music involved at all. It's something you saw in Jane Eyre. The teachers of Jane Eyre, intimidating place.

That was a music school. And we were playing classical music only for seven years. It was a classical training. And I found that, leaving somebody else's tragedy, it was very sad. The music was sad and was not for me. So by the end of third year, I said, I can't do it anymore. I had a crash. I was on the floor crying. And my parents tried to convince me. Nothing worked. So my father said he took the liberty of saying, he'll get me a puppy when I finish the school. And I finished the school. It was 1991. And so how many more years did you go after that?

After that four years. So you worked four years for your puppy. Yeah. Did you get him? No. Oh, because I finished it in 1991 when Soviet collapsed. And we have to leave the country. Huh, right. So geopolitical restructuring got in the way of your pet. re-structuring God in the way of your pet. Yeah, and we left to Israel. We didn't. 91 year family left Israel. And why did you choose to leave? Why did your family choose to leave in 1991?

There are Soviet collapse. 90. We left at 1992. The collapse was in 1990. Right. It took us time. So we live through bad times in Latvia, bad times in terms of food or anything really. There was no food. Yeah, people don't know a lot about that post-Soviet period in the West. You know, I have my son-in-law is Russian. I think he's about your age.

son-in-law is Russian. I think he's about your age. He has some pretty harrowing stories of early 1990s Moscow being afraid to go to school, not knowing if he was going to come home alive. Rough was a very rough period, lawless and chaotic period, by his account. And for you, you said food shortages? Yeah, my father stored potatoes and tuna for a year. That's what all we ate, because there was nothing on the shows, nothing. And how did you come across how did you come across the tuna and the potatoes? And you have to ask my father. Okay, I know. I wasn't involved in his decisions. And he stored it in a very cool place on the ground.

And some was garage, I think. And bread was by ticket. I remember staying in line for an hour to get a piece of bread. We had tickets. You can only get one bread for three days. I think I could be mistaken. Only one piece of bread. There were two choices of bread in Russia, throughout Soviet Union, white bread and red, nothing else. So I was standing for an hour and people were speeding and angry and I was a little girl.

But I got this bread and I'm running home. And my mom is cutting the bread and it's green completely green inside So that was my life until 14 then we left to Israel and did you encounter You said that you were the only Jewish family where you said you were the only Jew or Jewish family in the in the entire area in the entire area. In the neighborhood. But did you encounter prejudice because of that or was that an invisible? Of course, I was bullied to hell. And so was that a part of the decision

to go specifically to Israel? Yes. And we had no other choices. Germany was close to us. America was close to us. That was the only choice. We didn't know anything about Israel. It seemed like a nice place from where I was.

I was very happy because I felt captive for 14 years. I was trying to escape this place in any case, in any price. How long was your family? You have siblings? So most of my family was killed during the Holocaust. 40 people. They just brutally killed everybody. And a very small portion left. They survived. And that's why I'm here. I have one brother. And so your mom and dad and you and your brother lived in this apartment building in Riga? Yes. How big was the apartment that you and your brother lived in this apartment building in Riga. Yes. How big was the apartment that you and your brother and parents lived in?

What they consider in America, it's one bedroom apartment, it's one room for us and a living room for my parents. All right, so you moved to Israel in 92. 92. And I will re you then? 14. 14. And how long did your family spend in Israel? My family is still living there. So was that an improvement?

No, not for me. For everybody else, everything seemed to be improving for everybody else, but me. I couldn't find my place. I was always not at home until I came to New York. And things have worked out for you in New York? Absolutely. Well, that's good. So it's obvious that you're capable of finding a place. It just took a while. So what happened to you in Israel? Why do you think you had difficulty there? First of all, we came with no language. Second of all, I came from Europe to First of all, we came with no language. Second of all, I came from Europe to Middle East. So it's a matter of mentality. I just couldn't get it. I just couldn't be part of it. And we lived in a very poor area. Very poor area.

What did your parents do in Israel? How did they keep? How did they make ends meet? So my dad became, he was an engineer and he started working in some factory. My mom was working at nights in a bakery. It was tough. So they could find employment, but it was, it was. It was tough. Yeah, I started working when I was for

15 I've collected oranges so you moved how old were you when you arrived in Israel I was 14 almost 15 right so that tends to be a relatively tumultuous time and in a girls life anyways those teenage years and you didn't have you couldn't speak, you couldn't speak the, you couldn't speak Hebrew. I couldn't speak for two years. For two years. Yeah, others could speak three months, just being, just listening, just being on the street, they could speak. It's not how my brain works. I had to collect it for two years and I couldn't get out anything of my mouth. And that's the problem I have with languages in general. Yeah, well, that definitely sounds difficult. So when did you move to New York?

How old were you when you moved to New York? So in Israel, I stayed for nine years. I've been in the army, which is a separate subject to talk about. Then I finished two years of art school, which was three school, three years. But I only finished two, and then I was offered by the head of department. I was offered the job in first private studio. So I just drop out. I see. So and that was you went to art school and that was on the basis of your prowess in visual art. Yeah, it was my dad's idea. And you had had you stopped playing the piano

by this time? Oh, I didn't play piano from the moment I arrived to Israel. And have you played it since? I've started to play in New York. That was the first thing I bought. Oh, and have you been able to take any pleasure in that? Absolutely. Well, that's great. So that's a happy ending to that story.

And it's very rough becoming, it can be very rough learning any sophisticated skill because the learning period is often not particularly rewarding. There's so much you have to get by wrote. I mean, when kids learn to read, they have to be able to read phrases and perhaps even sentences at something approximating a glance before they take much pleasure in the reading. And so there's this initial period of rather painful apprenticeship that's not necessarily, that isn't necessarily accompanied by intrinsic pleasure and meaning.

But if you can get through that, if you're lucky, then once you have the discipline, you can enjoy the skill. And I'm glad to hear that that worked out for you. Are you good pianist? I'm good. I just stopped playing classical music. I was not meant to meant to be. And what music do you play and what music do you enjoy? Rock, pop, jazz, anything but. Right, so you have a modern sensibility, musically. What about bands, who do you like? music. What about bands? Who do you like? Oh, and there is a reason for that. My dad bought me a recorder. Focassette took a set player. That was, I was 11 or 12 max. And took a set came along with it. Juan was Queen and another Billie Joe.

