Category Archives: Canada 02


From Facebook:


I wanted to add (but couldn’t) that Canada’s greatest export has to be the Trailer Park Boys!

In the beginning of the episode, Ricky mistakenly refers to Sasquatches as “Saskatchewans” while watching a documentary. Ricky is confusing the word Sasquatch with the Canadian province of Saskatchewan.

Although this appears to be a typical “Rickyism”, Ricky said Sasquatch correctly previously in the Season 2 finale “The Bare Pimp Project”.



Bubbles' Unequal Marriage04
“Bubbles’ Unequal Marriage”

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Boos Interpretation 25

(continued from)

The finish line is in sight and I don’t won’t to wander too far off the track at this point. The heart of the Tungaske town in “This Town Ain’t Big Enough” supplies a doorway into deeper dimensions. This goes beyond the Canadian hamlet itself by this point. In terms of Lisa Simpson or Lisa The Vegetarian, in order for the town to survive and thrive, she must make peace with those who are less advanced spiritually. The heavy meat-eaters of the town, the at least slightly homophobic ones, those that are more prone to violent aggression and just more backwards in general. All of these qualities could be embodied in her brother Bart, in kin with father Homer. As she did in the episode “Lisa The Simpson”, she must recall that the male part of the family has a defective gene which suppresses their progress. The female side is not affected. But as a true androgyny, able to transcend polarity to find true essence, true vision, she must apply it to a larger situation and embrace the male energy within herself and love it still. Only then can she ascend. Only then can the town be saved. The open doorway represents the possibilities of art itself. At the heart of it, Lisa is an artist and always will be. She is, moreover, a *heartist*.


So the question, “What is the ‘Big Book of Rust’?” must remain unanswered. It is several, maybe even a good number of books in one. It is “Winesburg, Ohio”, it is the history book for Tungaske, it is this collection of interpretation posts, even. That’s where we must leave it for now. The cabin with the Big Chimney must remain a heartfelt mystery.


Collage 30, a simpler work as stated, brings everything to a close. We return to historic Tungaske characters for this one, perhaps school chums or, otherwise, mates of some kind. To their left is a Bootle of Boos, which obviously doubles for alcohol. The Boos of the town, the hungry ghost spirits, have been bottled up/captured/rendered harmless. For now. Peter Gabriel appears to the right, head down. His body is that of Ray Davies, whose dismembered hand is placed in the inverted world making up the top of the collage. Is this the hand that unconsciously reaches for alcohol too early in the day? The rust colored sculpture seen on top of lake cliffs in “The Boos Brothers” returns to remind us of the feminine energy needed for completion. Perhaps the Boos Brothers did eat her there, render *her* harmless. Now the tide has turned. The Tungaske men of the past have a chance to live again in timelessness. But they must accept the female or all is lost.

And that’s it! I hope you enjoyed my interpretation of, by my count, the 30 collage works making up the Boos series and will come back for more down the road.

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Boos Interpretation 24

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Almost all of these elements find a match in the second half of the diptych, separately called “Enough”.


So, collectively, you combine “This Town Ain’t Big” with “Enough” to get the diptych “This Town Ain’t Big Enough.” Simple enough.

Instead of Sherwood Anderson’s tombstone, we find the author himself walking the streets of the village, hat in hand [12/18/15: as an aside here and in reference to the cabin directly behind him, an original name of Hayes’ Mouse Island was Hat Island]. He is also a match for Rutherford B. Hayes, since both famously lived in the same Ohio county of Sandusky. We find the remainder of the blue-green horsie in the sky to his left. One, perhaps two same sized dark horses from the original photo are in the street below it. The rest of Bart Simpson in outline appears on the flat part of the Tungaske tombstone, along with the middle part of sister Lisa. And the rest of Lisa can be found to the left. The siblings are hugging, just like they did in some of the works (example) from the similarly lengthed Gilatona-Lis collage series. And then we have the other half of “The Big Book of Rust” attached to Sherwood Anderson, with another small town author, Edward Swift, perched on top. Toy avatar Taum Sauk looks on once more.

So let’s take it all together again…


It’s clear now that Bart and Lisa also hug in the center of the diptych, one on each side. This is the uniting of the two parts, fusing “This Town Ain’t Big” with “Enough.” What is missing from one side is usually found in the other. Many images find balancing images on the opposite part. And with this in mind, I believe the cabin with the large chimney in “Enough” I forgot to mention before is meant to be a double to the pentagonal structure in “This Town Ain’t Big”, with the chimney represented by the projecting top of the latter.

