Christian Solorzano [00:00]

Hello, you are listening to Underscore, a show by the Chicago Graphic Design Club. I am your host, Christian Solorzano, and I suppose you may also be watching this episode because today's episode is our first episode ever where we do a video component to it. And the reason being is that our guest, Aliona, a Ukrainian and Chicago-based graphic designer, will be sharing with us some of her work that we'll be looking at, discussing, and she'll be sharing with us some of the stories behind it.

I first came into contact with Aliona a few years ago through the internet, and I was very captivated by her typography, by her compositions, by the experimental nature of her work that always felt like it was responding to something. Like there was this careful consideration and observation to the stuff that she was trying to urge the viewer to look at and to think about. And in this conversation, we speak a lot about that. We talk about craft.

We talk about her relationship to Chicago and the ways that she uses graphic design to raise awareness, to provide viewers with a call to action. And most importantly, to use graphic design as a vehicle for change and for some kind of greater good. So it's a great conversation. I hope that you enjoy it. We get a chance to have her show us some of that work and to talk about it with us.

And she was also one of the featured contributors in our first issue of our publication, Faculty. Which came out last year, which we still have a few copies of. And in this issue, she did a really very, a very interesting observation about architecture and gathering inspiration from iconic Chicago buildings and translating those into some kind of numerical sets that transformed into a digital clock. That we'll be looking at and discussing in this episode as well.

So great conversation, a lot of motivating insight about just understanding that we're all capable of using our skills to pretty much do anything, to collaborate, to participate, and to advocate for some kind of change that we all want to see. So thank you all for tuning in. I hope that you enjoy this conversation. And if you enjoy Underscore, this podcast, we would really appreciate you leaving us a rating wherever you listen. So thank you and enjoy the conversation. Good afternoon, Aliona. How are you doing today?

Aliona Solomadina [02:59]

Hi, Christian. I'm good. Thanks for having me.

Christian Solorzano [03:03]

Yes. So I've been wanting to have you on the show for quite some time, and we connected in late 2023, because when I stumbled upon your work, I think it was on Instagram, I was really interested in your perspective when it comes to typography and your observations about Chicago. And, being someone that isn't from the city, I'm always really fascinated in the ways that someone from the outside looks in and is able to reinterpret something that I'm super familiar with, which is Chicago.

So can we talk about your relationship with Chicago and what brought you here?

Aliona Solomadina [03:47]

I arrived in Chicago almost 3 years ago for an art residency at the John David Mooney Foundation through the Ukrainian ArtBridge Fellowship. The fellowship was created after the Russian full-scale invasion of Ukraine and provides emergency residencies for Ukrainian artists, architects, and designers. So I was super, happy and excited to come here. And I was also excited about the fact that I could continue my long-term art project called City of Forms.

It's a series where I explore different cities through letterforms, architectural shapes, and typographic compositions. For me, it's essential to keep my design practice open to artistic experiments, and this project allows me to do this. And I have done 4 cities so far: Kyiv, Prague, Cipro, and Chicago. So I can share some images about this project.

Christian Solorzano [04:59]

Yeah, I would love to see the images, but I would love to hear about what was your first impression coming to Chicago? What did you see, and was there anything that stood out to you? Because I remember you had a submission in our magazine, Faculty, where you talked about your— The relationship between letterforms and architecture, and you were trying to draw some similarities there. So what stood out about Chicago? Was it the architecture? Was it the people? Was it the food?

What was going through your mind when you're, in this new city?

Aliona Solomadina [05:37]

Yeah, sure. Architecture made a strong impression on me, and the foundation is located in downtown Chicago, so I was surrounded by all those Amazing buildings, and well, actually, it was my first time in the USA, in the US, and Chicago was my first American city, and I was amazed by the skyline, the rhythm of the streets, and the verticality.

I have never seen such high buildings before, and actually, I try when I was trying to find the subject, the topic, what I want to share about the city, and when I came here. From my very first days, I was thinking about time in the city, trying to catch it, to feel it, to see it. I explored time through the city's scale, history, and movement. And it was very personal because for many Ukrainians, time has felt frozen since 2022.

And these past 3 years have collapsed in dramatic, tragic ways. So time is a very meaningful measure, and I started exploring how to represent time visually through Chicago architecture. I created a kind of clock made of skyscrapers, each building becoming a number, shifting hour by hour. You may follow the link on my website and watch the clock in real time.

