And then in the 10th collage of the Boos series, called “Goodwater Goodland 02,” we have a direct continuation and also *inversion* of the central images of “Goodwater Goodland 01” coming before it. The Tungaske mural is now seen as a *whole* and not in several parts, albeit with rectangular holes where the smaller differently angled pictures have been removed. The inverted image is, however, still superimposed over the same rusty looking funerary book found in the town cemetery.
It’s a very simple but startlingly effective work to me. With this mere single addition, a cemetery monument has transformed into an alien face, which I originally dubbed “The Martian”. We have gone quite a ways now from the relative rawness of the first several collages of the series, and have seemingly latched onto a newer, more powerful artistic energy. I identify this with the energy emitted from the town of Tungaske itself, an artistic hamlet after all. I didn’t really grasp this probability until after creating “Goodwater Goodland 02” and then doing some subsequent research.
I could have stopped here in the series, happy with the transmutation of base elements of collages 01 and 02 into a new form with the inversion of these Tungaske core elements from 9 into 10. I’d symbolically flipped around the tajitu sphere appearing in 9 from yin to yang, seemingly.
Many of my collage series come to a halt with the 10th work, after all, including the 3 that appeared before this (Sam Parr, Embarras, Stonethrow). But it was destiny that I forge ahead in this case, the first time this “extension” has happened since the Falmouth series unfurled about a year and a half ago now. Boos was destined to contain around 27 collages as a whole by present count.
Missouri would not appear again in the series. Tungaske has taken the upper hand.
(to be continued)