In this episode of the Artmatcher podcast, Michael Goodman speaks with Dominic Lopez about his journey from the Navy to art school, along with the impact of both business and film on his career trajectory. Dominic shares the inspiration behind his creative processes, and how he ultimately manifests his visions. The duo discusses the logistics of curating a show in the most optimal manner, which they had previously worked through alongside each other with Dominic’s recent exhibition, Lifeline.
About Dominic Lopez
Dominic Lopez has been invariably intertwined in both the art and business worlds; while he recognized his creative interests at a young age, he went on to study economics at the United States Naval Academy. Lopez served 6 years as a Naval officer in the Navy, earning the rank of lieutenant, as well as an MBA at the Naval Postgraduate School to further dive into the world of finance. As he grew in the financial sector, he leaned into the full exploration of his artistic interests in the forms of painting and writing, he also studied at the Art Institute where he received a BA in film. As Lopez continues to marry passions for both business and the arts, he has since made a successful career as a film producer and director.
The act of creating is both meditative and introspective for Lopez, and through his paintings, he provides viewers with the same opportunities to pause and reflect. This series aims to ground us in the present moment, to combat the external overstimulation that results in living unconsciously, almost robotically at times. With this work, Lopez creates an alternate world to get lost in, whether it be through the grand scale of larger-than-life canvases or the hypnotic linework with rich textures of carefully placed paints, each piece has a strong and unique energetic presence. With the use of bold colors and graphics, Lopez calls the viewer’s attention and challenges us to explore the elicit feelings within.
Follow Dominic on his website or IMDB.
Watch on YouTube
0:00:00.4 Michael Goodman: Hi everybody, I’m Michael Goodman with Artmatcher, the mobile app which will bring innovation to the art industry and is coming to you soon.
0:00:09.2 Dominic Lopez: While we work hard to build and release this app, we’ll be talking art with some of the industry’s most interesting and knowledgeable people. Whether you’re an art aficionado or this is all new to you, we’ll be here to provide valuable insight and hilarious good stories. Hope you enjoy our chat today. Welcome to another episode of Artmatcher, the podcast. Special guest in the studio today, Dominic Lopez. We recently had an exhibition for him in July, solo exhibition. Lifeline was a great exhibition for those who didn’t get to see it. Hopefully, you’ll check out his stuff on social. Dominic, can you tell the audience a little bit about yourself?
0:01:02.2 Michael Goodman: Yeah, I mean, we just had a great solo exhibition that you curated. But I’m here, you know, getting after it. Really enjoy what we had just recently in July. But yeah, backgrounds kind of grew up in Michigan and went to school in the United States Naval Academy and served my country for six years and have been in film and entertainment and hitting the canvas is hard. Now, it’s interesting because that’s a polarizing kind of background going into the military, which thank you for that.
0:01:47.0 Dominic Lopez: Oh, all right. Serving our country. You got a shout out to the vets. Because the creativity started much earlier, it didn’t start. It started from a very young age, correct?
0:02:00.5 Michael Goodman: Yeah, I mean, as far as back is probably around first or second grade, I really enjoyed painting, drawing and writing poetry. I always would do that kind of before I went to bed as kind of a calming meditative thing to kind of end my day. Did you keep a journal? I kept a journal and but most of the time it was just kind of writings about what I would think about what I would experience and kind of, you know, put that out. Just it was mostly for myself, but I really, I really enjoyed it.
0:02:39.1 Dominic Lopez: Did you come in or asked us, but did you come from a family of creatives? Is anyone else in your family an artist of some sort?
0:02:47.3 Dominic Lopez: My grandpa, he used to kind of draw a lot, but not really like immediately. No one really like my sisters are not in the artist background, really. Do they have an appreciation for it?
0:03:01.3 Michael Goodman: Yeah, one of them flew in for him. One’s a doctor and one’s in finance. But so that’s kind of the direct opposite of artists. But they support me a lot.
0:03:11.6 Dominic Lopez: But you also dabble in the financial sector as well, so you’re not a stranger to economics.
0:03:17.7 Michael Goodman: No, I mean, that’s kind of my background. Business studied economics at the Naval Academy. But early on, it was really just trading and finding vehicles to kind of create more capital. That was always finance. And that always. Interest me a lot. And I was always finding new ways to do that. So that’s kind of like really where I was at in my 20s.
0:03:45.5 Dominic Lopez: And does any of that then translate into the influence of your work, like visually or aesthetically?
