Boos Interpretation 15

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For the twinned collage 21, we return to the miniatures. In “Haunted By Ghosts of Collage Series Past” above, we have “Standing Baker B.”, feet framed in a diagonal of light, staring out a window while “Green Lego-Like Dude” removes his head against the adjacent wall. Below and between them is a large green box with the word “Oblong” written on it at a diagonal, clear reference to my 2007 collage series of that name, and which also contains the same image in at least one of its collages, as I’m recalling.

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Oblong 11: “The Box Oblong”

I’ve long regarded the Oblong series as the best one from the “Art 10×10”, and perhaps my best overall, or most consistent. But it’s hard to say that with the giant 61 collage Falmouth series which has come along in the last 2 years, or even 2013’s Gilatona-Lis. Or even 2015’s Boos (!). All are now larger than any from the “Art 10×10”. And that brings us to the point here. Oblong is composed of 20 collages. I’m already at collage 21 in the Boos series by my counting. Once again, I’m aware of extending myself beyond the old series of the “Art 10×10” in a tangible, measurable way, and Oblong in particular. My collages seem to form faster these days, obviously aided by the energy of the blogs. But I’m also understanding the flow I enter better.

On the other hand, Oblong was created at the peak of audiovisual synch making for me, another type of collage. I guess I can summarize it by this: Am I beyond my peak and not fully aware of it? I don’t think the individual collages are as much enclosed works of art as they were in the “Art 10×10”. And I blame (or praise) the hybrid “Baker Bloch in England” from 2010 for part of that. The Boos series, for example, perhaps owes as much to the latter as the former. What’s the difference, then? Why is “Baker Bloch…” considered a hybrid and not a collage series?

These are very meaningful questions, but I’ll leave their full probing until another day. Safe to say here that I was aware, with a bit of a pang of guilt, that I had once again “gone beyond” Oblong, or “lapped it”. But had I *really*? I’m sure future collage series will help to shed more light on the very important subject of the individuality of any given collage vs. its placement into a greater whole, as in a series. I’d probably add here that I still consider the “Art 10×10”, as a *whole*, the best art I’ve accomplished. I think.

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“Can You Be More Pacific?” is another cute miniature, this time featuring 12 Oz Mouse’s Peanut character again talking or interacting with his “box double”, as he has done on other occasions in my blog. Like in collage 30 from the Falmouth series, a more complex work and also part of a dyptych…

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In the same room with these doubles in the present collage appears a silver-y fish on the floor, apparently dead, and also a hummingbird hovering in the air directly above it. This seems tied into the idea of death (fish) and then resurrection (bird) once more. And I should add that the floor in the next room reminds me of the patterned zig-zag one of David Lynch’s Black Lodge. Could there be a direct relation?

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What of the mysterious red stain on the floor below Peanut? Scene of fowl play? And then there’s a kind of hole like thingie to the left. Also: The Black Lodge is filled to the brim with doubles, including one for Agent Cooper himself. Each good entity is paired with a corresponding evil one. Is Box Peanut the evil twin of Regular Peanut? We must move on, but I do like the way the wall framing the two characters is the same sky blue color as them — even the darker green-blue of its right side precisely matches the hue of the drug darts sticking in Peanut’s back and helmet.

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Evil Dale Cooper, fresh from the Black Lodge and in dire need of a helmet himself.

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