Collage 15

Grayson (Dis/En)closure

Some preliminary thoughts on this…

I think this is an *attempt* at healing a painful situation depicted more in full in Collage 13, which contains the same central Jack figure. Here Jack is not as much a facade as in that earlier effort, but an enclosure. His face is not 2d but superimposed with a head that represents a montage of President Eisenhower (of Grayson County) and his representative to the grey aliens, supposedly. I assume the head speaks of aliens, then, and the truth behind them. The rock enclosure may represent a place of safety to do this. Many of the elements from Collage 13 reappear, including the colorful pea pod on Jack’s arm, and also nearby 12 Oz Mouse/Fitz. The Shining’s Wendy is new to the scene, although she appears in the Collage before this (14) and also the earlier Collage 9 (2 Wendys in that case). She’s culled from the famous scene 61, studied by me in some detail in late Dec. and early Jan. Jack and the rock enclosure replace the reclining Danny of that static scene. In Collage 14 before this, Wendy also stares toward Jack at the bottom of the picture — and there are 2 Jacks there, one replacing the head of McCartney and one (to its right) turning around to face Wendy, seemingly. The tiny, walking McCartney and Harrison also are transposed to Collage 15 from Collage 14. And also as in Collage 14, they walk across Jack’s chest/torso. The handshake between Starr and Coburn in Collage 14 may be the thing being spoke about by Ike/Ike’s Representative in Collage 15. Why does Wendy look on and why is she cradling a giant corndog in her arms? This seems to represent a beginning of forgiveness. Acceptance of the corndog in the past. The evaluation is over, and healing must begin before any kind of integration can take place. The Wendy figure must own up to her part of the incident. Behind Jack and the rock enclosure is 2 fused pictorial elements from single movie synchs of the past, as Carrcass-10 represents the newest single movie carrcass, involving The Shining and it alone, in essence. We have Kevin from “Up” superimposed on Howl’s Moving Castle, with 2 eyes becoming 1 eye. Kevin and the castle become fused. They are direct kin to Jack because of the single movie carrcasses involved. Kevin’s body is similarly colored to the red rock of the rock enclosure — a rock temple, really. These rock temples, mid ground and foreground (1 and the same) might represent carrcasses, then, past (Up/Howl’s Moving Castle) and present (The Shining). The past has done its duty; the present still has some stuff to say, apparently. Grayson information. Military industrial complex stuff. The golden, upward path in Collage 13 transforms into the red, downward path or passage in Collage 15. Red is pain. Red is also information, painful in style. There will be an attempt to understand.

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February 27, 2014 · 1:16 pm

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