Hi, my name is Tom Bogard. I'm a Belgian artist and I'm super happy to be in Kevermarkt, Austria. So I have been in this region many times before. I worked in Linz with AFU, with BB15, now with FDR and after the summer I work with Ars Electronica so I seem to have special connection with Linz and the region I don't know what it is is it the water is it my proposals I have no idea but you know I'm always happy to to come here and to make to make art in this amazing context make art in this amazing context. So for FDR I present my work in a church. People ask me, you know, do you often present your work in churches? I do, but I don't look for it. It's not that I'm looking for the church as a place to present my art. My connection with the church is that I'm from Belgium, I was raised Catholic, I worked as an altar boy in a church. But it's mainly coincidence that the projects I'm invited to have churches available to present my work. So in this case it's the same. Of course when you work in a church you have to respect the speciality of the space and you have to work with it, which is not always easy, but usually it works out. So this piece here, it's made with plastic toys. And initially the idea was to work in response to the famous altarpiece, but then we basically turned around and we looked to the back of the church. So we turned our back to the famous art piece and we looked at the organ and we started building around towards the organ. And then of course we said, okay, now we have the organ. It's a musical instrument. It would be fantastic if we could have on this special occasion, somebody playing the organ. So we invited Flo, who played classical music, jazz, he did improvisations and he even did this famous song, the eye of the tiger or something. So it was really funny and at the same time interesting to see the dialogue between contemporary music, contemporary art and this traditional church setting. Well, I think if you work in a church it's important to have a dialogue with the people who use the church as a religious place. For me it's a place to show art, for them it's a place to practice their beliefs. So it's a dialogue, it's a world of contemplation, it's a world of spirituality that sometimes rubs against this contemporary art world, but I think when two worlds are up, it can create wounds, but it also can create something new, something nice. So that's basically, I think, an important lesson working in these kinds of places.