So I started at first making just abstract composition using color and form. Form as a way to capture city views and impressions. But this is actually the concept of my project, and in every city I made something which became a message about the certain city.

Christian Solorzano [07:31]

Yeah, and even going further back, how did you get interested in design as a way of making meaning, as a way of making images? Have you just always been interested in graphic design, or how did that passion spark for you?

Aliona Solomadina [07:53]

Yeah, maybe I worked only as a graphic designer in my life so far, and my parents had a big home library filled with all kinds of books, art albums, catalogs, self-published books, fiction, nonfiction magazines. So I loved exploring all those books visually, and maybe it was during those moments in childhood that something clicked, perhaps subconsciously, and I started wanting to design books and work with typography. Actually, I love when abstract graphics meet typography to create a harmonious visual message.

So this is my vision and yeah, my approach in graphic design.

Christian Solorzano [08:41]

Yeah. And do you remember some of the first things that you, that you would create? Were they on the computer? Were they, were they physical? What were, what are some of your early memories of making something?

Aliona Solomadina [08:51]

My early memories, they were, from school when I was, creating school newspaper. I also, I designed the stages for different school parties. So actually, yeah, I really love this, making something that can connect all students visually. Represent some events.

Christian Solorzano [09:20]

I feel like that happens to a lot of people is that they're just interested in making things and then later on they realize that this is actually a profession that they can do and they can pursue. So I really like that. So I know that, Your work, I find it to be very interesting, and I love not only looking at it, but I also love reading about it.

And I would love to have you maybe share with us some of your projects and maybe have you walk us through, yeah, just your work.

Aliona Solomadina [09:55]

So here on my website, there are mostly all projects that I have made for the last 7 years.

And so this is the City of Worms project. So the first chapter is Kyiv. So I call this, every segment of this project as a chapter because I want to make a book about this. In the future. So I don't know how many cities will be in the end, but now I have 4 cities. But actually I would like to explore more cities here in the US. And yeah, I really love to also to make such project about New York and Los Angeles.

And so here in Kyiv, I explored the building which is called UFO by locals, and it's a modernist building of our Science and Technical Library. So I made this letter forms based on the shape of this building, and I created a textile. So this is this is me in this textile, and stand in front of. This building in the night, and in Prague I continued exploring this connection between graphics and city environment. And I focused on the word lightness. A feeling I had through the city.

So I created the word lightness in Czech, lehkost. It sounds a bit similar to the Ukrainian word lehkist. And the letterforms were based on the architectural contrast I observed, a heavy building's top supported by light, elegant columns. I made these compositions as the route and direction towards something new and exciting. This is what lightness means to me. So it was like my one-word manifesto.

So I, with this project, I wanted to claim other essential human feelings through a text installation. Well, I was told that locals had multiple interpretations of those mysterious lightness letters. Some thought it was a nightclub, others a rave music festival. Or even a wellness spa or fitness club.

And in Dnipro, the Ukrainian city, I was struck by an abandoned building called the Theater on Water. So here's the image. The way it is reflected in the lake gave me the idea of this transformation and multiplicity. I built an alphabet from that shape. And tried to make a visual statement about preserving modernist architecture. And then came Chicago. Welcome to Chicago!

So here is the numbers, the parts of the clock that I told you. So, and here are the buildings which inspired me a lot. So, and every building gave me this understanding of a shape of actually my interpretation. Yeah, this building in graphics. And yeah, really I appreciate this dialogue that everything that surrounds us gives us, some hints, some ideas to create graphic design, letterforms, symbols. So I made this 12 sets of different numbers.

And yeah, this we can, we can try to— oh, do you see it? So the number 4. So every hour the numbers change. So this is the set for 4 PM. I also, during my residency, I created posters. So it was like a layout for every hour, and I made also 12 posters about each building.

Set. And here are some views of my exhibit. I also had a table. It was a symbol of creative space, which is very meaningful for Ukrainians who are actually displaced right now, designers who left their studios in Ukraine. And for me, it's very important to create Such you know creative corner. I call this corner, which is really like my design heaven where I can sit, relax, work, focus on my ideas. And yeah, and this creative routine is really a privilege when you can have it.

And on this table, I put pages from my art artist book. This book includes images from the buildings which I made, also different sketches and. My talk with Ukrainian journalist Lisa Karnichuk. We spoke about my experience of displacement and how I find different ways of coping. And I also put a lot of color paper inside of this book, showing also the color as a way of therapy. And that it's really the colors really matters when everything is dark. You need just bright colors.