0:03:52.2 Michael Goodman: I mean, a little bit. I mean, there’s some references to money or capital or the bag, so to say. But I think it’s interesting when you merge those two worlds, like business and art, whether it’s on the canvas or whether it’s kind of just an art world as a whole. But I mean, I think that’s where the cross intersection is very interesting.
0:04:22.8 Dominic Lopez: Some people are of the philosophy that the two shouldn’t mix. And for me, being in the space of distribution, I feel like they kind of have to mix because the people who are patronizing the work oftentimes sometimes think about work as a financial vehicle or as some type of investment. Do you have any thoughts on how people perceive your work or how what’s your thoughts on why do you think? Why do you think people should be getting your work?
0:05:00.3 Michael Goodman: I mean, I think it’s the old adage of when the artists are out to eat at dinner, they talk about money and the businessmen when they’re out to eat, they talk about art. Right. But, you know, I don’t really feel that that needs to be the case, whether an artist or businessman.
0:05:17.5 Michael Goodman: I didn’t know the businessman talk about art. I thought they just flex on the art that they have. No, I think it’s all about. Yeah, that is the flex, though. Right. I mean, because what they’re doing is they’re know they’re you know, they know how to move around their capital. But the arts, like something that fascinates them and that they can actually use that, you know, as an investment. Like you said, I think I think a lot of my pieces are investments. I think of them a little bit of like property. You know, if someone’s buying a rental property and they’re collecting on the rent on the property and then after a while they sell the property for more. I mean, that’s kind of how I think of the art.
0:06:03.1 Dominic Lopez: Yeah, but some would say, you know, the property, you know, can generate cash flow. It’s something that’s useful. I was just having a conversation with somebody yesterday who asked me about how do you know, you know, what are the most valuable things in life, like dollar wise? And I said to them, you know, what I’ve learned in the 14 years and being in this crazy industry, the luxury industry, because I’ve I’ve also dabbled with watches and cars. The less functionality something has, the more money it could be worth. Meaning like when you take a painting of the most expensive painting, Salomon Mundi by Leonardo da Vinci that sold for 450 million. You know, you can’t eat it. You can’t. You know, it’s just there for pure enjoyment, doesn’t have a functionality, even versus the most the most expensive car in the world will not trump the most expensive painting or diamond as of as of what I know yet. What do you think about that idea?
0:07:10.0 Michael Goodman: I mean, it’s yeah, I mean, it’s interesting because, yeah, there really isn’t any functionality in it, but it but there’s a difference in functionality and utility and utility can be derived from when I when I see certain paintings that I’ve made and I look at them, whether or not that makes me happy, whether that makes me feel a certain way or whether that just makes me feel alive. I think that’s why a lot of times I mean some pieces I, you know, it doesn’t matter really what someone’s asking for, say they’ll give them for me because I don’t want to not be able to look at them. It’s almost like it does enough for me that any type of money at a certain point sometimes doesn’t cause enough utility for me than just being able to look and have that visceral experience. I know everyone always says, oh, but you have your price, right? Or you have your price. But but do you sometimes things are worse more.
0:08:16.2 Dominic Lopez: He said something that’s very interesting. You know, what does it do for you? And it’s interesting because I think that’s the trouble in the art industry is like most people will not get that. More people would get the high feeling from like driving a sports car that other people could admire or having a watch that other people could see, because I think most people do things not for themselves, but for others. Truly, for me, me collecting personally watches and liking nice things, I personally only do it for me. I don’t care about anyone else’s opinion other than my own when I’m when I’m buying something with my hard earned money. No, like I just like someone. I don’t have to ask someone’s opinion like, oh, what do you think of this watch? I’m like, I don’t care what you think. It’s great to me. I like like, I fell in love with it. So my question to you is, when did you start having not only appreciation for your own work, if that’s always been because I know some artists are tormented in that sense, but appreciation for others as well. And then what they do.
0:09:26.3 Dominic Lopez: Yeah, I mean, I’ve always followed the grades or, you know, artists now, I get a lot of looking at other people’s work. More so, you know, in person or owning that. I get a lot of value in that, but I also get a lot of value in owning someone’s and it continues to appreciate or then selling it. And that’s great, too. But kind of one going back on what you said, like looking at some of my works, it’s the being in front of it and kind of like feeling alive. Is that that that visceral experience that I get from my work? Is that like constant reminder that sometimes I need that like, hey, you know, because I feel like we go about the day in a sense like robotic, like we’re making all these decisions or our thoughts and our emotions and we’re kind of like in this cylindrical pattern of life and that we don’t realize it. But when I wake up and I see, you know, a work that I created that gives me this like, wow. Like I’m alive because it like stops me when I look at it kind of stops me.
