A high-density crowd on a deep-blue ground: seven or eight figures, different hats, clothes in red-yellow-orange. The central female figure at the middle, like a queen in her long red cloak; the figures around her build her hierarchy. In Fitoloğlu's practice of painting crowds, figures are never equal — one is always at the centre, but being at the centre becomes unimportant because those around also carry their own centres. This is a philosophical scene: the multiplicity and singularity individuals carry within community. The blue ground — the manifesto's symbol for the 'flow of time' — sets all the figures in the same river.