So when I was working on this project at the gallery, the studio, I was surrounded by color paper and it was so it was also like a healing process for me. And I made this color compositions. So it was also my first impressions of the city. I put some graphics. Like abstract impressions. So you may see here some shapes, Marina City, and here something that resembles with Tribune Tower and the river and bridge.

So this is a project that can continue forever, but yeah, maybe I, I'll Do something about 10 cities. So we'll see.

Christian Solorzano [17:16]

Yeah. I mean, I think it lends itself so great to a font family. Like I can imagine one font family and every weight is a different city. And maybe you can mix and match or you can, have different voices come to life on a page based on. On what font you choose, but I really love it. And as someone that is from Chicago, your interpretation of Chicago, I think, does a nice job at like accurately reflecting Chicago, I would say. So very nice. Yes.

Aliona Solomadina [17:56]

Thank you.

Christian Solorzano [17:57]

And then, and then most recently, I know that you, you're, you've been doing a project that you've been posting on your Instagram, and I believe it's the one that you have pulled up here. Yes. So can we talk about this?

Aliona Solomadina [18:13]

Oh yeah, sure. It's a really important project for me, and actually the impact of the war is tremendous and deeply personal, so I can't just, ignore that and do some abstract work. So I Always want to be involved in such projects which promote Ukraine, and I find that graphic design became as a very strong tool for diplomacy. And I can that add that this war experience shifted you know a lot of visions of I mean I mean previously which we had for graphic design and.

I mean, we have already seen a lot of graphic content and war footage is updated daily, and I highly respect photographers who work on this, demonstrating the reality of war and Russian crimes. But drawing from that, I find it cartoonish. So I believe that we need now to find different approaches in graphic design to engage and inform the international community effectively.

That's why I see graphic design as a tool for diplomacy, and I have worked on several international projects about Ukraine across various fields: art, literature, and architecture. And for Constructing Hope Ukraine, an exhibit currently on view at the Chicago Architecture Center, actually, yeah, this is my vision how we can work on this topic. And for visual identity, I created this crisscross pattern. So actually, these crisscross patterns, they are placed by Ukrainians on their windows to protect themselves from shattered glass caused by blast waves.

And also, the cross echoes with traditional Ukrainian embroidery, which makes this mark even more powerful, and it also has become a symbol of resistance and resilience. Yeah. And actually, it's also personal because on February 24th, the first day of invasion, my dad called me and asked, "Have you taped your window?" So it was like for everyone the first thing that you had to do. Somehow to protect your home, your family.

So also the letterforms here convey the idea of a quick repair process. I saw many destroyed city signs after shellings, and that imagery stayed with me, and I incorporated customized letters into the title. Blending them with the existing typeface, Alekser, by Nikolaus Fonts, the Ukrainian typeface designer. So, and in this way, our approach, graphic design approach, for this project was just to highlight the recent projects from Ukraine by architects, artists, and volunteers.

And this exhibition explores how architecture and emergency repair efforts can support communities in rebuilding houses and finding emotional healing. Here are some images from our participants. This is the exhibit view from Center for Architecture in New York. So previously, this exhibition was open in New York last year. And in March, it arrived here in Chicago.

So we also used this yellow tape for interior design. So this cross worked as a layout for every design element, and we decided to use yellow also as a color of hope and one of the primary colors from the Ukrainian national flag.

And this is the image from the opening in Chicago featuring a presentation by the curatorial team, Sasha Topolnitska, Betty Roibert, Ashley Bigham, and Eve Feynman, Director of Exhibition at the Chicago Architecture Center. Also, I want to highlight that this cross was like a transform— transformer. We were working with this statement of construction and found that this graphic elements of cross can be transformed, and we used it as a mark on our window and inside the gallery.

We also made this cross as navigation system and for our interior design, exhibition design. We use it also like part of the layout. Also, I'd like to highlight that during this wartime, infographics as well as documentation are incredibly powerful tools today. So I found them really, more powerful than some outdated techniques like posters, I mean some kind of abstract posters, or as I mentioned previously, these drawings from the war footage.

So I have moved away from designs simply copied from recent news images as well as stereotypical visuals like bloodied matryoshka or portraits of Putin and Hitler. So I find these images disturbing and cringeworthy. They only distract people from the real topics. So I believe that such kind of infographics— and we can see a lot of very strong infographics by Ukrainian designers and international designers— and I think, yeah, that now we live in a digital, or rather post-digital era, and with plenty of footage available.