0:10:47.9 Michael Goodman: And, you know, I feel like I have other artists I get to see and that does the same thing. But for me, my work just. It’s this that is similar to like looking in the mirror to reflection and then some in some way.
0:11:05.1 Dominic Lopez: It is you’re like looking at your own work and let’s saying admiring your own work is very different than looking at someone else’s because after you’ve done your work. You know, I know a lot of artists they look at their work. And most of them say, you know, I wish this was like that or, or I could have done this, or they try and pick it apart. For me when I’m done with my work. I like seeing it like that’s a moment in time that’s a piece of history. Looking forward so like when I thought when I when I was in the studio creating it. And I said it was done there. It’s done for me.
0:11:50.0 Michael Goodman: Yeah, I mean, there, there’s many ways to, you know, look at it or from whose perspective and, and everything but what I’m really trying to say is that when I look at it, and I feel alive. Like you like you said someone gets a sport you spend you know quarter million dollars on a sports car or whatever and then they’re flying around and like I’m so alive it feels so great right. Sure. But when, when I look at my work. It’s like I have that feeling that a lot of things in life. Don’t give me. And you can’t you can’t really put a price tag on that.
0:12:36.1 Dominic Lopez: But are there. So is art unique and sense it’s giving you something that’s so different because like the sports car the adrenaline let’s say I’ve always thought about this idea of like, let’s say someone says I like a Ferrari right and I’m like okay great why do you like a Ferrari I love to go fast my Ferrari and I think about like okay, you can go fast in any other car, right, you can’t even take a Ferrari out on our streets and really push it to what it’s capable of doing very few people even get to do that, and the ones who own it even. So, I wonder if you blindfolded someone, or like you put them in the cabin of the car you don’t tell them it’s Ferrari or whatever it is you just put them in a cabin and they can’t really see what it is and they’re just going fast and truly then they’re experiencing the feeling of being fast is the one thing that are missing is whether they’re going fast in a Honda Accord or a Ferrari, right, that feeling could be achieved in both cars because the only thing that’s measuring it is speed right.
0:13:33.3 Dominic Lopez: So, you know, if you’re in a car that’s like a car that’s a little bit more powerful or like, you know, the, you know, the Ferrari of course gonna have a nice steering wheel or whatever but imagine they’re just like saying hey I do this for the speed then you can achieve that and that’s my thought process on it is I feel like the person who has a Ferrari or a luxury car or hyper car whatever you want to call it is when they’re in that car, they go, I’ve worked hard, this is, I’m going to show the world like this is my value, this is like, this is like an extension of them. And that’s why I think it’s, it’s interesting just how like you can look at a people’s animals, you’re going oh wow that dog totally fits that owner, the car is like an extension of us, of you know, our, our like our alter ego in a way or something. And I think it’s hurt because you can’t like carry around that you have huge paintings against like check this out what I have in my house. I mean, they might have a $10 million home and they go, Whoa, I got a Dominic Lopez and I, my foyer.
0:14:44.9 Dominic Lopez: That’s the flex them but it’s not like the day to day things like the clothes, the shoe, you know, the cars, the watches, the jewelry. And I think that’s why a lot of people, it’s hard for them to get that feeling that this is valuable, this is worth something to me.
0:15:06.2 Michael Goodman: Yeah, I mean, for someone getting one of the paintings I just urge them to, you know, they might be able to see it in pictures if they can’t see it in person but to have that experience in person and see them from that, you know, if it means something or means enough to them to put it in so they can see it every day, you know, kind of like I’m able to see it every day.
0:15:32.8 Dominic Lopez: In terms of the body of work that we exhibited to the work that you’re doing now what are the biggest changes, because you started creating some stuff with some different funky colors, you’re showing me. Can you tell us a little bit about that inspiration of that, these new works that you’re, you’re working on.
0:15:53.5 Michael Goodman: Yeah, I mean, I think, through experiences and that there’s always you know new iterations of kind of how we’re creating or how we’re painting. And I’m kind of, you know, in that space where I’m creating some new iterations from what people have seen before. But if they look at it, they know that I did it. So it’s, you know, it’s still in the same framework it’s still in, you know, the same style, but it’s also going to be like yeah that’s, that’s different.