Which Queen album? I wish I remembered. Was it a Night at the Opera? Did it have Bohemian Rhapsody on it? I think so, yeah. That's a Night at the Opera. That's definitely their best album. Yeah, and that's the first thing I listened listened to and I remember just sleeping next to it my my my my player was

here I couldn't I couldn't do anything else I was possessed I was obsessed completely I've never heard or seen anything as beautiful there was no beauty in my life it was all monrome. Everything was black and white in this area. From color. Physically, there was no color. Even the clothes were all black or dark brown or dark blue. What are winters like in Riga? Cold minus 20 Celsius is the coldest.

I don't know. And we have to go to school. I remember that. minus 20 sales services, the coldest. And we have the Google school, I remember that. So you moved alone to New York? Okay, so let's go back. You said that you went to art school on the basis of your talent as a visual artist, despite the fact that that wasn't something that was,

that you really had concentrated on with regards to training. You were trained as a child, as a musician, not as a visual artist. How did you pick up that talent? I was the best in the class. How did I pick it up? First of all, I didn't want to go to school of graphic arts because of computer training. I said, I'm never going to touch this thing.

Technology, I can't. I'll never acquire something like that. That's too much of a skill and technology is not for me. So they said, first year, you'll only have to draw by hand. Everything we're gonna do, we're gonna do by hand. No computer involved and they bought me. They bought me completely with that.

So first year, everything bought me completely with them. So first here everything we've done was drawing. And did you had to submit a portfolio, I presume, as a condition of admittance? Yes. And you'd been drawing on your own. Did your parents support that or were they opposed to it or was it was it? They supported it. Yeah. Okay, and they didn't see that as something that's. No, my parents and musicians, they were the hipsters of the They supported it. They supported it. Yeah. Okay. Oh, and they didn't see that as something that took away from your studies. No, my parents and musicians, they were the hipsters of the area considered the hipsters. They were the free spirits.

The art was supported. And how much time did you spend drawing when you were a kid? A lot. I was not just drawing. I was making mosaic. Out of mosaics. Out of what? Out of wooden, colorful, different shaped. And what you had to do is just imagine what you want to build and just go for it from the center,

outside. And the size I've built it, it was the size of almost a small rock. It was that big over bag. And I would spend two, three hours, it was a blessing. So then you went to art school and you spent the first year drawing by hand. And that was okay. You were afraid of technology or loath to use it. So that was what happened in the second year. I just grasped it. I just went along with it. And so you learned to use it. You became fluent with the use of computers then. Better than everybody else. So what do you think made you believe to begin with that you weren't able to do it, or that you weren't suited for it?

I'm just afraid of technology. Well you should be. Everybody should be afraid of technology. But it's still probably better to know how to use it. I think you should be less afraid of it, perhaps if you know how to use it. It's very powerful. I mean, technology has disrupted my life in a manner that is absolutely not only inconceivable,

but perhaps irrecoverable. But anyways, you know, it's brought many benefits as well, but it's so powerful you're taking a tiger by the tail or perhaps something much bigger than a tiger. So- Staying dragons. Yeah, yeah, or maybe they're eating you depends. So, all right, so you learned,

you became sophisticated technology user, your second year of art school. So, what advantages and disadvantages are there to bringing computer technology to your artistic endeavors? Photoshop is a unique thing. I would never be able to layer up layers the way I do or imagine things the way I imagine before I start. I don't think of graphics in terms of non photoshop anymore.

It's an unbelievably powerful program. It's like a factory photoshop. There's no limit to what you can do with an image. It's actually kind of a terrifying program in some sense because if you're the least bit obsessive, it can pull you in and trap you forever because there's no limit to the number of variations you can produce and I mean I'm a rather amateur Photoshop user I've used it a fair bit but I certainly haven't explored all of its capabilities it's it you can spend a lifetime doing that. Absolutely. I hope doing that, that's my... That's your lifetime. That's my goal.

So, okay, so you you you finished two years of art school and then you were offered a position by the director of the program. Yes. And that was still in Israel. Yeah. And what did she or he? That was a she. And what did she have you doing? And why did what did she think about your decision to stop going to art school to job? She noticed me, she noticed me and she came to a graduation and we had a final project. She was there the whole time and after the final project she said can I speak to you and I thought I'm in trouble. I speak to you and I thought I'm in trouble. Mm.

And she offered me because first of all I spoke Russian and she had a client. And second of all, I was good. That's what she told me. I had no idea. I didn't believe anything she said. I was completely living outside of myself at that point. What do you mean, living outside of yourself? It's hard to describe. I couldn't fit

into Israel. Right. I felt too large for that place. And nobody knew what I'm speaking about. So how long did you work for her? For four months. Backing up, when I was 15, I met a boy on the street. It was two weeks after I arrived. And that boy is my husband right now. So he left to New York in 2000, in 2000, and I followed him. I see. And so, and was that what stopped you from continuing the job? Yes. Uh-huh. That's exactly what stopped me. He's leaving. His departure was, uh, the stating. Did, when he departed, had you to plan to meet up again in New York? Was that the eventual? That was the end. He left. And what changed? He stayed here for three months. He looked, he called me and he said, I'm seeing people and I don't see them. They aren't transparent.

I'm just looking through them. I don't see any of them. You need to come because I see you. come because I see you. And so you uprooted yourself from Israel? How old were you? I was 23. Again, no English, no language. I had this ABC. Again, the same story just this time, I came along. But you like New York? Not right away. Not right away. But you like New York. Not right away. Not right away. It was tough. It was tough in the beginning and we had a first child a year later. I would describe my life as 40 years in the desert. That's exactly what it was. 40 even more. 42.

How old are you now? 43. That's not many years out of the desert. No, it's just the beginning. All right, so you're in New York and you're learning to speaking with your newly married, you have a new child? Yes. Again, two to three years, it took me to start speaking. And I wouldn't just the words would scatter around my head. I would just not be able to find them.

They always hide in behind, there is a field. And I know they there, but they hide in behind the rocks. It's very complicated. It's very hard for me to speak. Because words, I see words. I don't hear words. For me, words are pictures. And I see words. I don't hear words. For me, words are pictures, and I memorize them. And when they are in the sentence, I'm being able to reread.

That's why it was so good for me that we corresponded. Because I could reread and I couldn't stand exactly what you mean. And then... exactly what you mean. And then, did you work when you ride to New York? Did you work as an artist? Right away. You did. Yeah. How did you find work?