So I don't think there is a need to rely on outdated techniques anymore.

Christian Solorzano [25:08]

Yeah. And would you say that your identity or your role as a designer has shifted because of everything that's going on into more of a graphic design as a means to respond to issues like this, or like, I'm just curious about how your perspective or your approach has shifted because of projects like this, or have you always been looking at design as like a vehicle for action?

Aliona Solomadina [25:43]

Absolutely. Yeah, I try to be involved in different social cultural projects, and I also want to Share another project that I made during these three years. It's a visual identity for the Ukrainian collective stand at the Frankfurt Book Frankfurt Book Fair, and this is an example of my shift. What I want to tell you that. We have to be very focused on these recent events that we don't need to rely on some trends or, I mean, visual effects.

We have to be very concise working with a war topic. And for example, here in this project, my task was to convey the idea that the art piece destroyed by Russian troops in Mariupol is still alive. So this is the fragment of the mosaic that was destroyed by Russian troops in 2022. And originally this mosaic was created by Ukrainian artist Alla Khorska in 1967. So my task was to translate it into graphic design.

I worked with its colors, primary shapes and lines as the foundation for graphic pattern and layout. And so this image is pretty psychedelic, so I wanted to find some elements that can work very neat as symbols, just to reduce a lot of them. And so this is a set of the stickers, and we can see this that each element of the mosaic became as a single symbol, and they can be everywhere.

Figures. And except this one, so this element is not from this mosaic. We decided also to include this very strong message from people who remained in Kherson while it was occupied by Russian troops. And people drew this Ukrainian letter Y as a symbol of resistance. Russian language and Ukrainian language both use Cyrillic script, but alphabets have different letters, and this is the one of them.

And it was also very powerful how type, how font, yeah, can become a real symbol of resistance and fight with the occupants.

Christian Solorzano [28:56]

What I'm interested in knowing a little bit more about is that your work tends to have a very— there's definitely an aesthetic at play, and I would say, it's very direct, concise use of visual elements. There's not too many flourishes, and when they're present, they're very intentional, and they're there to serve a purpose rather than to just embellish. So I'd like to hear about whether you view this as— you view these projects as you—

If your taste or your personal aesthetics come into play here, or whether that isn't at play and it's just about the message, or just how does that— how do you— because I feel like as graphic designers, so much of what we do is there is an element of beauty and taste and visual preferences. So can you talk a little bit about that visual language or that visual voice that you— that is— Present throughout these projects that we've been looking at.

Aliona Solomadina [30:08]

Yeah, actually embellishments are now more relevant for me. It's also this one of the shifts that I had because of these limits that war brought us. They devastate us and we need something, very bright and that can give us Energy. So, and in graphic design, when everything is really minimalistic, sometimes yeah makes you feel a little bit depressed. Say so even in this project, I made a lot of colors and I put people inside these like this mosaic became an environment for them and all this.

Lines and construction of this stage where speakers were presenting. It was really like this bright and space of life. And as you see this message, that our topic of this stand was persist— persistence of being. And also I wanted to show in graphic design. So my really, my aesthetics is more Minimalistic, but as I mentioned, really I want to be focused on topic, on context, but I don't want to limit myself anymore.

Actually, yeah, life now is very limited and there is really a need to create things which are vital and expressive. And I was super happy when I saw the first lady, Elena Zelenska, when she was sitting in this environment talking about Ukraine and Ukrainian libraries, or our Oscar-winning director, Mstislav Chernov, was sitting and talking in front of this graphic.

So I was super happy how graphic design can be part of their speeches, and that they were sitting not in front of such, gray wall, and behind them was this bright and strong graphics showing that despite this destruction that Russian troops brought us, we can create a new version of this mosaic and showing For the international audience while Mariupol is occupied and we can't restore the original mosaic.

Christian Solorzano [32:59]

Yeah, because I, yeah, I was, I was, I was about to say, a lot of the subject matter that you're discussing here is obviously, it could be, I mean, it's dark, it's sad, and I think your representation definitely feels like there's hope, and it doesn't feel depressing. It doesn't feel sad. It feels very action-oriented. It feels very forward-thinking. So that's, I mean, that's my observation. Even the project that we were looking at previously, Constructing Hope, I mean, it looks like a hopeful, engaged piece.

So I, yeah, I really appreciate you, doing a lot of this work.

