A project about leftovers, sawdust, discarded things and what often turns into garbage. Matter lives a different life. Other than man, with his sufferings, doubts, joys, changes and transformation. Matter lives its quiet life; of course it is possible to find this life and even to define it as still life or style life by separating it from a man. I am interested in the temporary immersion of man in the inanimate world, in the connection with this inanimate world, in the unequal and uneven passage of time for man and for things, things even when thrown away continue to preserve their immutability - to pass away quietly and without any drama. Man is only a neighbor of these things. Man does not occupy himself with them for long. He has a special relationship with the world of objects, sometimes a long one, sometimes a short-term one; he partakes of them, lives in their environment and does not notice them. All the material world is like a woven text that fills our life as a decoration, attributing time, things swarm around us, they are everywhere, they are like unwitting accomplices, tools, fetishes, they coexist with a man. I am interested in how time affects things and people, how people deform things to the point where they appear as wrinkles from the weariness of life, like doors repainted a hundred times, chairs, tables, old suitcases, shattered tools and other signs of aging and approaching death. For some reason, the image of primitive man with a stone axe and a loincloth to eat always with the objects stands before our eyes, the material world that has grown since ancient times has made man non-autonomous not separate from them, in the visual way of life of man. Things acquire their purpose for human life, although their circulation is very significant, their "obsolescence" generates a whole industry of flea markets, antique stores, garbage dumps, and random spontaneous piles. Things are authentic in their meaning - real, they are clots and precise material representatives of the time of their creation (style, design, image). They are an exact part of reality proving that time flows with its trace. For me a thing is a representative of an unconditional reality as opposed to an image of a thing which is always "second" to the real. The combination of these fragments-fragments of the "real" with their conditional meaning, their representation and their interaction with man is the interest that led me to begin this series of "anti-fortifications", where text is replaced by the text of the object and the space of things and their materiality. By separating a part from the object we deprive it of its function, turning it into a piece of the puzzle of reality, bringing it to a maximum size that is universal for this series. Here is part of the door, the handle, here is part of the door bolt, here is part of the door - the keyhole, all these parts of the same object are deconstructed and reassembled in the format of a separate work. A piece, a fragment, a part, a piece of reality is torn out of reality, reality suffers a loss. The principle of "anti-fortification" allows you to work with any matter that the artist is able to "wrest" from the world. The numerical values used on these antifortexes are an additional element of objectification, they are not an inventory number, not a serial number, they are an ambiguously connected sign characterizing a property or a form of an object material fragment. The three-dimensionality of the thing is emphasized by the movable connections of loops with the conventional meaning of the image of the same things in two-dimensional space. The principle of anti-Forte is also in the color narrowing of the spectrum corresponding to the object or its surroundings, there is no pictorial background of a harmonious combination of colors, the color here is nominal and calls for a one-word reading of the color value of the object.