In the summer of 2003 Ophuis traveled to Srebrenica in the aftermath of the civil war, the fall of Yugoslavia and the following genocide. He spoke to survivors and gathered stories and images at the places where thousands of people were killed. He translated these experiences into big, raw paintings like Srebrenica I , showing a group of muslim man just before they will be executed. He creates the illusion that we are standing next to these men, in the shelter, looking out over the landscape. And Yusuf carries his executed brother Adem, or a Dutchbat soldier looking straight at the viewer, his eyes cold and harsh. Another is The fall of Srebrenica (2005) where two man dragging a dead body are startled by something invisible behind a barn.
With these images Ophuis appeals to a collective feeling of guilt, as a monument for our shame and inability. He made them out of anger for the political impotence: “I see Srebrenica as a national dept for which we are all responsible and for which we must all pay a price. We have not been punished enough, we haven’t suffered enough and we are not traumatised enough.”