Younesi’s paintings prepare a context in which the characters and creatures live an eternal peaceful life in the frame; though it is not the whole story. If we look more precisely we would find out that the cheerful players who play wind instruments like Balkan gypsies, are standing at the bottom of the ocean. Though huge sharks passing them by quietly and there would be no bloodshed, but there would also be no sound coming from those instruments; there is nothing but bubbles and the continuous sound of suffocation! String orchestra and classic singers are also performing under the water; while a herd of zebra is surrounding them. In another piece imperial soldiers riding horses as if they are executing the marsh of victory or royal welcome; with no instruments on their hands while wearing clown hats; arrayed in front of a 17th century palace that hardly exceeds the height of horse’s legs. This jubilation happens in pure placeless-ness; in a sand-bed in which the horses are sinked to the knee, head downed and therefor have not the ability to step forward. Till we look at these works as an outsider everything seems beautiful and full of peace; but the moment we step in the paintings world everything seems upside down. What happened to Noah’s Ark? This land is no longer a safe place in flood but somewhere like Pinocchio’s amusement park; where there is sheer happiness but there also is presentiment of imminent nullity! We may easily call what happens in Yonesi’s paintings «the death of hope». This colorful world with all its seemingly peaceful human and animals, is like a purgatory that despite having all heavenly elements, the doors of «hope» are closed forever in it. It is obvious that without «hope» mirth pales and all those smiles and dances and happiness, turn into a lifeless body of humane gestures: signifier without any signified!