So let’s go deeper into the picture. What is “The Big Book of Rust”? Is it the same as Anderson’s “Winesburg, Ohio”? Rutherford B. Hayes, besides appearing in a number of my collages prior to the Boos series, also has seen spot action as a fictional character in the Sunklands blog. There he’s, “the first US president to never be US president”, borrowing a line from Firesign Theatre’s “Everything You Know Is Wrong” album pertaining to Benjamin Franklin. But I go a little further to state that the presidency actually ended with him, and he took the country into an alternate reality about 1880 1874 where a triumvirate of people ruled instead (called the Sandusky Pact), or at least that’s how it started out. He is very diminutive in size (in contrast to reality), or about the same height as Hucka Doobie in “Comparative Heights”. He loves corndogs — here we think back to 12 Oz Mouse’s Fitz being guided by a homing corndog to Roostre that really jumps the show up into another level. And then there’s the crucial line in that show where Roostre later reveals to another character called Spider that he knows Booger Hayes. Booger is the same as Rutherford “Booger” Hayes in my derivative fiction [another aside: the maiden name of president Hayes’ wife “Lemonade Lucy” was *Webb*]. There are actually many other links we can bring in to support the verisimilitude of this Booger Hayes, like the fact that Hays County, Texas contains conjoined 1450′ Lone Man/Lone Woman peaks near its center (Roostrer is stated in the show to know the reasons behind the creation of dual sexed character Man/Woman, collaged into my “2 Fer 1 01”), and, moreover, a historic place named Rooster Springs *and* (formerly) a production company called Rooster Teeth most famous for creating the “Red vs. Blue” machinima series (in Buda).


These two Hays County “Roosters” apparently have nothing to do with each other. I would propose their strange entanglement points to 12 Oz Mouse’s Roostre instead.

I use to interact with a guy who dominated a former Yahoo board with his vast knowledge and stories about strange entanglements more commonly called synchronicities. He often drew “The Simpsons” into his woven tales; he was a big fan of the show. He lived in this Hays County at the time. We briefly discussed such map related synchroncities as his small hometown of Dripping Springs being first settled by a man named Fawcett, like a dripping or leaking faucet, then. We had some friction, and I regretted that later on. I distinctly remember him describing my first lengthy attempt at collage interpretation (Lime section of “Floydada”) as indecipherable. I’ve felt his spirit at times while working on various synchronicity related art and attached analyses since then. He died from an apparent heart attack in his Marble Falls home several years back.

And of course president Rutherford B. Hayes owned Lake Erie’s corndog shaped Mouse Island, which his 20 Century descendants drove darts (boats) into. Hayes’ Vice President was William Wheeler, seen in Boos collages 12 (and 14) trapped inside the black half of a yin-yang sphere. Hayes was essentially his boss, harking back to the images of Boss Moss (etc.) from early in the series.

Then there’s the cabin to deal with…

Mouse Island cabin, Lucy to right, R. B. to left.

LOST island cabin. Who’s in the chair now?

US Chimneys.

(continued in)

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Boos Interpretation 23

(continued in)

Okay, so here we go. Final stretch (!). When turning around in our steps from the diptych “2 Fer 1” on the 4th and top floor of the Boos gallery, this is what we are confronted with on the opposite wall…


Another diptych as I’ve stated, and one called “This Town Ain’t Big Enough”. As with the preceeding collage and also several other in the series, the base is formed from antique photos of Tungaske, this time of the town’s main street taken sometime in the early 20th Century. Here’s a website that shows the used photos.

This is the base for the left side of the diptych, then…

… and here’s the one for the right hand side.

So in looking closer at each photo, you’ll notice that the same side of the main street of town is shown in each case, but looking from opposite directions. You can tell this for sure by the presence of a prominent sign for a hardware store in each. So this is a little different from a lot of my other collage diptychs in that the left side does not directly continue a single base photo into the right side (or visa versa). Instead we have mirrored images, which brings to mind this:


The two photos are roughly cued to each other by matching up the horizon lines, and then, more precisely, by a similar single white line running across the road in the foreground of each, probably marking a walkway — but two different ones, if so. Then the left photo is copied, reduced by 50 percent, and inserted between the two to help bridge them together. That’s our foundation.

