I've been fascinated with indigenous mass tribal mass from Mexico, from Africa, all around the world. Last year, we visited this beautiful exhibit in British Columbia, of Native American mass from that region. And I worked from this sort of central query do maths I'd who we are, or do they allow us to be something we're not. And I, I've worn a lot of different masks in my life, some preservation all and some to kind of try and be something I'm not like an artist right now I you know, it's when I turn the day job off, I put my artists masks on and immerse myself into it. And I started year and a half ago working with self hardening clay, I don't have a killed, I didn't want any excuses for why I couldn't pursue this. So I looked at self hardening clay and working with it initially has a lot of the same attributes and characteristics as stoneware or other clays. But it self hardens and you don't need to fire it. That's a tricky process. Because just when you think you've become the master of a particular piece, and nature sets in with temperature and moisture and all of that, the clay kind of takes over and sometimes in really happy ways because the natural patinas that occur are can be really beautiful. And then when you wake up in the morning and forgot to cover something, and it's in six different pieces, because it's cracked apart. You know, kind of who the boss is. Because there's so much dry time working with the clay, I looked at another medium paper mache and started working in mass and full size heads as well. And that originally was something to do while Clay was in some process. And then it became really interesting to me and very three dimensional. And it's kind of incredible how flour and water and newspaper torn, not cat torn pieces can become this really hard, rigid, strong, durable object to work with. And then in this particular installation here at Heartland, I'm also showing for the first time sculpting wax and glass beads. That's I get these big blocks of hard sculpting wax that I break up into smaller pieces melt down and then hand form them into the basic facial features or characteristic. And then I use hand strong glass beads in a very repetitive, very circular kind of application of putting the beads on there. And I think one of the strong pieces at the front of the installation that hopefully your listeners will be able to see is an example of this. All black glass beading. There's also some wood beating is involved as well.