 Zebra wood. Yeah, it looks like a zebra. Oh, I'm cool. Zebra wood. Should we talk about the painting? Let's do the painting. Under everything that is, you know, geometrical, I put a sort of a chaos underneath. And then out of the chaos, I try to find, you know, relations. This is 72 inches by 96. It's oil on canvas. And I wanted, you know, to create something, you know, just, you know, the way I create something. Every four, I put, you know, the geometric, you know, structure on it. So this is going to be the base, basically. To a certain degree. I mean, this would be the base, but I wanted it so, you know, that the chaos is actually the painting. So this is, so, so I basically, you know, switch myself around. You know, I thought the other way around, like the opposite way. So what is it? What is it? You did this with brush, every stroke? Well, different size brushes. No, it's one size brush. This is sort of a tool that I use. It's made out of silicone. Oh, so you're drawing with this. And I cover the whole canvas with a layer of, you know, thick, let's see, paint. It's oil paint and it has, like, it's a monochrome. This is a monochrome gray. And I wait for it to dry just a little bit. And then I just begin, like, in one corner. Bam, bam, bam. And I go over here. Then I take another one, because I have two. And then I do parallel, you know, motions. Like this. Everywhere. And I don't stop until I think it's, you know, finished. And it usually takes, this one took me, like, you know, two and a half hours. Including with the base, including with the base. Not with the base. Just the lines. Just the lines, two and a half hours of constant emotion without taking a break. Two and a half hours I had my music on. So, you know, that would help. I would step back, you know, check it out. But now it's all, I know when it's finished. Okay, cool, cool, cool. What it does, so this is the one painting you've been walking on. You said you liked that one. Do you want to bring this one? Let's bring that one over. Okay, this one's also finished. Many people don't like it. I love it. Hold on, let's move the camera. Let's see that I'm going to bring it over here so we can see a good size on it. Okay, should I start? Yeah, yeah, yeah, go ahead there. Okay, this is this painting based on the golden rectangle. And the golden rectangle here is sort of like here. Okay, that's the golden rectangle sort of in there. But I made it bigger, you know, to fit. And so the golden rectangle is basically, you know, the darker part. Oh, okay, yeah, yeah. And I actually painted, you know, three golden rectangles on there before. I covered everything up with gray and with a blue gray. Each segment separately, different. Each golden rectangle differently, different color. Like a different color. And then I just, you know, smeared everything up with black and gray and blue gray paint. And then I took an oil stick, which is also like sort of oil painted. I'm his oil paint. And I, you know, I drew on there what I, you know, wanted to, you know, have for that day. I was like thinking about, I mean, here's the golden. Oh yeah, right there. Small version of it. What do you call this? Did you call this TV? This is called TV because when I, you know, watch TV, I feel sick. I just, all the voices, all the voices. Chaos. You know, this is, you know, what I, you know, get, just get a bunch of garbage. And this is like a, like something, you know, coming out you. That's what you love it. Yeah. So like it wants to, you know, like absorb you, but it absorbs me sometimes. This is all noise, basically. It's just noise. Noise, noise, noise, which, you know, for me, it doesn't have any, you know, meaning. But, you know, I've seen like this with, you know, the title TV, it just works. For me, this is, I mean, it's totally contrary to all my other, you know, work, but I have to do this in order to do the other stuff. To clear your head, to get rid of what you need to get rid of. Like I'm working on, you know, something like this. Okay, so, you know, I mean, that's a contrast. That's a contrast, you know, to this, you know, completely. And it has to be because otherwise, you know, I couldn't do this, I'd go crazy doing this. And if I only do this, I would go crazy doing only that. Because there would be no, you know, no sense in anything. Can we show the painting that you're doing in the, that you did on the, in the other room with the face? No trouble at all. We can actually put this in front of that. Cool. Let's make sure it shows up. Can you see that? Oh, yeah. Okay, these are, these are all basically, you know, black and grays and dark blues. And these paintings, you know, are, you know, the absolute contrast to what I normally do. But I, as I said before, I use, you know, basically one of these guys as a background. And then I cover it up, you know, with, you know, lines or with something that I can, like, understand. I mean... So there's the, like this one you can see, there's like tons of grid patterns on it. Not grid, just chaos in the background. There's chaos in the background. And a grid. Yeah, arches. That's like, you know, two sets of lines and, you know, curves, you know, which I like, I like curves. See here. And there. I love curves. Here, this is called a transmigration. A transmigration is when, you know, you die. And like in that moment, I mean, when one dies and in that moment, you know, your soul, you know, transmigrates over to somebody else's, you know, body. You know, who's, you