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The picture Assembly Point from the series Celebratory Demonstration is noteworthy for the “Soviet” way in which the man in the centre of the composition is looking towards the viewer: a unique cocktail of suspicion and hostility, if not blazing hatred. In those days I was more often drawn towards warm tones, where I felt thoroughly at home, but suddenly I was pulled towards cold ones, like a fish flapping about desperately on the ice. That was the main challenge: how I should solve these artistic problems, problems that were new for me, of organizing the interaction between the various shades of cold in all its forms. Perhaps the look that had chilled my soul from the man in the ski cap had driven me towards this coloristic solution?