It's hard to find work as an artist. So how did you manage that? I thought I'm going to clean the rest of the rooms. I was walking around looking for orthodox schools or schools just to clean the bathrooms. That's what I thought I'm going to do. Two weeks passed and I went to a photo developing studio. We had some photographs. It was the winter.

It was beautiful. I came there and the guy before me wanted to make some retouchment on his old pictures. And the guy in front of me at the desk said, yes, we do that, but it's going to take us a month, come back to us in a month. So I'm getting to the desk and I'm saying, I can do it in one hour, maybe less. He said, I don't believe you. Let me try. He set me down and he had a drawer with probably 10 pictures that was supposed to take him a month to retouch. And I've done it in one

day. He said, I have somebody in mind. It was a Jewish guy. Obviously they had somebody in mind, a new jersey, which is far. That's how I got my job. And I stayed there for 13 years. And so tell me about this place? It was a photo studio. No, he called his friend, obviously, and he had friends in graphics. I see.

He was more than that. There was a catalog company that was creating catalogs for mostly jewelry, but not only. Most jewelry, which is the hardest thing because retouching of jewelry is the hardest thing. And we had everything. We had a printing facility under our roof in the same building. We had our photographers. We had me. So everything was going on.

I was on top of everything. He made me an art director, and I was an art designer and art director, and the company closed up in 2000. Was it 16? It was five years ago. Hmm. And you managed that was your English functional

by that point or? I wouldn't say so. No, we didn't need to speak a lot. He learned to trust me. Within a year, he knew that everything I do is going to be lovable. And he knew I'm always right. be lovable and he knew I'm always right. He just stood up. Just do that, just do this. I worked three days a week which was amazing. I got my salary for a week. I had two boys but that time and I got sick. Oh what happened? Well I'm not sure, I'm still not sure what happened. I was always sick. I relapsed and I was destined to stay home. So I stayed home and there was one show I see the I should suffer from pain or I should do something while I'm suffering from pain. And that was the only thing that made me disappear. I forget about the reality. That's the only thing, my Photoshop.

And I've started doing graphics for no reason. Okay, so when did this happen? So you got too ill to work? Was that the case? You got too ill to work? And so you were staying at home when? When did that happen? Five years ago. Five years ago. I'm skipping. I'm skipping. That's okay. We should move towards the discussion of the drawings anyways, but we're getting close to, we're getting close to the present day.

So you became ill about five years ago. Yeah. And did you have a start? No, I was ill, but I became very ill. I didn't think I would survive it. And you don't, I don't want to press you anymore than is comfortable for you. I had no energy at all. Zero. And I had two kids. And you talked about pain as well.

Yeah, the pain was tremendous. And then I got also on top of it. I got fibromalgia. They they couldn't treat. And the pain with fibromalgia that you can treat it with medicine. Anyway, so I thought what would I do with my life? I'm 40. I was almost 40. Okay, I'll paint with oil paintings on canvas

out of the bloom. And it worked and every painting was better than another. I was keeping at the secret and my husband said, you can't keep it the secret. People must see it. He said, see in what why? I couldn't grasp the idea of somebody else's seeing my work. I've done this for two years, and eventually I had a show in Chelsea, New York in the gallery. It didn't go so well, and I knew that I have to switch.

It was so hard physically, too hard for me to paint. Too hard to paint. Too paint, yeah. So sitting in front of the desk was an option for them. That's how I started doing graphics. So I'm at a Gora Galerie's page. Yes. Which will link into this.

And there's a number of images. There are an orange atangering my mistake. A painting called accepted. These are oil on canvas. And I haven't seen them since before. They're as good as I would expect, given your illustrations. And do you use any digital technology when you're doing your oil paintings? No, not at all. So that's, tell me a little bit about how you go about it. They're beautiful. I would just find two copies exactly what I see in a photograph. I see in a photograph. Those three cups, if you see only were there cups,

you would see it on my website. Cups is my favorite, three cups coffee. And where can I find that? Okay, Julia Fogra dot me. Julia Fogra dot me. And me. me. Got it. Oh yes, you have the illustration for the illustrations for beyond order up there. Yeah, so I should go to portraits or fine art. Oh wow. And which one do you like the best? Three cups of coffee. Oh yes.

There are close ups so you can see actual up close. They enormous those paintings. 48 by 30. And these are done from photographs? Yep. Wow. I made something similar to this one where you use squares. Those are sort of like mosaics. I redid a famous oil painting by,

now I can't remember his name, unfortunately, it's reclining nude and pixelated it in large cubes and then cut it out of styrofoam, foam core, and layered it like my maps of meaning painting. I did about 10 of those when I was in my mid 20s and I haven't done any sense. I love, and these three at the bottom are very reminiscent of that.

They're, yeah, they're really, they're very intense. Have you been successful as a fine artist? Have you been able to make a living? No. No, well, it's very difficult to make a living as a fine artist. I was able to spend everything I had in my savings. Yes. Uh-huh.

Yeah. And these people ask for, they call gisli prints, yes. Print on canvas and special color, not just regular prints. Yeah, done some money, not fully. No, no. And have you been successful at selling your original images? Have you been successful at selling your original images? No, not at all. And any idea why? I mean, apart from the general impossibility of doing that, it's a very finite market.

And it's extraordinarily difficult for a fine artist to make a living. It happens almost never. So it's not surprising. But the images are a very high quality, in my opinion. That doesn't necessitate success. I mean, part of the problem of being an artist is that you have to compete with the production of all artists living and dead.

And it takes a long time to build a reputation. And you have to know how to, you have to know the gallery system and you have to build a market yourself and you have to be able to sell yourself and or someone else has to do it. It's exactly. I was not ready for that. I didn't like the, I didn't like this combination of words selling yourself. I knew I had to sell myself and I didn't want to do that. So I just, well, you know, this is a good place for this discussion. I would say, it might be useful for people who are listening who are artistically inclined.

It's not the right thing, it's not the right way to construe it as selling yourself. What you have to understand is that there's no possible way of being successful if people don't know who you are or what you've done. Because very few people buy art and so you have to communicate with a lot of people before you'll get any interest that could be turned into revenue. And so you have to communicate, and obviously you have to communicate because you have to have a market, and it's just as important to know how to communicate, or perhaps even

more important, than it is to know how to produce things that are beautiful and of value. And if you think about it as communication, it's less off-putting than if you think about it as selling yourself. It's still a tremendous problem. I mean, no matter what you produce, regardless of its value, a huge part of the problem you'll face trying to monetize it is part of the problem you'll face trying to monetize it is communicating its existence. So, and artists are rarely not only rarely trained in doing that, but are also frequently somewhat temperamentally disinclined to do it. Absolutely. So, that's a warning to all of you out there who are artistically inclined if you want to make a living, especially independently, you had better be prepared to learn how to communicate it with everything at your disposal and put as much effort into that if you can as into your art itself. That's that again, that's not necessary if all you want to do is produce art, but if you want to produce art and live, it's necessary.

