This year I opened the Venice Book first because the Venice book has got that lovely kind of a delicacy, you know, Venice is a delicate place really, it's very fragile I think. As opposed to this incredible building in New York, the Chrysler building which is steel plastic and glass and fabulous. Okay now these boxes all have to be taken apart for it to be finally presented, you know, to me that's a huge issue, it's very nice making a lovely book but to finish the whole thing and make it enticing so to speak and make it a bit of a game really. So each slip case comes apart, this one is extremely tight and I'll show you what actually happens when you close it back up again. It's not to have that lovely kind of movement, you know, it's a performance per getter. Alright I'll take it off again now so there we are, this gorgeous box in there. So now I've got now three slip cases left, well you know, this one of course then becomes really organic. It becomes what Venice is, paint and texture of gorgeous old weathering timbers and everything, everything happens there. Not that, it happens in New York but anyway, I took it on board to actually paint basically everything. And we know there's even a skew, you know, because the place is sinking like Amsterdam, it's built on wooden pylons. So you already have a bit of an idea of what it could become. It is of course a tunnel book. And a tunnel book is simply an object that has basically one photograph which is cut at different sizes and levels to create a three dimensional image inside. So imagine now coming down here and looking down into that tunnel and seeing what's there. I'll expose it a little bit more. We have two holes. It's got symbolism everywhere. The ghetto of course was part of Venice which was banned to everybody and the Jews were actually kept there for centuries. Not anymore. So what we now have is this tunnel book which is now totally exposed. So come and enjoy that at some stage. This one became almost obsessive. Obsessive with the whole feeling of acrylic perspics, well. The perspics to me is just one of the most amazing materials and it can be utilized in so many different ways. So again, look at the way this has been sculpted. I want you to look at all the fintures or different things. If you ever been to the building, it's just fantastic being in the foyer. You don't have to go anywhere else to stay in the foyer. The paintings on the ceiling, the fittings, the brass, the lighting gorgeous. So anyway, this also almost weighs a ton because we're getting into SNP case number one and undoing it. SNP case number one. SNP case number two which fits a different way. I had a bit of a problem with this. I thought, why should I go to that movement? It's difficult because most cases from most ordinary people or the bad thing they pull out this way because of the weight of everything else. No, I thought I'd continue on with this. Now, where do we go from here? I had to improvise this and I really like it. I like it because it does that and it's got the color of the ceiling and color of the walls inside from inside the building. The inks that that's been colored with were brought to my attention by the lovely Tabitha who actually works with these inks, a fear of being seen. I said, okay, let me play with those. I've been playing with them. They're involved with everything. They're involved on the finishes here. Along the edges there. So, on and on with. Now, I'm going to lay this down for the moment because it gets a bit hairy at this stage. I could actually tip it out. Might be better than tip it out. I'm left now with this particular case. Light coming through. Of course, the Christ of Building is set on a corner of two buildings. Lexington Avenue. So, a mirror was important. I must also say it's still a work in progress. It's not quite finished. It still has other things to be built on. But I'll set it up on this. And this, of course, would be easier to manipulate. Well, the plastic fits beautifully, snugly over the top. You'll notice that beautiful sewing that a Dell always works with. This concertina movement. I love sitting there and making that. It's just hours and hours of stitching and bushing and pulling. Just to get it all the dynamics of it right. So, I've got a closed window here. Then, I've got an open window. And you can already see what's actually happening. It's part of the foyer. Now, I expose the whole foyer. We've got a big glass window that we can look through. Now, you can see a running out of space here. You