Not yet (*sip*).
Category Archives: collages 2d
00390212
Filed under **VIRTUAL SL, 0039, 0212, collages 2d, Constantynople, Falmouth, Nautilus, Rank & File, Washington
“Doorpick”
“User,” he said, pointing. He knew who I was. Did I? Am I still Baker Bloch in the game we play that is Our Second Lyfe? Is that my primary avatar still?
Anyway, thanks to Pearl Grey for including this work in her most recent Wanderlust Art Truck show! Pearl’s blog here:
https://millionhappyendings.wordpress.com/
And you can teleport directly to the exhibit here:
Filed under **VIRTUAL SL, 0038, 0508, Art 10x10, Ashenlave, collages 2d, Corsica, Wheeler-Jasper
sleepwalking
heading inside for more boos (part 2 I suppose)
—–
“We ended up at the exact same spot we began,” spoke Hucka D., suddenly finding herself back on the bed beside Barry. “Exactly the moment we decided to leave!”
Barry checked his pants but he was okay. This was no dream. Not really. Not any more than anything else they’ve experienced since this here photo-novel began, 37 in a series.
Then he forgot everything, the whole trip to Lordsburg/Shakespeare. It is as if the text at the bottom of the state never existed; no subtitles. Nor the top for that matter (Brilliant again). Only middle now. Barry DeBoy was on his own again, Hucka D. choosing not to take part in this reality. His mother as well. There was no reason for him to stay.
(to be continued)
Filed under **VIRTUAL SL, 0037, 0301, Bogota, collages 2d, Google Street View, New Mexico, Willow Hill
wet one
Barry DeBoy with his latest work: “Does This Look Square To You Too? (Cancan Girls)”.
“No mirroring involved,” he adds.
“Hmm.”
“Do your worst,” he says to observing Hucka D. on the bed. She dutifully begins.
“Irma was in mother Isadora’s shadow at the time, joined with her at the hip as it were.”
“As it is,” Barry DeBoy automatically inserts, but then remembers the year is 1923. 1923 1923, he ruminates. Where have I heard that before?
“Irma wanted out from the shadow but that would come later. For now, for *then*, they were the Cancan girls, twinned dancers in this provocative production.”
“You are soo good at this.”
“I know.”
“Let’s go back to the lounge and talk to Hal about all this.”
Filed under **VIRTUAL SL, 0037, 0206, Bogota, collages 2d, New Mexico, Willow Hill
Aztec warrior (photo by Barry DeBoy, present)
Filed under **VIRTUAL SL, 0037, 0108, Bogota, collages 2d, New Mexico, Willow Hill
checking in with collage artist Barry Deboy (Mountainair)
I’m not sure what the new story will be but I’m pretty certain it will involve The Void, the place before birth, after death. The satchel contains secrets in its pages.
Nearby Baker Bloch stares into the water. Tough to tell if he is asleep or not. In a way he has to be — we all do. To even exist on this plain of reality. He dons the red cap of an artist again.
43 bucks should cover it for this wannabe cowboy of the plains.
Filed under **VIRTUAL SL, 0037, 0103, Bogota, collages 2d, Google Street View, Jeogeot, Middleton, Midlands, New Mexico, Willow Hill
00370102
https://en.wikipedia.org/wiki/East_Lynne
The novel was first staged as Edith, or The Earl’s Daughter in New York in 1861[1] and under its own name on 26 January 1863 in Brooklyn; by March of that year, “three competing versions were drawing crowds to New York theaters.”[4] The most successful version was written by Clifton W. Tayleur for actress Lucille WESTERN, who was paid $350 a night for her performance as Isabel Vane.[4] Western starred in East Lynne for the next 10 years.[4] At least nine adaptations were made in all, not including plays such as The Marriage Bells that “used a different title for the sake of some copyright protection.”[5]
As the more melodramatic aspects of the story became dated, there were several parodies and burlesques made, including East Lynne in Bugville with Pearl White (1914), Mack Sennet’s East Lynne with Variations (1917), and in 1931 the comedy East Lynne on the WESTERN Front in which British soldiers fighting in the World War I stage a burlesqued version of the story.[2]
“Westeasterners (open the book (1931))”:
Filed under **VIRTUAL SL, 0037, 0102, Bogota, collages 2d, Illinois, Louisiana, Missouri, Willow Hill
00360616
Little Big: what happened
What happened, Little Big?
triptych interpretation 02 of 02
Hucka D.: In 4b, like we said before, the boy at the tree with the Tintown sign looks down at the missing letter, the missing Y that makes it Tinytown, which it is. I should also say that Tinytown no longer exists, another victim of the pandemic. Like Sissy’s most likely.
Baker B.: Good. Mortons Gap is emptying of meaning.
Hucka D.: I think you want to bring up the 2 PLACEs.
Baker B.: I think that’s taken care of in the text of the photo-novel before, Hucka D.
Hucka D.: 2 PLACEs at once (Hucka D. presses). This is another pointer leading to the triptych. It all leads there.
Baker B.: Okay, good.
“Adventures in Tintown Part 4b of Tin”
Hucka D.: 4b, then. The people with the narrow woman from 4a, most likely her family, have their faces covered by white ovals. To their right we have a ring of ghosts, also with oval white faces or heads. You made the association, thus the triptych continues to the right and not the left at first. You insert the smallest Tintown sign in the darkness behind the ghosts and the whited out face people (in 4a), a mother and her child perhaps. Maybe the narrow girl is the same woman’s daughter.
Baker B.: One of the faces is round and not ovoid. Can you comment on that?