I've listened to your lectures, yes. Yeah, yeah. Well, it's hard one knowledge. I've produced items for sale, you know, prior to my books, say, and I thought they were quite useful. These programs I've developed with my colleagues to help people write a life plan that's self-authoring and to assess their personality, but it wasn't until I was able to communicate with a very large number of people that those products became remotely successful,

with a very large number of people that those products became remotely successful, despite their quality, let's say. Yeah, yeah. So can I ask you just out of curiosity and don't feel inclined to answer this? How many of your paintings have you sold? One. I'm sorry. I'm sorry. How many of you have been in the gallery? How many of you have been in the gallery? How many of you have been in the gallery? How many of you have been in the gallery? How many of you have been in the gallery?

How many of you have been in the gallery? How many of you have been in the gallery? How many of you have been in the gallery? How many of you have been in the gallery? How many of you have been in the gallery? How many of you have been in the gallery? How many of you have been in the gallery? How many of you have been in the gallery? How many of you have been in the gallery? For one month only. For one month only, that was the show. Yeah, that was the show. And people can contact you through your website.

Yes. Uh-huh. Every piece of information about me is in my website. Are the prices of your artworks on your website? No. Why not? I'm not saying they should be. I'm curious to.

I just think they shouldn't. I think I should communicate with people first. That's part of communication. I don't have a set price. It depends. All right, so let's talk about this contest. And so why do you tell me the story? Because I don't know the story. And so I'd really like to hear it. Yeah, I don't know the story on your end. I just know the story on my end. I have no idea why I was chosen. I never asked this question. I never wanted to know today. I'll ask the story. I was chosen because in my opinion, and also the opinion of the people I had helping me make the decisions your drawings were, they were clearly the best of all people I had helping me make the decisions your drawings were,

they were clearly the best of all the drawings that we had, all the pieces of art, they're not exactly drawings, you can describe more what they are. They were better than any of the others that we received and I would say markedly so. So that's the simple explanation. We felt very fortunate that the contest had produced such a positive result. So with lockdown and with my state of health, it was quite difficult to find another illustrator

to even know how to go about that. Oh my God. So the contest came up as an idea and I don't know. Not a bad idea. Well, we'll see, won't we? But I'm very pleased with the way that it's turned out. So how did you remember how you found out about the contest? I remember everything.

Yes. I had a friend, Lawrence Fox, he lives in the UK. He's an actor and musician and right now he organized the party. He's in politics now. So he sent me the link of your Twitter. I was evening and I was sitting with my husband drinking tea in a kitchen. And I was sitting like that. and I never sit like that, and I was ready to rip up my hair,

because I really wanted it, and I told him, there is no way I can't make lined art. He said, do you think? I said, no, you don't understand, it's Jordan Peterson. He knows exactly what he wants. When he says lined art, it has to be produced in lines, and I just can't do that. You have to do you think, just do you think, some people just don't know until they see it. So my Tika was standing on those. Can you see? Yes, put a little closer. Yes. These are German drawings and my

mom bought them in Hamburg. And I was looking on the sky and I was looking at the lights. I said, this is my thing. He said, do it. Go right now. So you saw the contest announcement on Twitter. Yeah. So I don't even remember how we announced it, but obviously we used Twitter. I kept the screenshot. I know what it was. So I don't remember much of this at all. Yeah. And I remember why I wanted it so bad. I wanted it because I wanted to make you smile. I wanted you.

Now why did you care about that? So first of all, did you, you knew about me before that? How? You know, I knew about you before that for a long time. But I never followed you because I'm not following everybody. It's just a habit.

So how did you know how did you come across my work? Lawrence Fox. He sent me the link on the same day. And that day I was thinking why did you. Sorry sorry interrupt you, but you said that. You when he sent you the link did you already know about my work? Yes. How did you...

And so what, the videos, or had you read my previous book? Lectures, no lectures. I was listening to your art lectures. I see. Okay. You were listening to my lectures on art. Yeah. Okay.

You gave a lecture in Toronto Museum, I think? Yes. That's the one I love. I've listened to it three times I think. I think that was an Ottawa at the National Gallery. I did one at the National Gallery and I did one on the meaning of music at a museum in Toronto, but that's not the one you're referring to. No, I wish I could find it. I need to find it. I need the links as well. So I went ahead. I went downstairs.

And I knew I can't do that in in drawings. So what I did at the time, I would do photo montages. Black and white photoomontage, meaning I would make a list of keywords, something I need for that. And I knew I need a sky, I knew I need a guy and a special character, not just any guy. I wanted him to be proud and what's the word a slightly arrogant. This was the first rule. The first rule. Yeah.

You not carelessly denigrate social institutions or creative achievement. And I sent out suggestions, right? I the suggestion was the a tarot card. Yeah, you sent one tarot card. From the rider deck, I believe it was the rider deck. So I would create that and then I would just start searching the web. And that could be a photo, that could be part of the painting, I will just collect in very chaotic way, very neurotic and chaotic for three, four hours. I'll just pick up the stuff. Everything I see, everything I see useful, everything I see fit, I would collect. Then I see a plane page that is scary. And I knew that that is scary. And I knew that I'm gonna sit 12, not one, usually I see one.

I would have to deal with 12. And I knew I can do it, but usually I'll drop myself into the well, I'll just drop myself into something impossible and see if I can survive. That's what I do. So, I photomontage this out of pieces just like the mosaic. That's why I spoke of making a mosaic from center out. I would find the heart of the image and I'll work towards the edges.

Then I'll have to flawlessly integrate them into each other. There are probably hundreds. Yeah, there is a hundred pieces here from all sorts of sources. And why did you decide to use a photo montage rather than draw my thing. It's my thing. He told me just do your thing. I see. Okay. That's how you see things. Okay, so show, bring the image up again.

Let me make some comments about it. And I can tell you, okay, so I like the melody of the main figure. There's something musical about it and about the way that I guess it's the lines of the standing figure and the dog and the butterfly. It fits harmoniously together and you got it right to have him looking up into this guy like he's preoccupied.