0:16:31.8 Dominic Lopez: But is there any, is there any new influences are you still building off the kind of because you have certain works that have this continuous line that’s going through it I mean we took the, the title of the show lifeline was kind of like, inspired by that work that felt like felt like lifeline so I saw a couple of them that you were working on where you have that line but we showed a lot of the works here in the gallery that had this face this kind of signature face, kind of happy and creepy at the same time. Where, where did that kind of set a motif with that kind of simple that it’s not a symbol but where did that kind of imagery come from.
0:17:24.3 Michael Goodman: And I mean, everyone gets influenced from, you know, everyone of the past I mean no one’s really not creating something and some sort of derivative of what they’ve seen but like I said when I, but you’re repeating it so like the repetition of what comes out of me is more like from the source it’s not, it’s something that’s always been and will always go. And that’s where like clear mind, no thought mind clear mind and that’s where that comes from that comes from, you know, this infinite source, and that’s how it shows up through me.
0:18:10.7 Dominic Lopez: Okay, so it’s this infinite source it’s built in you. When was the first time you though, because, yes, we’re all influenced we’re seeing things and then the moment it comes out of your hand it’s your language it’s a unique language to yours. Even if you were looking at something as you’re creating it. You’re just trying to even replicate something that what’s coming whatever you’re doing is yours, it’s coming from your hand. So when was the like the first time this kind of, and I’m talking about the image with the swirly eyes and the giant smile. Do you remember when the first time you put that on paper to canvas or.
0:18:58.0 Dominic Lopez: Yeah, I mean it’s probably been, you know, three, three years or so, kind of with the faces and that’s kind of, you know, creating it’s meditative and manifesting, you know, at the same time. And that’s just what continues to come out of me. And I’m trying to be present and you know when I see that that’s what I said, I have an experience of this role experience with, you know, looking at it, and that I’m there that I’m planted and that, you know, I’m right where I need to be. When you first created it. I mean, you didn’t have the foresight that you’re like, yo, this is going to be repeated throughout till now. Or are you done with the face.
0:19:55.3 Michael Goodman: No, it’s something that enjoys coming out of me and, you know, new, new ways subconscious though is conscious, it’s like I said it, it’s not coming from like thinking in front of the canvas it’s coming from what’s always came.
0:20:16.8 Dominic Lopez: I feel like I’m an inception right now, I just recently. Another thing that just popped into my head because I wanted to talk about it is, I saw recently on social you did like this refrigerator. Where is that refrigerator right now.
0:20:31.9 Michael Goodman: That was, that was the refrigerator is a big purchase so you know I had it done and and someone’s enjoying it thoroughly. Oh, is that a commission. I haven’t been doing commissions I was one that, no, I was just wondering, did you find that on the street or someone brought the refrigerator.
0:20:53.2 Dominic Lopez: I brought it in and did it. Oh, see, this is the crazy thing. When I saw this is why the context where the image is being shown. Initially when I saw the image I was like, did he just find like a refrigerator on the street and just started tagging it, I like just left it there, or like, I thought it was like a pretty clean refrigerator too so I was like, yeah, so I was leaving a brand new refrigerator out there. So that was that was a recent work.
0:21:20.8 Michael Goodman: That was a recent work but that was kind of the, the same type of style stylistically as that was shown at the show, a little bit yes that actually the red, black, white. That one had a lot of truth to it. So, I think that’s what we. Then we can really see.
0:21:46.3 Dominic Lopez: Was that a new, what was it like because in the show we showed four pieces that was on non traditional mediums the kind of French doors, and the doors which we then created into an archway. Was any of those kind of seeing your work curated and represented in a different manner did that draw, did that bring any new ideas into how you’re working now. Well, I mean, I love to, you know, create on stuff outside of, you know, canvas.
0:22:24.9 Michael Goodman: For me it’s like really exciting so it’s like breathe new, new life. I mean I love going to canvas but it’s just something about like, like those French doors like how you had it set up between, or, you know, on the outskirts of the other set me free painting. Man I just, I just something about on like being in front of them that. It’s just amazing.
