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Compositionally, Poret opts for unusual high angles (see also p. 9), displaying here the workers’ mass massacre from a peculiar perspective constructed from a bird’s eye view (such a vantage point is not realistically possible even from a neighbouring tower since the artist’s presumed disposition is directly above the tram rails). In effect, such artificial conventions provide clever illusions and a sense of historical perspective when reflecting on the events almost a decade and a half old.

A crucified, Christ-like position in of one of the dispersed strikers, singled out in a blue blot, lying in the left bottom corner of the picture