Even though he's hypothetically about to step off this cliff, the way that you produce this is similar to the way that I write because I collect all sorts of things and then I array them, and then I edit them and edit them and edit them and edit them and edit them until I can't edit them anymore, and then I'm done. So when I saw this, the first thing I believe I thought was that it was beautiful and that that was a necessary criteria for for for my satisfaction.

And it was there's nothing about your drawings that are foolish or trivial. And so, and I liked the classic element. And so when I saw this, while I was very happy, I thought, well, that'll be a beautiful addition to the, to the book. So you sent the fool. You speaking my language, first of all, every word toward that's exactly how I feel. I had to create shape wise, something harmonious, perfectly harmonious. It has to be balanced out perfectly, otherwise it's junk.

And when I... That's very difficult to do. You see people often when they make a portrait even very talented people can't array the multiple if there's multiple figures they can't array the multiple figures together so that they look either like their dancing let's say like they're related to each other properly. They look like separate figures sort of stuck on a page and certainly that isn't the case with your illustration of the fool. And often people will ask me who I'm inspired by, no one, they will not believe me. It's definitely look like that or it's definitely look like door or it's definitely look like door. Well, it's definitely look like this guy. And the guy is definitely look like my brother. It's none of those things I never get inspired by visuals. I get inspired by music. So here we come a full circle because I always knew that I have to choose either music or drawings, two things.

And I knew I have to choose because when your little grown-ups would say, It's two things. And I knew I have to choose because when you're little, grown-ups would say, would you want to be when you grow up, which implies you have to choose? And I didn't want to choose. But it's so interesting that you think of your drawings musically given that that's how they struck me. And that's how they struck you. The words were words. So what I do is I put my music

and I work only to music. Nothing else. I have no ideas. And I'm trying to turn my head off. I'm not thinking. During this chaotic. Speaking, I have to analyze, like, good bad bad bad bad bad bad.

Great. But then when it's all done, it's to analyze like good bad bad bad bad. But then when it's all done, it's pretty much like what actors do, master actors with method acting. They just collected all this information to make more everything about they dressed up and they just being and I can't control this. When I attach those things, I'm just the tool. I can't think. Once I started thinking, I'm ruined it. Right, well, yeah.

Thinking is perhaps reserved for critical judgment rather than creative production. Yeah. You have to open yourself up to a kind of attention. And it's interesting that, you know, you say you collected a very large number of items to work with. It's initial overproduction followed by selection. And that's another thing useful for people who are listening to this or watching it might want to know. Like, when I write, I write way more than I keep. And then I can select. And so I don't constrain myself to begin with. I can write down whatever I want knowing full well

that I'm going to modify it or throw much of it away. So I sent, like I had images in mind, photographs, paintings that captured the theme of what I wanted to portray in the illustration for the chapter. And so, as we progressed through the 12, I had sent an image or two or three, perhaps. I don't exactly remember that sort of hinted at what I was looking for. And so then you worked off that initial suggestion, but you produced something that was in that vein, but not by any means the same thing. So let's go through, let's go, let's show everybody the illustrations one by one and talk about each

of them. So we saw number one, the fool. Yeah, I had much more, obviously, I had much more. I had mountains, I had access to stuff. I always minimize it. Not necessary out, not necessary out. I simplified it completely. Then I went to number five. Rule five, that's, do not do what you hate. And so that's Lucifer plummeting from heaven. Yeah, that's the one. And tell me about that. That's my favorite rule. That's your favorite rule.

Is, you mean the favorite illustration or the rule itself. Now, you hadn't read the chapters, I don't believe. I did. You did. Okay, okay. So I sent them to you. Yes, they began. Okay, well, that was wise.

That was appropriate. Yeah, that was wise. I asked for it. But then I stopped myself from reading on most of them. I didn't want to translate them into words and vice versa. Okay, so but you had read the chapter for rule five. Yeah, you gave me very clear three paragraphs on each rule and it was more than enough and you showed pictures. I have it here we can attach it. And we went back and forth on this image quite a lot. On this one, no.

The only change here was that the hand was too long. Right, arm length. Well, that happens to stick in my mind. So that may not be an accurate representation what happened. So tell me about this image. Again, it has that lovely harmony. The character looks like he's, the figure looks like he's dancing.

It's beautiful. Yeah, so I was inspired by ballet dancer. And I didn't want it to look so much like this because they similar in in the description. Right. One came to be all the way down on the ground. I want him to be in the middle and was very challenging, very challenging. Because the emotion is so contradictory to me and I was trying to catch it in one frame. And the emotion was he's still

falling he's not there yet. It's quite interesting. His desperate and angry and hopeful. It's a great expression. It's a great expression. And he's looking for help. Yeah, well, and I believe you can see all of those things in the expression. There's a pleading in it. Yeah, so once I get the face, I will change the face of a person, obviously, unrecognizably for others. And I'll work on a nose, obviously, and I'll work on the eyes.

And then I'll change the emotion. I'll actually work on the flaps of the skin to make him more desperate. The dark at the area on top of his eye, the more desperate he is. There are ways to work on a motion, to change it slightly. And I'm changing it only on one half of the face. That's my trick.

The other half of the face would describe a different motion. And so how did you discover that technique? Okay, actually, there is a filmmaker, first filmmaker. His name is George Miliess, he was French, the one who created Moon. What was the name? I have it right it down. He created... What's his name? We had a trip to the moon. Oh yes, a very early filmmaker. He was the first. Very famous film. Yeah, so he's been depicted in Hugo Cabre by Martin Scorsese's film.

