 The subject I use for these paintings is police violence. So I think this subject is very actual throughout the years and maybe centuries. It is never not actual. So I was actually pointing out the thing that we are like in the free world, how free we are actually. Who is the, whose interests are the police guiding? So is this the citizens police or who are they working for and which interests they are keeping? So I made a serial of small format paintings. They are sized 30 to 40 centimeters and I removed only the background. So I point out with this that the context is not that important. That whether we have a democratic state or a communist state or totalitarian regime, we have always the same scenes with the police brutality over the citizens protesting. Well, the process for realizing this show was pretty much a research process in which I started finding the news and the photographs which I used as a role model for the paintings. And I wanted to make them as much documentary as I could. So I didn't want to change stuff in the paintings. I was really trying to make it as it is on the photograph. And the names of the works, in the title there is the whole news. Actually not the whole news, just a part of the news where you can find out where is it from, from which city, which year did it happen, what kind of protest was there stopped with the police violence. And so you can have actually a view on the background of the news. There is one painting on this show which is a big format. So it's the size of almost three to two meters. So it's made out of the local context. It's the story of the workers' struggle for the factory of Hugo Remedia during the bad privatization process. They were actually fighting not to stay out of the job, to keep their jobs and to keep the factory working. And this is the only struggle actually, the only workers struggle, which had a long, long time of fighting. And finally they made a good way out of there that they managed to position themselves to organize the factory and they took the factory into their own hands. So I wanted to make it a huge big thing out of that. So I made a huge big painting which is trying to make this whole scene as a historical scene. That's why I made it a big scale painting with a huge baroque frame as the historical scenes for the museums. I wanted to use some dramatic lights and the different kind of painters' handwriting. I always come from the concept and I always choose the idea and the concept then the media. So the media is something which has to follow the concept, which has to give the meaning to the concept. So this time I took the painting because I wanted to make some news articles which are very short-timed. So when you hear the news, when you read the news they last for one week or two weeks or maybe one month. And I wanted to put them in the long-time media so paintings are something we keep for centuries. And with this starting position I wanted to make the small newspaper photos into the painting. And with the handwriting just like to see the whole time I give them to the scene and the meaning and the value of the scene becomes bigger when you see that there is lots of work inputted into it. So that's why I would like to make this small format sellable because I would like people to keep them on their walls.