0:22:51.9 Dominic Lopez: Yeah, I love when kind of artists create on non traditional mediums, because then the work now takes on the context of those of that kind of surface. Beyond the canvas. So like the doors that you had from the first day I saw them it was like, wow, you know, this is a. So two door experience. And it’s so interesting because the door still can theoretically serve as a door if you choose. So, seeing that work that you did on a refrigerator where it’s like, it was interesting because it, it got me thinking about like, what’s the shelf life of a refrigerator. I know that maybe is kind of wild but that was the first thing because like with technology or things like that I understand like a computer is going to get old, it will get replaced because there will be a better computer to do with a job more efficiently. But when you see them once you transform that refrigerator into art. Now it can be even whether the refrigerator loses its functionality or not. It can work as a sculpture, and that can go on for as long as someone takes care of it.
0:24:20.1 Michael Goodman: Now, but I, I also started to think about like. So now the person who has it is using it as a refrigerator though right um, I don’t know exactly how they’re going to use it but might just be for art. You know they might have the one, one bottle of crystal in there and then that’s it only opens when you know they close a big deal or something.
0:24:45.6 Dominic Lopez: I like that I like that. No, I think it’s it’s interesting because then it’s like, I’m looking at my refrigerator in here which I just unplugged during our session I’m like, oh man, might get a little bit on that just tag it up. That’s why to. So it could fit the theme. When you’re going into the studio. Can you give the audience what is it, what’s your process like running like let’s try and visually paint that for the audience what what. What does it look like when Dominic enters the space of creating.
0:25:23.3 Michael Goodman: Well, I would say it’s like an artist I live a very structured life. Like everything, the, you know, the 24 hours I have in a day, you know, there is a lot of like touch points of structure that I’ve just always, I just always work better and having that structure. But with the structure, there’s also like very chaotic moments of life very chaotic moments of creating. And a lot of times in the creating is just mere play like in front of the canvas is just being there and allowing whatever wants to come out can come out, you know, but when you’re talking about the structure then is it like, all right, six o’clock I wake up brush my teeth, do my hair routine, do 100 push ups, eight o’clock, go to the studio, is it like that.
0:26:26.4 Michael Goodman: Well, like, there’s a lot of, you know, things that I can get grounded in. You know, there’s a lot of like prayer and meditation, there’s, you know, certain things that I do every day that consistently give me allow me to be more grounded and to be more structured in the day. But the actual creating can last as long as it wants to, or short as it wants to. So what was the longest session and the shortest session. Well I’d say like, like, sometimes I’ll just pop up and I’m just like, ready to go. Like whether that’s like 5am, still in, still in my underwear and just roll over, do it, and just stop on. Then I’m tired to go to bed. I mean it just doesn’t. It has no, kind of like the paintings, it’s just a you know a fragment of time there’s no really beginning and end to creating, you know, it’s just that moment. Yeah, I’m not talking about like, you know, I started this yesterday it was done on Friday, you know, but it’s interesting for me when I talk about my process, when I go into the studio to make work.
0:27:45.5 Dominic Lopez: I can’t even start a work unless my studio is a certain way so I need like all my stuff prepped, and what it looks like is a lot of my work. The work I’ve been doing now is about process, like the actual physical process of doing it so I’m prepping my canvas a certain way so that when I pull the tape off the edges are going to look a certain way I’m priming the canvas a certain tone so it goes throughout that so there’s a lot of work that’s actually kind of extremely like technical, I know some artists they say hey man you know I gotta, I gotta smoke a J or two before I hit the studio like whatever that process is for someone. I find it fascinating because the work. When you’re looking at your work. It looks very free spirited in certain event, meaning. Nice kind of groove to it. But it’s interesting because you look at the repetition you look, you see there’s there’s there is structure I mean there’s when you look at the body of work as a whole you realize okay there’s something he’s doing repeatedly, and that’s his work.
0:29:00.9 Dominic Lopez: So one must think like, is he sitting there rigidly with, you know, whether you’re using a crank or crayon or a paintbrush. I got to see the. I was privileged enough to see you touch up so it works before the show. And, you know, you’re really focused on making sure the work looked. Very little blemish kind of being a perfectionist so that’s why I found it interesting does that does that carry throughout when you start the beats.