Aliona Solomadina [33:51]

Thank you.

Christian Solorzano [33:53]

Yeah. So today, so for a lot of these projects, I'm curious about how do they get brought to your attention or to your table, or like, how do you initiate and work through these projects? What's your, what's your process like when being briefed on a, on any of this stuff?

Aliona Solomadina [34:16]

Well, actually, everything inspires me. Movies, music, art, street signs, fashion, architecture, nature. So yeah, life itself is a constant source of inspiration. But now living in a post-digital era, it's crucial for me to find a balance Between digital tools and something light, tactile, and human. So actually, yeah, I when I when I after receiving a brief, I try to walk to listen to a good music.

But I want well I mean that getting a brief, I try to get it very detailed, and I try to speak a lot with. My clients, because when people come to me, they consider the style of my vision of graphic design. And after that, we can talk about their expectations. And yeah, it's easier to work when this— when we speak the same language. And so yeah, after briefing, I tried to find the perfect music for this project and then follow the rhythm, the vibes. Yeah.

Or to watch some movie. Yeah, it can be connected to the topic. And yeah, and to work just to get some energy for creating. And then.

Christian Solorzano [35:49]

Yeah. And, coming to the United States 3 years ago, Can you share with us what was your— what's your overall impression on design in the United States? How do you— just what's your assessment? What's your critique? What do you think about the landscape of design? Because I, I'm very curious what you have to say. And I, and I've talked with other designers from, different parts of the world and they always have a, an interesting perspective.

So what do you, what do you, what would you say is your critique or your assessment?

Aliona Solomadina [36:35]

I don't have any critique. I just can say that when I arrived here, I just, I noticed that a lot of things that I love here, they are established and I don't I don't need just, to try to convince my clients that it can be a design. Here you use a lot of just typography, and that I really love how colors work with typography, and a lot of beautiful designs based on geometry and typography and color.

So this is the main thing that I love in design, and here in the States I see a lot of this. Examples and organization of the streets layout. Even all these, street signs, road signs, they were for me at the first days like, wow, elements and really pieces of great design. And yeah, and a lot of, a lot of designs that you can see in supermarkets for food there. I like that a lot of them based on typography and it's really amazing.

That here, that here in the States typography is so variable and yeah, this is, this is what really inspires me and I, I'd love to extend my practice here. Yeah, to work and collaborate with American clients institutions.

Christian Solorzano [38:12]

Okay, you're very nice.

Aliona Solomadina [38:16]

Yeah, and I also love you know this quirky signs that you can see here in Chicago in Old Town or Ukrainian Village or Wicker Park. Yeah, I was absolutely amazed when I. Saw such things in Los Angeles and Hollywood, it was just wow. It was like I was just inside of a book about— Yeah. And New York, of course, it's like a city of graphic design. I think once I told to my friends that it seems for me like the city was created by graphic designers.

Tell architects how to build this city.

Christian Solorzano [39:04]

That's funny. So your work, it's obvious that it's work that has a call to action. What would be, what would be your advice to someone that is looking to also do purpose-led work like the one, like the work that you're doing? How can they do work that is beyond their client's work?

Yeah, because I think, because I think for designers, if we go to, we go to school and we hope to get a job, and then we get a job, and then kind of we think that that's all, that's all graphic design is, a transaction. But in your case, you are taking your practice and you're extending it, and you're using it as a utility to call for something.

So what would be your advice for someone that Doesn't know where to start, doesn't know how to respond or how to.

Aliona Solomadina [40:02]

Yeah, just can share it from my personal perspective that I started doing that because that was a real need for me. And before making this City of Forms project, I also had a real, interest in graphic design history. And I also cooperated with my peers and we created a big research project about Ukrainian trademarks, and it was just our need to fill these gaps in our education. So I think it comes from your personal need in graphic design. What do you feel exactly?

What do you need? And you can just do it, and there is no any like tips, I mean exact directions. So if no one feels that he needs to do some abstract murals. So yeah, just do that. Yeah, just, I think just the main idea not to limit yourself. But actually you have to be honest with yourself. There are 2 types of designers.

There are designers who follow creative approach and designers who are happy just with some technical stuff and working with typesetting, and it's not a problem for them, then they just don't need any extension of this. But who really needs— I think, yeah, it's just a way just to tell to yourself what is your real need and how do you want to improve yourself as a graphic designer, artist.

