I'm thinking of those artists that became known as zombie formalists. Not too long ago and is that difficult to manage from an art advisers. Point of view do those. Do those artists become in demand for the collectors that you work with and do you have to sort of manage that sort of process to assume it's funny enough. Zombie formalism the artists that were sort of ascribed to that. Were never anything that i purchased or recommended or would even allow. They were so clearly in a particular space of speculation. So i wouldn't call out the rise of a certain artist i could talk about the rise of christopher will or wade guidon or andy warhol but i really wouldn't talk about the rise of zombie formalism unless you're thinking of it in a wider reaching sense though. I'm really interested in the fact that you would choose not to those people that you work with not to buy those works it was was was it because you could see to bubalo speculation building and you were just stickler. Just pick or actually. Were you making a set judgment there. This is not good work. It just felt like it was made for market just like much of the very craft like beautiful painting. Today feels a lot of bills made for market and it usually is pretty obvious when that's happening and so all just sort of stuff of way. Sometimes if it's not clear all step away and just pause if something gets too hyped. There's no point to like get involved it really. It just gets too murky in terms of what's really going on because it just goes up so fast right so usually i'll just step away. My clients don't actually ever ask me to chase specific names like that an- any buddy who's come along to work with me. Who has i stay away from. Because i have been doing this long enough. I know where that's headed and it's just not interesting. It's really not interesting at all. So do you see one of your rose. Then is being in a way trying to predict where the sort of new artists are emerging froman and overseas within the field of painting. This this particular pool. I kind of look at it. More like figuring out the historical zeitgeist of a moment and like as it's being reflected both in artworks being produced but also shows being curated. There's usually something in the air and there's been something in the air for a bit now and yes there's definitely we had a shift towards figurative painting but more interesting than that is sort of an interest in beauty and and landscape and still lives and also heavy sense of craft the ability to paint not a factory painter. And that's kind of interesting like why is that happening. What's pushing us in that direction. A lot of its comes office slightly transcendental also and. I think it's probably a lot of the trauma of life and existential traumas. So there's not this desire so much to look at a political painting..