know, you know, who's being born at that same, you know, moment or who's like, you know, receptive. I don't know if you can see this, but, you know, this is like a mouth. You know, that's, that's opening. Here's the chin. Here's the nose. Here's the eyes and the forehead. I mean, the, you know, you know, the back of the head. It's like an old man, you know, going, you know, you know, you know, just, you know, passing away, basically. Yeah, I wish I hope you can see this because when Dirk showed me this, he goes, what do you think about this painting? I said, oh, I love it. It's like chaos. It's like dark and sort of chaos and just there's a lot of different artwork here, right? It stands out from some of the other stuff that he's doing. And then he goes, can you see the face? I was like, what? What face? And he actually pointed around and looked at it for a few seconds and all of a sudden I just saw it and it just blew me away. Right? So I seriously hope you can see it because it's brilliant. And it's oil on wood and it doesn't have a sheen to it because I, because I manage, you know, the colors very well. You know, you're normally like oil paints, you know, has a sheen to it and it really, you know, distracts and this is very, very matte. So how do you, how do you get rid of the sheen? Well, the thing is I mix all the oil paint with a lot of turpentine and there's no like oil. So it's just basically, you know, a layer of, you know, thin, you know, layers of, you know, turpentine and, and like oil paint. And it takes about a, you know, 24 hours, you know, to dry so I can do the next layer, you know, the next day. So, so, so this is basically, you know, five or six or seven, you know, layers. So is each layer a different color? Or do you mix it up? Well, I mix it up usually. You mix it up usually. Because there's a blue here, you saw that. I mean, that's like earlier, you know, you know, the black was, you know, done, you know, later. Okay. Or before, you know, and then it gives that. Okay. So these are like basically three of the paintings you've, or four of the paintings. This one, the grid one is still active. Like this one is, you're still working on it. Yeah. Now I might, you know, just, you know, bring some, you know, dimension into it. Okay. Okay. But these ones basically, these three are done. Yeah. Yeah. So basically in the last, since we last talked to you, you were doing a serious grid pattern, like organized. Since that time, you've gone through doing something that's just like chaotic. So you switch up between sort of organized and chaos. I mean, and in between that, I can bring in something that's, you know, totally, totally, you know, sort of like op art. Let's check it out. What kind of art? Op art? Like op art. What's op art? Well, you can show it. Let's see. Okay. This is a canvas. This is a canvas that I folded. And it turns out, you know, to look like this. Basically, I mean, that's what it looks like from the side. So canvas folded. Canvas folded and then mounted on wood and then painted with oil. Mounted on wood back here. Oops. Let's bring it down here. I'm going to take this closer to the. So mounted on wood. And just hangs like this, as you can see. So it gives you the illusion of, you know, something going like this way and something going down. And you gave it cuts? Well, the cuts are the, you know, this was basically just one long piece of canvas that I had over from stretching here, the big one. Oh, okay, okay. And, you know, I'm in Allah. I don't like to throw things away. So I like to keep everything. And this is, you know, I painted it first. I made it really long. And I cut it in half and I put a section here and slid one and into the other. Oh, yeah. And I flipped it. So it, so it, you know, gives you the illusion of, I mean, basically this is like the same thing except it's. Oh, it's the other side. It's the other side. Exactly. Ah, that's cool. Again, you're working with optical illusions, basically. It's a total like optical illusion. That's why I call it off art. Off art. Off art. It's like Vasarely, you know, Vasarely is a painter who lived in France and he made, you know, beautiful, you know, paintings like in the 60s and 70s. Like it was off art. Oh, it just like pops out optical illusion. Optical illusion. Okay. Optical illusion. Off art. Okay. Okay. Like the contrast, you know, to this and to that, because, you know, that's what it's about experimenting, you know, finding new boundaries. Yeah. And, you know, and there must be, there must be art that you do that you like, no, I don't like this. I'm doing it over or trashing this, trashing this. Well, I mean, this I was going to throw away, but then I, you know, painted the lines over it. Yeah. And then I just, you know, started to put, you know, lines over it. Just layer it. And now, you know, it's beginning to take shape. Yeah. Okay. Cool. I don't know, you know, what it is. I don't know what this is. Let's take it. Let's take a look at some of your structures. Let's take a look at some of your structures because your structures are here. Let's do a different. Okay. I'm going to put this. Okay. We're going to change the camera and take a look at some of the sculptures basically there because it has been working on at the same time that he's been working on these paintings. Right. So there's a lot of, he's gone ballistic. He's just going crazy with the artwork and putting stuff together. Okay. So angles, angles. How are we going to do this?