Right. Yeah, so there I saw how he created the magic. He wanted some amand disappear. So he would take the canister of the film, take the actual film, get to that point, cut out a few frames where the person disappears and glue it together. So, and then I noticed the same idea in music

when I'm listening, let's say, to sing. He will do exactly the same thing. He will take the emotion. That comes to the point of. I forgot the word. The musical term, he will cut the other half. He'll take a different emotion, cut over the beginning, glue them together, and that creates a completely different emotion. In music, nobody's using it unless you're genius. And why the reason is, because the church would forbid it in a very early stages, because

those chords would create doubt, doubt and uncertainty. So those chords sound beautiful and slightly bitter and sophisticated. You'll never hear it in music, especially classical music. So I've started to think how can I recreate it visually, same thing. So you showed rule 11, so let's jump to that one, unless you have a preference. That's do not allow yourself to become resentful, deceitful, or arrogant. And that's Satan in hell. And that's modeled after an illustration from Paradise Lost by Gustav Dore, if I remember correctly. So what do you tell us about that illustration? Again, there is not much to tell. I was trying to recreate one of those

and I was trying to be simplistic about it, obviously showing a big distress, devastation, that's how I show devastation. And- Yes, and that devastation brought by becoming resentful, deceitful, and arrogant. So, and the point of the chapter at least in part is that even if you have reasons for all of those three things, especially resentment because people often have extraordinarily difficult lives,

going down that path is likely to make everything worse. And that's a non-trivial problem because if you're suffering dreadfully, then it's very difficult to resist the temptation of resentment. So it's something I've certainly struggled with. That rule in rule 12, be grateful in spite of your suffering. It was a rule that I've had a very hard time abiding by. What's that? That took me the longest. This rule, I've created three or four different versions and I worked and worked and worked and I was not satisfied. This? This? Yeah. All right, let's go to rule. Do you have an order? You prefer, sure, we go to rule two. Okay. Roll two, I've done the last, the best for last.

Imagine who you could be and then aim single mindedly at that. That was a tricky one to have you do because the chapter is an analysis of an old alchemical drawing. And so you had to be constrained in the recreation of that because it had to duplicate all the elements of the original drawing or my chapter wouldn't have made any sense. So. Which made it easier for me. Being constrained is easy. I know exactly what's supposed to be there.

Yes, well, people with an artistic temperament, or maybe people with a wannabe artistic temperament, often rail against constraint, but it's, you want a lot of constraint, generally speaking, otherwise you drown in choice. And that's, that's a big problem. So this chapter describes this picture as a story that precedes from the bottom up. You can take it in at a glance, but it also precedes from the bottom up. And it's the emergence of personality, well-developed

personality from nothing in some sense or from potential. That's another way of thinking about it. And it's an unbelievably sophisticated image, and which is why it takes me a chapter to unwrap thinking about it. And it's an unbelievably sophisticated image, and which is why it takes me a chapter to unwrap some of it. So, what, what, what, what did you, what was the experience for you of working on this image? I figured I was looking for one of the paintings to make inverted as opposed to black figures on white background, which is usually the case. I've done it inverted and I loved it.

I loved how it's black, as opposed to every original I saw on the internet. Let make it very magical. There are the drag in there. So the way the picture works just as a hint is that well the bottom sphere in some sense represents that which attracts your interest and the bottom sphere in some sense represents that which attracts your interest. And then that can transform itself into that which you're afraid of. So you might have an ambition, for example, to pursue something you're interested in.

But then that turns into a dragon because you're afraid of pursuing it. But if you do confront it, then that turns into you. That helps you develop your personality. That's that image in a thumbnail. It's much more to it than that, of course. I love it.

Rule four. Oh, that's rule, sorry, that was rule two, yes. Imagine who you could be and then aim single mindedly at that. This is rule three is the one we need. Rule three is mechalous favorite. Do not hide unwanted things in the fog, right? And this is the opposite of hiding unwanted things in the fog.

This is confronting them. And that's a variant of St. George in the Dragon, which is an unbelievably pervasive, mythological and artistic motif, and perhaps also the oldest story that we have, the oldest stories that we know are variants of King George and the St. George and the Dragon. So tell me about this one. That was difficult, because there were too many items that shouldn't look separated, although

the woman should be separated. So what I've done is using a fabric of hers and fabric of his, flying into the same direction and that's the connecting point. Castle should be separated. So I wasn't worried about the castle, but the dark sky and the dragon working. Sure. 45 degrees.

Yeah. Right. Absolutely. So the mass of the dragon and the mass of the sky are balanced against the mass of the dragon and the mass of the sky are balanced against the yeah, against the rider. Again, that gives it a symmetry across the from the top left corner to the bottom right corner. Yeah, so we're all lying there. It's symmetrical across that axis. And the castle had to be there and the dragon had to be there and the

woman had to be there. All those elements are crucial. And so this is what you do when you don't hide things in the fog, you confront them and you free something of value as a consequence. That's one of the most magnificent discoveries of human beings that human beings have ever made. And images like this are an attempt to make that conscious, to serve to their, their, their, their, their a guide to it, particular kind of action in the world. That's the voluntary confrontation with things you don't understand, and that you are afraid of. And the promise that something of extreme value will emerge as a consequence of that, even though it looks dire initially. And can be, I mean, this is no joke because if you go off to fight dragons, there's always the possibility that you'll die or worse. And that's a real possibility. It's not something that can be hand-waved away with any amount of psychological nonsense, let's say.

These are real battles, not merely psychological battles. Rule four, please stop me too. If there's anything else you want to say about any of these images, I really want to hear what you have to say. Rule four, notice that opportunity lurks where responsibility has been abdicated, atlas. And there's three women in the background, why? That was part of your situation.

So I have to say why? You have to say why. Well, I would say that to the degree that men are properly Shouldering their load, then women can rejoice and play in the background, which is not to say that all women do is rejoice and play. No one lives like that, but it's very difficult to rejoice and play when responsibility remains unsholded. So, and it's a meaningful one. Rule five, we did rule five. Sorry, go ahead.

I've made it theatrical, if you see on top, it's like a part of the scene that makes sense more. Yeah, this is part of the scene because you can see the fabric. Right. sense more. Yeah, this is part of the scene because you can see the fabric and right. Theater like and they dancing on the background. So it's like a stage setting. Something like that. That was my idea.

Yeah, well, what we play out on the stage are representations of things that we should play out in our life, or sometimes their opposite, because, you know, if you see a villain on the stage, and he ends badly, then the lesson is to not be a villain. But that's still imitation. It's just imitation of the reverse. Rule six, because we did rule five, abandoned ideology, abandoned ideology, and that's your version of a Soviet era propaganda poster. Yep. Now you must have seen many of those when you were in Riga.

No, I haven't seen any of those because I was born in 1977. My mistake. So tell us about this image. Not much to tell us. I wanted her to look mean, cruel, bitter, just like the women I saw in the regga 1977. The women looked like that, Russian woman. Why? Why they would be there. I guess we're thinking that it was, had had something to do with ideology.

And it's terrible grip, the terrible grip that ideology had on, well, certainly the people in the Soviet Union, but also in the entire world. Unbelievably catastrophic. A whole century of catastrophe, of terrible catastrophe for hundreds of millions of people. And we still haven't learned our lesson. And people can object that you can't help but think ideologically. And I don't believe that to be the case.

