Yeah.

And that was sort of it.

And I was just like, I mean, it hit me because I'm like, you can only be in Italy for like three months a year now.

And some of the projects I'm doing over there and I'm going to be teaching some art workshops in Italy and there's some more residencies I want to do.

And I have a chance to do more work in Venice and show in there.

So it's like, well, that I want to, I want to sort of be more a part of that, uh, or in Europe in general.

So, so my work right now is, is looking at inwardly, I guess, at the movement of my family and the fact that they risked everything over a hundred years ago to try to try to get from Southern Italy to Canada in between the first and second world war.

Yep.

I mean, go back to any fascist regime, and the first thing you do is you attack the arts because the arts are the source of resistance.

And you also think about in times of great financial struggle, the arts thrived.

I mean, y- you look at the 1920s and 1910s when we were in the middle of the Great Depression, and yet also there was this resurgence of, of art in this country.

Now, that was all government-funded art with the, the BPA because we had a president who actually believed in- [laughs]

Right

... you know, great works and, and, you know, investing back into the country.

But I don't know.

I feel like we could swing that way again.