Boos Interpretation 06

(continued from)

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In the 9th collage of the Boos series, entitled “Goodwater Goodland 01”, we return to a Missouri setting, with the base photo being of Mina Sauk, highest waterfall in the state and located in Iron County. In an early draft for this collage, I simply superimposed a map of this county onto the 2 tiered falls, with the idea that both appear in two basic parts as you can see here…

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The rusty colored patch on the rocks of the falls just above the map acted as another tip to unite the two elements. Then in subsequent drafts the Iron County map was replaced by a “rusty” book I found in cemetery photos of Tungaske, Sask.: the two halves of the county become the two parts of the open book, which the falls pour into (edge) and then pour out of (spine).

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The book is also notable as being the first image from Tungaske that I use in the Boos collage series, following by many more. The link which led me to this tiny, remote Canadian village? It’s the presence of population places named Goodwater and Goodland in the western part of Iron County, and in the same township (Dent) as the aforementioned Buick and Bixby communities there. Googling images through the conjoined “goodland goodwater” names quickly brought me to this Tungaske cemetery. Among the many pictures online the rust colored funerary book jumped out at me.

In the images I also found this one…

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… and later learned that the name Tungaske itself means Goodwater according to some sources, thus its presence in the title of what is apparently the definitive history book for the community. But there’s more to the story than this. Check it out here.

The history book and the funerary book are now joined as one. I call the fictional synergy “The Big Book of Rust”. We may even quote passages from it later on.

Now to the elements added just a bit beyond this in the lower part of “Goodwater Goodland 01”. We have the return of a woman artist from the 2nd collage of the Stonethrow series, the one coming before Boos.

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In the present collage, she is again placing a round object into the white “eye” of a tajitu or yin-yang ball. I newly associated this with the Bigfoot art event, which took place in meantime. Namely it is the placement of the “iron smelting plant” to mark the center of the *yin* aspect of the marble race track, where it circles back around to head toward the spool table and complete its circuit. In the new collage, the sculpted eye she holds in the Stonethrow work is replaced by a similarly round sewer cover held down by a hand of Homeless Man (who himself appears in a subsequent Stonethrow collage).

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If we look closely, we see the sewer cover, although the same “size” as the pictured white eye of the symbol, is turned in a way that will not fit this eye. The artist even seems to hold the eye more than the sewer cover. This could refer back to the “seed” of earlier collages, which appears in 2 forms perpendicular to each other (car and car’s license plate). There’s also a good chance that the woman artist of “Goodwater Goodland 01” stands in for another female artist from Tungaske, associated with the same tajitu sphere in a collage we’ll be examining soon. But for now, something doesn’t seem to quite fit yet.

And then the final elements of the “Goodwater Goodland 01” — 3 images of the same wall mural — also comes from Tungaske, being placed over on the other image (funerary memorial book) from the same town and partially obscuring it. This could represent differently angled illuminations from “The Big Book of Rust” itself.

(to be continued)

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Filed under Bigfoot, Blue Mountain, Canada, Missouri, UmapS

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