I know that For example, my friends architects, they also like to do some artworks which are not connected to exact architectural projects, but they love to do some installations, so which also extend their practice. So it's, yeah, it's just a way to always make yourself happy with your profession.

Christian Solorzano [42:09]

Yeah. Yeah. And can maybe you share some, so you, so you mentioned like filling your personal needs. And I'm curious about what are some of your needs or what are some of the gaps that maybe you felt have been the things that you've worked on the most or some of those challenges that you felt you had to kind of learn on your own or figure out on your own? Does that make sense?

Aliona Solomadina [42:39]

Yeah, it's also important to have an environment of people who can inspire you. I always tried to be surrounded by creative people and follow them, what they do, and it also gave me understanding of things, what I need in my career or just in my practice.

Christian Solorzano [43:07]

Yeah. So outside of— I'm curious about outside of design and everything that we're talking about, have you— did you ever consider a different path? Is— was there in another world, are you doing something entirely different?

Aliona Solomadina [43:25]

Yeah, there is a dream, but I don't know if I ever will realize it. But actually, filmmaking is Something that bothers me that I want to do in the future. And, but yeah, but I really love movies about graphic design and, but there are not so many movies. I mean not documentaries, fiction movies about graphic designers.

Christian Solorzano [43:55]

What are you listening to? What are you reading? What's inspiring you lately?

Aliona Solomadina [44:05]

For the maybe last month, I was just listening only to the music from David Lynch movies. I made a playlist, and so it really became for me like inspiration. And it was a very beautiful retrospective here in Chicago, the Music Box, and so yeah, and a lot of rhythms give me, give me for these days, give me these directions for my work. But I would say that I have like different playlists for different types of work, for creative part, for typesetting, for edits. Yeah.

And for creative part, I prefer listening just to some electronic music, which can give me these, vibes of energy. And I don't want to be distracted by lyrics. Oh yeah. And for me, this is the perfect artist, Aphex Twin, that always give me— he gives me always good ideas when I listen to his music. So, and yeah, and I, when I, when I do some technical work, then I can switch to these songs. Okay. With lyrics.

Christian Solorzano [45:31]

Very cool. I feel like your clock needs music and based on, based on the time of day, it adapts to different music for that time.

Aliona Solomadina [45:44]

Yeah, but actually I presented my project in Prague with Ukrainian musician, electronic musician. Syracuse, and she played an amazing live during the presentation when we switched on these letters, all those letters. Yeah, and it was very beautiful live performance with lights. So yeah, music and music and graphic design, they're very connected. And for different types of graphic design and different ages, like previously jazz was the— I mean, maybe the very important for graphic designers now, it's really more relevant listen to the electronic music.

So yeah, it's just my opinion, and yeah, I don't think that it's something that is just a statement. But yeah, it depends on also on project, on concepts, on context, which music to follow. During your work.

Christian Solorzano [46:45]

Okay. I feel like you need to create a playlist for us. We need a, we need a mixtape.

Aliona Solomadina [46:52]

I'd love to. Yeah. One day I, when I was 13, I joined the school of DJs, but it was only one day. My parents, they didn't allow me to go there anymore.

Christian Solorzano [47:06]

That's funny. So if anyone wants to get ahold of you or if anyone wants to learn more about you, we will put your description and all your details in the, in the description for this, for this episode. But what's the best way to get ahold of you if someone wants to chat with you?

Aliona Solomadina [47:27]

Instagram. Okay. Use Instagram for connection. Yeah.

Christian Solorzano [47:34]

And is there, are there any other big projects or anything else that you're working on that you haven't shared yet that we can be Out on the lookout for?

Aliona Solomadina [47:42]

Well, now I'm just at the beginning of some new projects, but maybe it's better to tell you about them a bit later. Just beginning and yeah.

Christian Solorzano [47:52]

Yeah, I understand.

Aliona Solomadina [47:54]

I don't want to compromise my clients.

Christian Solorzano [47:56]

I understand. Well, I just wanna say thank you so much for taking the time to chat. I really look up to your work and I hope that we can keep the door open and hopefully we can do a collaboration together in the future.

Aliona Solomadina [48:12]

Yeah. Thank you. Yeah, it was really nice to talk with you. Thank you so much.

Christian Solorzano [48:17]

Thank you so much for tuning in. If you enjoyed the conversation, we would really appreciate you leaving us a rating wherever you listen. It really helps us out. It helps us expand our reach and lets us feel supported. So thank you for tuning in and we will talk to you soon. Goodbye.