 There was already a lot of work that was already selected for the Paris exhibition. But you know like in my practice, I don't know if practice is the right word, but in my work there's a lot of different types of works, you know there's different families of works. So sometimes, so there's figures, standing figures, there's giants, there's work like this one that are more like large plexiglass boxes with a lot of network of thread inside. And then there's also more platform architectural pieces, you know, like there is in the show. So there's a lot of different types. So I it was interesting that all the different types of works that I make would be represented here. So it was that was an important thing to do. I don't see the plexiglass box as an object, as a container. I see it as a transparent support structure. So actually my goal is to make things float. And I use the plexiglass just as a way of holding them in the air, you know. So because it because the plexiglass box gives me a sort of support inside of which it's easy to just go place things, you know. So I like I like that. Of course, nobody is naive enough to see like to not see the box and to think that it's completely invisible, but I like the idea that visually it does not exist. So like personally, I know and it's I know that a lot of think people think that's really interesting, the idea of like of of you using mirror to sort of make the visitor integrated inside the piece, becoming part of the piece. But I never think of it that way, because me, I never see my rhythm. Like not that I'm a vampire or something, but I don't look at my reflection. Whenever I look at a mirror, I look at how it multiplies space. That's what's the most important to me. That's the reason I use it. You know, a lot is because I like to multiply space and I like to make things more complex visually. You know, like one of the things that I try to do is when I work inside a box like that is I try to because the box is a very specific volume. It's a very very finite space, but I like to work inside of it and create the the feeling like it's infinite inside. You know, so so it's just a very specific volume. But inside there's so many things that are growing. There's so many details inside details inside details. There's a hole in the platform that leads to a space that you cannot see inside. So it could be like the opening to another world. And then there's the mirror that sort of multiplies space and makes it confusing visually. So you don't know if you're looking at the reflection or the real thing. So you know, I try to just put so many of these things that it seems to be infinite. For me, an object starts to exist when it contains a contrast, when it contains a tension. You know, if something is purely, for example, that's just a very easy example. But if an object is just purely beautiful, I can't even see it as beautiful. It needs a scar. It needs a little pimple. It needs something to sort of like just all of a sudden make, you know, be in contrast with that beauty. I felt exactly about the work like you feel when you're a little bit sick and or hung over or something and you just feel like you need vitamin in your body. You need to eat fruit and have vitamins in your body to feel better. Literally, I thought of the same thing for the work and I thought that by integrating fruits, I could add a new light, a new energy, new vitamin, a new humor, a new color in the work and it would freshen up the work and it worked, you know. And so then the fruit, I think that's maybe one of the first pieces that I did with fruits, but then the fruits have stayed in the work. I mean, when I use an object the first time, then, for example, those cantaloupes, I made a lot of cantaloupes. I made them myself. I cast it in orange resin and I painted it and then I made a lot of them. So I end up having a lot of extra cantaloupe chunks and it goes into my material bank in my studio and throughout the years there's more and more and more. The bank is becoming bigger and bigger and bigger with more materials and there's some cantaloupes there, you know. So of course, I'm going to like sometimes I need, you know, when I start working on the project, I need material to start working. So I'm going to go pick up some stuff in my bank and then I'll find a way of using them or...