I myself thought for a long time, because you probably can’t call it a sculpture. Maybe narrative objects, a conglomeration of my infantilism, little trains. But the most precise is perhaps: I was the director and screenwriter of a bronze film, and of course I had co-workers for it. Those who particularly stand out are Martin Péč, Honza Novotný, Zuzana Bernasovská, Dalibor Bača, Eckerhard Böhm. I want to thank all of them. It took a long time to come together, and when I reached the point where I wanted to blow it all off, I got this idea and I realized it using “islands,” and especially bronze as the material. That instant of ironic enchantment, solidifying, freezing history appealed to me. It seemed sufficiently perverse.