 Susanne Cotter did invite me to come here to make an exhibition, but it was various permutations earlier than this final presentation. So eventually I decided to just be very simple and just show two works. The Dante project, which is the works you see around me here, which is the artworks that became the sets for a ballet in the Royal Opera House. Based on the Divine Comedy. So three acts, Inferno, Purgatorio and Paradiso. And my works were, Inferno began with a drawing in negative, upside down, and a threshold to Purgatory, which is the tree behind. Which is a work that transitions from negative to positive, that carries two states within it. And it's a photochemical photograph where all the tree is outlined in white crayon. And Paradiso is a 35mm Cinemascope film. The thing about Dante's Inferno is that, you know, the geography is very distinct and somewhat confusing in the Divine Comedy. You know, you go down the circles, the nine circles, when you're in the ninth circle, but somehow it upturns and you're in Purgatory. So I thought with Inferno, especially as this was a design for a ballet, I thought it was very good to have a very low ceiling and a sort of underworld. And this was, this is a chalk drawing, but it was turned into a backdrop. And on the floor was a huge sort of distorted circle with a mirror all the way around. And then there was a mirror in the ceiling and in the mirror in the ceiling you saw this drawing sort of uprighted. So you've got a sense of this other world that you couldn't, you know, the souls could no longer, the damned could no longer get to. And so I went from, decided that the whole trajectory of the whole of the Divine Comedy for me would begin with negative and monochrome and upside down and representational. And then I'd go through my mediums, particularly my principal mediums. And so it transformed to Purgatorio, which had to be a middle state between negative and positive. So this is a, behind me is a, actually a positive image from a negative. So the positive image is a Jacaranda tree in Los Angeles. And then the negative of Jacaranda, which is a purple blossoming tree is kind of this strange otherworldly green. And then Paradise had to be, was entirely abstract, formless, you know, I mean, it's very planetary. It's the only one of the three acts, which is not a transitional, you know, he doesn't transition through it. It is a state of being, it's a destination. So I made, I wanted to make a very abstract that was just color, light, and based on the, on the circle. Well, in the other galleries, 150 years of painting, which is a 60 millimeter film that I filmed in, on January the third, 2020. And it came about as a result of my friendship with these two painters, these two wonderful women, Lucita Uthardo and Julie Meritou. And I've, you know, I'm very, very good friends with Julie and I know Lucita through her son Matt Mullican, the artist. And he, you know, somehow I knew that they shared a birthday. And it suddenly occurred to me that on the 28th of November, 2020, Lucita was going to be 100 years old and Julie was going to be 50 years old. And these amazing painters with a lot, and they have a lot in common in a way. So I just suddenly had the idea that I had to make a film called 150 years of painting. This film is a, is this day, you know, this one day in Santa Monica, this incredible conversation between these two women who are just got so much connection. And they're so open-hearted and generous and, you know, profoundly special women. And it was a, so that's how it came about. For me it was one of those blessed works that I did it and that it exists now. We've made two distinct books to represent the two different wings of this exhibition. And they're in a slip case, which represents Moudin. So one is the Dante project and one is 150 years of painting. The 150 years of painting is the transcription of the film as well as a text by Jennifer King. And it's, and the Dante project is a briny fare and obviously is a lot of images of the actual ballet. And they're distinct because then they can have a life as individual books, but they're coming together in a slip case for here with a little insert by Bettina Steinbrugger. And so the exterior is, the idea was that the exterior, the case is Moudin, which is the housing of these two works. And then the books have their separate lives. So they're very different in feel, you know, how they are, but I think it works really well.