0:29:37.4 Dominic Lopez: Yeah, I mean there’s a lot of kind of the same routine like you were speaking of a routine of, you know, how you dress the canvas and how you do everything and that’s, that’s most of the time always there but what I also allow myself is, you know, once I start things may, you know, take a while to where I feel like they’re done, but I’ll start them, and I’ll allow the process to unfold as it as it needs to be. But I’m also okay with if I, if something needs to go and get out it gets out. So, it’s on both, you know, ends of the extreme kind of, of very, you know, like a perfectionist mindset, but also like allowing the play to where it’s way like you said free spirited it is it’s like from the spirit. Whereas this also, you know, I think it’s a lot of times in ourselves. That’s the bit of the balance that we have to, you know, if we want to walk the beam, are we, you know, just thinking from the mind and trying to make things perfect, or are we just so crazy with our spirit that it’s going some way it’s like, you almost have to.
0:30:56.2 Michael Goodman: You have to allow both. But when you’re right in the center of it is kind of where like the beauty happens.
0:31:08.3 Dominic Lopez: Yeah, there are a lot of artists when I see them work there’s like a lot of happy accidents so like oh yeah I was like an intent for it but it’s like I’m cool with it. And like, I’m not a happy type accident type artists some of them if it’s like, if it. If it really if luck was on my side and that happened. So that’s the interesting thing about your work as much as on the surface certain things may look chaotic me knowing you I’m like no there’s a lot of control here in his work, meaning he wants a certain vision, he has a certain vision. I don’t know if you’re hitting your target, but I know there’s a target versus like oh yeah that wasn’t part of the target but sure now it is see the difference like, and I think that’s one of the things I kind of respect about you as an artist is that you have this structure you have this vision and you’re carrying out that vision to what it actually like that vision I believe the works you create are those visions and you like the visions you’ve created those are the visions like one of the things you said, when I curated the show that you had envisioned this is what the show was going to look like.
0:32:22.8 Dominic Lopez: Yeah, you know that it’s actually basically almost exactly like I thought, from the moment, you know, a lot of the large campuses were being created.
0:32:37.6 Michael Goodman: Once they were kind of, you know, getting finished. I was like, this, this is how you create it was nearly like probably about 95% of what exactly I thought it would be. And you know but I also, when we spoke. I wanted your like autonomy and your genius to shine through and it’s just so interesting that it kind of came out that way so it’s like, I already kind of knew it would be created like that, but I didn’t create it like that you created like that. So it’s like you brought forth the vision of what initially was my vision. So, I think in life it’s like a lot of times as we like walk the path. Things happen. When we put our mind to it or when we kind of have these visions. People come along that really like make these things, you know, come to fruition.
0:33:42.0 Dominic Lopez: Yeah, for me when I’m when I was looking at the body of work. What I love about it is like the artists is responsible for 100% of the work. The way the work is presented it the way it’s curated the way it’s put together. One of the variables I had was the space that was being curated it. And there was some like kind of when we initially put together the lifeline pieces. Initially we’re looking at them in a traditional way but then I said, you know, we’re looking at these massive pieces in a, what I call normal. Normal sized place with normal size walls. I think these walls lent to show the true sheer size of the work. So, when the challenge of the doors are first thought was like okay, these are heavy works, the first, our first concern was security, right. We don’t want work just falling over. But I’m also keeping in mind of like, you know what if we can’t show this in a way that is awesome and crazy, then maybe we just have to even pull it like I had no problem pulling. If we needed to. And so when it came to the lifeline pieces and creating them into these like L brackets that we’re going to cover and create an archway.
0:35:05.8 Michael Goodman: For me putting them in the space I say wow you know. It’s not luck that his work lends itself for this type of execution if that makes sense. Meaning somewhere in my head ahead of time like his work can be lent that way like it was going to work. And it came out once I was actually presented and we got down to actually bring it into the space, you know, fixing it up and doing all that but I think a lot of that stuff was in the back of my mind, and it’ll be interesting. In the future, to curate the whole body of work, because that was just such a small segment of a much larger body of work of when all these works were created. So we’re, we’re about out of our time here. Where can we, where can we find you Dominic where can the audience find you besides Artmatcher. Well on Instagram you can find me at DLO got you DLO got you, and you click on the link to check more artwork out. But you’ll be seeing me here in the near future, and hopefully you can come and enjoy the visceral experience that I’ll lend myself to you.
0:36:29.0 Dominic Lopez: And we’re hoping once we get that 10,000 square foot space will be seeing the whole collection in its entirety. Thank you for joining in guys. Thank you so much for tuning into the Artmatcher podcast. We had an interesting discussion, a great time, and we hope you did too. Please tune in for next week’s episode and like share and follow for more information about the app, you can check out our website at Artmatcher. Or look us up on social. Stay safe and be artful.