No, I'm the product of that, and I can tell you that for me, it's a given, that things can change within one night. It's a given because it happened. People in America cannot imagine such things because things gradually went better and better, and slightly better. Maybe a bit worse, but better and better.

They cannot imagine because they never lived it. And things were taken away one night, everything changed. Well, people got a bit of a taste of that this year, I would say, even so. And hopefully, it won't go beyond the taste that we've had. So I guess you follow an ideology when you have the over-weaning desire to explain more of the world than you can explain. It's very complicated.

Your representation of the world becomes something you proudly display to indicate your moral superiority and you'll sacrifice people to that. Rule seven, work as hard as you possibly can on at least one thing and see what happens. I love this as beautiful. It's so playful. It's got the it's got the feeling of a child's fairy tale, but one that's not speaking down to children, and there's real love in it. And it's very frequently the case

that mentoring relationships, apprenticeship relationships, have that love in them. This shoemaker is teaching this young boy to a craft that will enable him to do something productive, but also enable him to live, to provide him with a living. And he's the good father like Cheepetto. He's obviously pleased that his apprentice is showing mastery.

And that's the definition of a good father, perhaps a good parent, that you're pleased when your son or your daughter advances, even when they advance beyond you, which hopefully they will, if you're highly successful. There's a lot of love in this illustration as far as I'm concerned. Yeah, I've tried to appeal to you. If you look at the old guy, he's a young character. Ah! I can't believe you haven't noticed. The list of things that I haven't noticed would fill many, many books. That's so smart. That's so smart.

You're a lovely character, this guy. That's so smart. We'll love the character of this guy. And the room that you've portrayed there is, it's a place of productive activity. It's inviting. And you did, you made it theatrical again with the, with the, with the fabric along the top. Yeah.

And so it's like we're looking into a private moment. Exactly. The fact that it's theatrical was. So tell me, so this is, you've done this with a number of images. What possessed you to do that? My experience, my own experience, I suppose. I've had that with my grandmother. Why make it theatrical?

Theatrical, yes. And so overtly, it theatrical? Yes, and so overtly. It's perfectly appropriate, especially given the tenor of the book. I'm not sure again. I'm not sure about most of my decisions. Yes, well, that's the problem with. If artists can say what they do, they wouldn't need to do their art. I suppose I don't know. That's left to other people often. And some of the worst clap trap ever produced is analysis of art, often by the artists themselves,

but often by critics as well. Well, you open up the curtains on a scene. And to open up the curtains on a scene is to indicate that this scene is of importance, because otherwise why I put it on the stage, why up the curtains on a scene is to indicate that this scene is of importance because otherwise why I put it on the stage, why open the curtains, why say that this is here for your consideration. And so you're displaying to the viewer something of crucial importance here is that this relationship exists and it's healthy and positive.

And something to be. And it's intimate. Yes, and it's intimate and positive. Yeah, something to be. And it's intimate. Yes, and it's intimate as well. Yes, exactly. Yes, lovely, a beautiful. My favorite. Yes, and you you managed to imbue this illustration with sentiment without it being modland or naive or or saccharine or sugarcoded any of that. And that's very tricky thing to do to make

something positive and joyful and loving like that without degenerating into sentimentality. With the boy I was struggling because many boys have increased emotions. They're very emotional and I needed to show a sense of awe. But every boy I tried, I probably tried to many. Didn't work until I found this picture of my son 10 years ago. He was making bubbles, so bubbles in the original picture. And he looked at them without

in the original picture. And he looked at them without overlaid expressing his joy. And that's the moment I like, it's something in between. Right, so he's contemplating. Yes, happily. It's not sure if it's good or not, but the father approves. Great. Rule eight. Eight is irises. Try to make one room in your house, in your home, as beautiful as possible. I tried that multiple times, and it was extraordinarily useful to try to make a room beautiful

or more than one room. It's such a good exercise to learn to cultivate a relationship with beauty. It's in a world where so much as ugly as beauty is sustaining as bread, perhaps even more so. And so this is a testament, let's say, to Vincent Van Gogh's irises, which at one point was a painting that sold for more than any other painting had ever sold for $170 million if I remember correctly. I'm sure that record's been broken since then. But it's of great interest to note that the most expensive artifacts in the world are artistic artifacts and in principle those that speak

remind us of beauty and the chapter, rule seven, rule eight, try to make one room in your home as beautiful as possible is a meditation on the ability of art to remind us of what we've forgotten. meditation on the ability of art to remind us of what we've forgotten. So tell me about the choices you made in this image. So the original irises, the jog is very tiny and very much looks like his face with an ear, the original jug. And I couldn't use that, so I needed a different jug and I needed it to be rural, nothing more. I needed the wood, the place, and I needed more than that. I was looking on those and I was not sure this is irises by Van Gogh I was looking on those and I was not sure this is irises by Van Gogh,

until I found a way to make it his with the portrait on the background. That is clear. And also, it's slightly off-centered and slightly looks like a mistake. But thanks for his face, it's perfectly harmonious within the page. You see that? It's slightly off, but it's not. So that's part of what makes a piece of visual art work is the relationship between the images and their hypothetical mass, it's something like that. They have to be balanced properly on the page. Absolutely. So you've picked, you talked about the rural nature of the jug and the plain wood table that

it's sitting on. That's to not take away from the flowers. Yeah. Well, every artist directs the attention of his or her viewer. Now the attention is on irises. So you make decisions. Often this is one of the reasons I believe that hand drawn animated art is preferable to computer generated animated art often. Computer animation allows animators to render their images with incredible complexity and

detail. But it's easy for the viewer to get lost as a consequence, whereas a movie like Sleeping Beauty, you know exactly where to look because everything that isn't relevant is faded out to some degree, and that which is relevant is high resolution. And so the artist is helping the viewer view the image

by making decisions about what is highlighted and what isn't. And that's part of how the artist allows the image to tell a story because the artist can guide the attention of the viewer by making careful choices about what's foreground and what's background. Yeah, and that reminds me of my thinking that nowadays graphics are too sharp, too chewed

on properly. All you have to do is swallow. It's just there for you completely. Everything isn't focused. Everything, every single detail, it's very saturated. There is no mystery. And it's not how my IC, maybe it's the poor vision, maybe. No, it's not how my I see it. Maybe it's the poor vision. No, it's not how anybody's I see.

