 That took a while for me to decide on the title for this project because in the last three-four months my work's changed considerably in scale, in subject matter, thematically, and stylistically but finally it's called It's called an Invitation to Bare Witness was the final decision I made on the title for this project. So my work's a painterly investigation of eye-witness accounts that happened to me, but I don't really want to talk about those, I don't want to explain the stories themselves because as in the title, I want people to actually become a witness themselves. The work itself has developed a lot in the last three or four months, so I was painting on a very large scale, the work was kind of a bit too narrative, so I actually stripped it back, so what I have now are basically objects and what I call subjects, which are basically a set of portraits. There are about four stories in total, I think there'll be, and they're mixed up on the wall, so what I want people to do is interpret themselves what it is they're actually witnessing, what they're seeing, they have to piece together. These pieces of evidence, so my paintings are pieces of evidence, is a simple way of putting it in terms of how I'm exhibiting. It all came about probably about three months ago because of one small picture I did, so I was doing very large scale like I said already, and then I did one small painting at the very end, which I always intended on having, it was like a little boy, just a face looking very sad, and actually I realised when I painted that that everything I was trying to do for the previous year and a half was in that painting, it was kind of mysterious, you didn't know why he was in that mood, you didn't know why he was looking down, and that's when I realised that was the way I should go, so all of the work basically shrinked in size, and the subject matter became these single images of an object or a person, and that's what you'll see at the exhibition. How's it going with the exhibition? I'm very optimistic, I think. I've been painting pretty consistently for the last three or four months, so when I discovered the little boy and how he worked, and I took that as my kind of template to move forward with a little bit, I've just been painting on a regular basis, I've managed to I've managed to create a schedule, so whenever all the family go to sleep, I can start painting, and because I teach online because of pandemics etc, I basically can start painting pretty late, and I can actually work quite late, so and then what I've done when I paint after they dry, I tend to put them in boxes, and I just leave them for a while, then occasionally I revisit and look at them. Some paintings are fine as they are, others I might still revisit with some washes or some retouches, but ultimately my plan is to basically take quite a few cardboard boxes with me to the gallery space in Pragyffa, and then make the final decisions of what sits where, how many pieces of work to use when I get there. I'm looking at maybe 20 maximum, just based upon looking at some other artists that I kind of admire at the moment in terms of the number that's good for his show, but I want each artwork to have its own space, and then people can look at them, and then if people stand away they can look at them as sets and series, and then they can start to create their own eyewitness accounts of what they think they're seeing in front of them. So my biggest challenges firstly will be in a full-time dad and also a full-time teacher, didn't give me very much time, so I had to really work very hard to make a space, make a schedule for painting into my life, and that probably didn't work for maybe the first year and a half, and then probably like us, the last four or five months I've really got more into a role, I almost need to paint, it's more of an addiction as well, if I don't paint for two or three days then I start to get a bit aggravated, so I'm happy with that, so that means I can paint on a more regular basis now, and I think that shows in the work, the work is developing, the painting style is gradually becoming more economic, so I think that was a big challenge at the beginning, which I think I've now solved. So the exhibition itself will be a series of paintings, I don't know which paintings I'm going to show yet, I've got some favourites, but I'll decide when I get there, you know, like I said I am going to paint till the last minute, hopefully, and that gives me, I'm actually quite excited about the idea of not knowing what the hell I'm going to show, and actually a lot of works will not even get seen, even though there's nothing wrong with them, I just like this idea that there's a body of work which people won't witness, and then there's certain pieces of work that I will show, so you'll have to come along, I'm afraid, to find out exactly what I'll exhibit. So I'd just like to say please come to the exhibition, I've been in my attic for several months, I live here in the countryside, I'm very rarely in Prague, so I've not seen anybody physically, so it would be really nice to see some of you in person, physically, and also ultimately oil paintings should be seen also physically and live, like I said earlier, it's very hard to show it on film, it's very hard to photograph it, so please come along and see my paintings for real.