 with technicians going on a cherry-pick of horse thing with me, the laser pointers, they dropped something, put some beads there, put some beads there. It was done on a A4 sheet and then put out the transparency, and then the transparency photocopying onto acetate, and that was then projected and then drawn onto all, and then black card, the first layer of the black card moved on. This is the, and then the beads put on after that. The beads are hanging down because the idea is that it's, the beads are being poured down, so the beads are, it should be a double layer of black card, and beads have been ripped off, so the whole thing is kind of deteriorating, this is a heraldic lion, a generic heraldic lion, which this one happens to be the lion, which is the symbol of the city of Amsterdam, Amsterdam's lions. These images here, these are all from a Nazca pot here, one of the museum treasures, a Nazca pot from Peru, and it's part of the design of the pot. And again, not to disturb personal significance to me, my mother used to be a ceramicist in Diana, and her, another woman who would paint all these, what we call, Camarindian designs. It's kind of like a, supposed to be positive, in a sense, a positive representation of how vastly we use stuff like that, but it ends up being a kind of, I don't know, exotic kind of image. I just quite like it because of the wild expression in her face and stuff like that. And also, I directed to work with an automatic pilot from a bank of images, and this piece just seems to fit with this particular section here. What else? Going up above, this is an invention, this thing about the, it's not an invention, but loosely, and very loosely based on the Guyanese coat of arms. The Guyanese coat of arms above the shield, which most coat of arms have this around the shield, is a crown, an Amarindian crown, the Cassis crown. So the Guyanese coat of arms, like this, is a mixing of cultures. So there may be the Amarindian thing there, but the whole design is European, and they're all different cultural aspects, jam, fit, fitted, fitted into it. So this is sort of my variation of that. And that section there is all, again, mixed up from this Guyanese coat of arms. How this was done, I should say, is a museum sent me discs to London, back to London, and I sat down and jiggled it and worked out and irritated for about a month or so, before I figured out how to single war. Above, there are two figures with what look like swords, which I figure aren't swords, but there are two figures from a textile downstairs, the Paracas textile. The Paracas textile, I'm presuming, is from Paracas. It's Peruvian textile, yeah, and it's completely, from a distance, it looks like a really knackered crap piece of rubbish, basically. But when you get closer, the border is where the magic is in this thing. The border, this textile, is made up of tiny, tiny figures, all knitted, almost semi-three-dimensional. So that figure, the figures, nearly top one on either side, identical, are taken from this Paracas textile. And they're about, in reality, they're about that big, but that high, and they've been sort of expanded out. So it's sort of blown up with some kind of superpower or something like that. The mask in the middle, that's... I'm very confused about this one here, but I use this image a lot, because I've used a lot of titented images, which are completely covered in skulls, and they're very, very violent, they look really scary, but it's not about that, it's about battling your own demons. I'm not an expert in Buddhism, so don't hold me up to that. I just find things which look scary quite fascinating, and I would come to museums like this one, and draw, whether it be Tibetan Indian masks, or Chinese masks, or African masks, I would draw them to try and overcome my nervousness, my fear of these particular things. Today, it's now become part of my language, it's not a big deal, for me it's just part of what I do. What else to say about this? These here, I've been obsessed with these symbols for a while, the cross and the star, for instance, I just use it a lot. I just... It's kind of personal, but also personal, I'm just interested in how people use symbols to go and fight each other, it doesn't matter, it doesn't matter. What else to say about this? These bits coming out here, the plumes coming off, left, right, and center, they're again from this Peruvian nascar thought, and it goes through this whole thing, like a virus, yeah? And it's a bit like in Guyana, most people live on the coastline, the coastline is... it must be about 2 miles deep, and then that massive interior where it's largely empty, not many people live in the bush basically, not many people live there, but you have this, in Guyana you have this constant feeling that there's this thing, this thing in the past, this historical thing, which, that's what we call, in Guyana we call it Amerindian history, as opposed to being in America, called the pre-Columbian thing or something like that, but it sort of runs through, for me it sort of runs through Guyana's identity, really really has a really strong thing, it makes Guyana very different to any of the other Caribbean countries. On an island, it's kind of easier to get rid of the natives than when you're dealing with the mainland, because basically when in the colonial times, when the Europeans came to Guyana, they stayed in the coastline, and the Indians stopped flying, we just go in the interior, we go in the bush to disappear, so I haven't talked about this piece before, so I'm still figuring it out myself, and what happens with this work is I tend to talk about it, and then we'll be able to think about it. Oh that's what it's really about, you know what I mean? You'll have elements of what I've talked about, but it's something, it may be something different. The beads I should say when I first started doing this, I found these beads in a party shop in Atlanta, and they are Halloween beads, so I'm not buying Halloween beads wholesale, which I kind of find strange then. Oh, and the way the coast developed, these bits of black clay were practical, they started off as a way of just holding the clard and beads in place, but then the practical things started to look aesthetically right, almost as if it's being stitched together, you know, and so that, the practical thing, became part of the drawn element, so it's become part of it, and then part of this covered in gunge, I'm a messy, I'm a messy artist and I try to turn mechs into a virtue, so the whole thing is kind of butting bits of stuff coming up, and it's a bit like cobwebs as well, it's a bit like the whole thing's been attacked by spiders or something like that.