It's not how I see it. And I need it to be realistic. I mean, the way we see is when we look at something straight on, what we're directly looking at is in high resolution. But as we move beyond the center of our vision to the periphery, everything becomes much less high resolution. And that's because, well, we have limited visual computation resources, but we view what's most important in high detail and late everything else go. And that is obvious, absolutely obvious, but if you look at every single one of them,

they're not in focus, they're not perfectly sharp. And that's on purpose. And what do you think that does? It gives them a dreamlike quality, that's one thing I know is to both. So, yeah, then it reminds us what we saw like 34 years ago. And forgot how beautiful it was. Rule 9. If old memory still upset you, write them down carefully and completely.

This, I believe, was St. Anthony. There's a number of famous representations of St. Anthony being tormented by demons. We're all tormented by the demons of our imagination, regrets, fears, paranoias. Perhaps other people in our representations. And he's peaceful in this image, despite this torment. I thought this was an extremely effective image.

Jordan, look at the eyes. Doesn't it remind you of anybody? Jordan, look at the eyes. Doesn't it remind you of anybody? Who is it? That's you. I've noticed many times in your lectures, in your interviews, you're looking for answers. Look up. And look up. Maybe not as stormant but you always look up on the angle not straight slightly on the angle. I'd say that tormented. So I just wanted it to be relatable.

Well, I guess you need to look up to find what it is that makes the torment worthwhile. And you're fortunate if you find that. Rule 10. That was the one where we have to make some construction work on his feet. Plan and work diligently to remain t maintain the romance in your relationship. Yes, and you're very fortunate if you can do that. That's for sure. Another dance. And this was, do you remember the image I sent you? Do you remember the artist? Was it? I can't remember, unfortunately, the kiss. Yeah, I can check it out right now.

Was it also Gustav Dore? It was inspired by Aubrey Berzley. Aubrey Berzley, yes. That was my only reference, just one picture. So the fact when you see a couple moving harmoniously together, and they seem to belong together, the reason they seem to belong together is because they're mimicking each other in their posture. And that doesn't mean that they're necessarily doing exactly the same thing, but the manner in which one person holds their body is related to the manner in which the other person is holding their body.

And you see this with mothers and children. So if you if you take videos of mothers who are in a good mental state with their infants and you speed them up videoing the mother and the infant, you see that they're engaged in a continual dance of reaction and response. But if you do that with depressed mothers, then you don't get the same rhythm and harmony in the interactions. And that's because the relationship is disrupted by the depression. And that's because the relationship is disrupted by the depression. So in this representation, these two are very harmoniously linked together. And they're maintaining the romance in their relationship. And the chapter is a discussion of the multitude of problems that have to be solved in a relationship for that romance to be maintained across time.

It's as if romance, if you think about it, you might think about it as a form of play. And play is very easily disrupted among children, if children are in any powerful emotional state that will interfere with their play, all their needs in some sense have to be taken care of before they, before play will emerge. And there's some, that also seems to be the case to some large degree with regard to the relationship between men and women or between two intimate partners. There's many things that have to be solved properly

for the romance to be maintained across time. And rule 12, be grateful in spite of your suffering. Another saint images that have become much rarer in the modern world. So tell me about this image. Well, again, not overly expressive at peace. He looks like he's part of the tree. Yep. Again, not everything in focus again.

It's tree that doesn't exactly look like a tree. And you can't see the bottom of the tree, which often happens in the real life. You don't see every single branch of the tree when you're looking on a man. And so why did I didn't I hadn't noticed that before? Do you know why you decided to make the bottom of the tree obscured? It wasn't a conscious decision. Well, so then what it looks like is that his legs now become the trunk of the tree. Oh, I see that. And they mirror the branches, the major branches in the tree. Exactly. So you're, you're indi, and that's a really good example of how the visual imagination can supersede the conscious knowledge.

Of course, you don't know why you made all the decisions you made in these images. How in the world could you possibly know? And the image should contain way more than you think. I mean, if you diligently worked at it. And if you had planned a drawing that said, well, I'm going to give a man the strength of a tree. It's doubtful that you could have consciously come up with a solution that would be better than the one that you picked as a consequence of your aesthetic judgment. Yes.

So he's rooted powerfully. I mean, what you have there is that what's rooted powerfully in the earth is his feet and his legs. And you've indicated that that's a more powerful rooting, a more significant rooting than the rooting of the tree itself. There's a bird in the background. Yeah, you'll notice. And that made you laugh. I'm happy you noticed. Why? Because that was intentional. Bird is a freedom. All right, so I'm going to close this up. But I want to ask you something else, which is, I suppose, the question I wanted answered more than any other question that I could put to you. What has been the consequence for you of having undertaken this job? What's happened? I mean, partly as a consequence of making the images, but you've had some attention

directed your way now because of the book and there's going to be a lot more coming because of this video and because the book will be out March 2nd. What's changed for you? Nothing yet. Nothing changed yet. I don't know what's going to come. Maybe you do? know what's gonna come maybe you do? No I don't I have no idea if and what but I've accomplished what I wanted and what I wanted is to make you smile during the period of difficulty and Michaela tipped me off every time you saw a dog she would tell me that said oh my god and that would make my day I'm so happy to have the illustrations in my book. Very surreal. I think there are great additions to the book. Have you seen the book? They're not yet next week. I have preprints.

I have the PDFs. And so I have the PDFs. I have the PDFs. I have the PDFs. I have the PDFs. I have the PDFs. I think there are great addition to the book. Have you seen the book? There are not yet, next week. I have preprints, I have the PDFs.

And so I haven't seen how the images look in the final production yet. I like the images in my first book. These are nicely different. They're more romantic. They're more fairy tale like. They're more elusive in some sense. I hope people like them a lot. I suspect that they will. And I hope that the kind of attention that you want comes your way. Kind of

attention that you that would be best for want comes your way, kind of attention that you, that would be best for you, comes your way as a consequence of doing this. Thank you. Thank you very much for all your work. Absolutely. Welcome. You helped us solve a very difficult problem at a very difficult time. That was my intention, nothing else.

Well, it's lovely to meet you. I hope we get to do it in person. We will. And maybe we'll talk again publicly some months after the book is released. And we can discuss the consequences then. That would be nice. Is there anything else that you'd like to say? Just that I'm very happy to meet you.

Nothing else. I'm just very happy to see you talking to me of the screen. Well, it was good to get to know you. Thank you very much. And we'll make this into into an interesting visual display as well as an interesting conversation. All right, thank you very much. you