Hucka D.: This is the middle of another simple 2 part collage that you prepared in anticipation of the triptych, although you didn’t know it at the time. The middle head becomes round, and with two oranges eyes, it appears. That’s about all I can say about it for now.
Baker B.: Thank you. Then moving on, we shift from Mortons Gap Kentucky to Tin Town Missouri, from a batch of old photos by, let me see, Russell Lee, who is famous for such things.
https://en.wikipedia.org/wiki/Russell_Lee_(photographer)
Hucka D.: Pie Town, New Mexico, I note in the article. Pietmond.
Baker B.: Right. Blast from the past.
Hucka D.: Lets move to 4c, the last panel which will bring us back to the first.
“Adventures in Tintown Part 4c of Tin”
Hucka D.: Selves, you’ll notice, in the collage, not Self. There is more that one Self. There are 3 in this collage, according to size. The second is 61/100ths the size of the first. The third and last is 61/100ths the size of the second. Although these 3 come in 5 bodies, there are only 3 heads, matching the 3 Selves. Two have been cut off. You sure that Shelley is okay? She’s very important.
Baker B.: I know — extraordinary. She’s okay.
Hucka D.: What are these Selves, then? You find them in Tin Town MO which originally was named Gold. Ronnie Self the rockabilly wannabe star who didn’t quite get there. But he lends his name to the Triptych. He too is part of this (process).
Baker B. (after a pause): The ratios seem important. If we assume a steady reduction, the first is 100, then the second is 61, then the 3rd would be 37.21 almost exactly (checks). No: *exactly*.
Hucka D.: Extraordinary.
Baker B.: Then the simple 2-n-1 collage Barry Deboy holds in the last post before you showed up for our interpretation, Hucka D. (Mortons Gap sign/ “Does this look square to you?”), is the last element inserted here, cutting off 2 of the 5 heads…
Hucka D.: But adding 2 of its own heads (nutcrackers on sign). One obviously truncated (pause). You sure?…
Baker B. (guessing what the bee-man was going to say): Yeah, she’s all right. Anything else?
Hucka D.: I was going to ask you the same thing. Oh — Bat Boy. Zebrasil. Very important. Only the ZE remains (in 4c). Flying toward the First, the largest Self, the most immediate. You.
Baker B.: Thank you, Hucka D. And we’ll work on…
Hucka D.: … Amagon, yes.
Filed under **VIRTUAL SL, 0036, 0508, Bogota, collages 2d, Ebbert, Jeogeot, Kentucky, Middleton, Missouri
triptych interpretation 01 of 02
Hucka D.: I will forgive you for Amagon. The three lights. Wheeler.
Baker B.: Thank you, Hucka. So you are ready to begin?
Hucka D.: Yes.
“Adventures in Tintown Part 4a of Tin”
Hucka D.: Tinytown changed to Tintown. The missing Y is spotted by a boy in 4b. This is 4a.
Baker B. (clarifying): The boy at the largest of 3 such altered Tinytown signs. The one whose head is slightly cut off in the editing process as he looks down.
Hucka D.: Yes. The blade in the background? You didn’t get to that yet. Has Shelley regained her head?
Baker B.: Dunno, Hucka D. I would assume so. Since I have her active in another window opened up right now.
Hucka D.: What’s she doing?
Baker B. (checking): She’s in the middle of Extraordinary.
Hucka D.: Ahh, appropriate. Have you figured out what she is?
Baker B. (thinking back to 4a and the altered sign): Gold?
Hucka D.: Gold and silver. And platinum. There’s something else coming up.
Baker B. (after a pause; he’s looking in Extraordinary): Okay.
Hucka D.: Are the 3 lights there?
Baker B.: Yes.
Hucka D.: Can you close the window? (Baker B. closes the window) Back to 4a (pause). Obviously Spider has returned. He’s inside the collages now. For real. He’s alive (inside of them).
Baker B.: Yes. Fascinating.
Hucka D.: So that’s one thing predicted in these photos. Can I say these photos are all taken from Tinytown or thereabouts, on the outskirts of Mortons Gap?
Baker B.: I think you just did.
Hucka D.: Kentucky, the actual one, the real one. Not Mortons Gully in Our Second Lyfe. That’s just a 1:1 match from the Oracle.
Baker B.: Good to say (again).
Hucka D.: Not much there otherwise. Sissy’s is closed. Shame. She just wanted to fit in.
Baker B.: Or, alternately, she just wanted to be included.
Hucka D.: Put a picture up of what we’re talking about.
“she just wanted to fit in”
Hucka D.: Another simple collage — 2 part. Like all of them are. Until we reach the triptych which goes round and round… and round.
Baker B.: This is (in) Mortons Gap again, just to clarify.
Hucka D.: Right. (he pauses to look down at his hands; just yellow pollen covered balls, like at the beginning; he had regressed that far) Back to Tinytown which was changed or altered to Tintown. The narrow woman is interesting: one eyed, like Leela.
Baker B.: We call her Eyela.
Hucka D.: Right. She was set up as well (by the powers that bee). That led from the original altered photo, a simple 2-n-1, with the Y dropped out of Tinytown, into the triptych. The triptych was the goal all along. Another altered sign, I’ll note, in the dark backdrop behind her — less obvious; could be missed.
Baker B.: Yes.
Hucka D.: And the bat boy… but we’ll get to him in part 2. Or part 3.
(to be continued)
Filed under **VIRTUAL SL, 0036, 0507, Bellisaria, Bogota, collages 2d, Ebbert, Kentucky, Varmint Hills
Sunklands 