In this series, I’m blurring the image by placing watercolours under milk glass. This gesture is a response to the impossibility of conveying subjective experience (for example, everyday life during wartime). Compared to dramatic depictions of death and destruction, the monotonous quotidian is an unpopular subject. The media seek to create visual and semantic clichés for discussing the territories hit by military conflicts. And yet, during such times banal boring routine becomes the most cherished thing. Culture does not have too many instruments for creating the image of uneventful everyday life. In literature and cinema, “the quiet life” begins after the story ends, after the end, so to speak. The quotidian, therefore, is pushed beyond the frame of the narrative. In "After the End", I use the frame and the glass to discuss my own personal “quiet quotidian”, transforming a frame from a dispensable decorative element into a meaning-forming mechanism.