What’s then overlaid on top of the foundation? The larger building in the center has been altered by the introduction of a Tungaske grave image here…

… namely the part of the upright monument seen in the photo. This becomes the bottom of the building, making it pentagonal shaped and perhaps hovering in the air a bit. Looking closer, you’ll notice that a smaller version of the same building appears to its immediate right, but otherwise unaltered. When composing the collage, I envisioned these as like two gunslingers of the old west in a standoff, with one perhaps exclaiming the cliche movie line: “This town ain’t big enough for the both of us.”


So there’s the source of the title. As the collage evolved, this idea sort of fell into the background (literally), as new images appeared.

And we’ve visited the grave site before in the Boos series. It’s the same one with the rust colored book cemented to the top of the monument, unseen in the above photo. We first find it in “Goodwater Goodland 01” and then in “Goodwater Goodland 02” as well, but two different halves of the book. In the present work, we also find two halves of the same book, but this time split down the middle and not segmented. And just to complete this particular addition, we also have the flat part of the monument appearing on opposite sides of the diptych, or both the lower right and lower left hand corners.

Let’s deal with each side of the diptych separately for a bit. The left hand part is individually called “This Town Ain’t Big”, primarily referring to the diminutive size of Tungaske now.


The base photo presents a gathering of horse drawn wagons. Is some kind of race in progress down the streets of the village? Anyway, more a couple more horses have been added in now, seeming to emerge from the bulging suit coat of Rutherford B. Hayes, our 19th president and who served from 1877 to 1881. They, and the horses behind them in the collage, seem to be heading toward the Tungaske tombstone, but with a smaller, more irregular monument taking the place of the original upright one. This becomes the grave of “Winesburg, Ohio” author Sherwood Anderson.


Blue-green horsey legs appear to its right, and from the same horse we find in both sides of “2 Fer 1” just examined. We find more blue-green tinted legs in outline form in the lower left corner. These are of Bart Simpson, rambunctious brother of Lisa in “The Simpsons”. And you can see the outline of the top of his yellow head just below the pentagonal building above him. The middle part of the body is missing.

In the air directly above Hayes is found the right side of the Tungaske cemetery book, which is also the archetypal “Big Book of Rust”.

(to be continued)

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Boos Interpretation 22

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While I’m not sure when the idea entered the picture, er pictures, I decided that the opposite perspectives for the 2 collages of “2 Fer 1” had to be kind of in synch with each other. This means that objects appearing in one had to either appear in the other, or else be explained away as hidden by something. We’ve discussed how in “2 Fer 1 02”, the absence of 12 Oz Mouse’s Man/Woman and toy avatar Taum Sauk seen in “2 Fer 1 01” could be explained this way. But at the same time, 2 *new* characters shown in “2 Fer 1 02” that don’t appear in “2 Fer 1 01” must be explained in similar ways, or Mr. Bean and golfer Tom Kite. If we compare the two collages…


… it’s *possible* that Marge’s hair in 01 hides both Mr. Bean and Mr. Kite in 02. Or it’s also possible that Mr. Bean is hidden by Marge’s hair and Tom Kite is hidden by the blue-green horse. Anyway, that’s the general idea: that the perspective between two must work in a somewhat plausible way.

What is the bigger meaning, then? Sometimes two people can view the same general scenario from opposite perspectives (perhaps one is calm and the other agitated, for instance) and come away with different memories and meanings. For one, a certain relationship with a person or object will be magnified in comparison to the other. It’s all relative. The concept draws ideas from cubism, where the artist attempts to capture all angles of an object like a vase full of flowers or a woman playing a mandolin. Another comparison can be made to the elephant in a room full of blind people, where one holds the tail and thinks it’s a rope, the other holds the trunk and believes it to be a tree branch, and so on.

In a bigger picture, the dual perspectives of “2 Fer 1” is a microcosm of sorts for the whole of the Boos series, or at least the Tungaske laden aspects that kick in at collage 10 and continue until its end. I’m looking at this artsy Canadian hamlet from all sides, trying to figure out its inner meaning; peer into its heart of hearts. Any one collage provides only a slice of the total — it’s only when you attempt to add them up (read: these *interpretation posts*!) that a true representation begins to take focus. And I think in this topmost, rather cramped room of the Boos gallery is where it all comes down. We are *standing* in the room with the elephant itself now, if I may be allowed.

With that in mind, let’s move to collage 28 of the Boos series exhibited on the next wall, a shorter dimension of the rectangular room holding correspondingly simpler works. I call this one “All Together Now”, and up until about mid-way through my interpretation of the series as a whole, it represented the terminal Boos artwork.


We have the reappearance of the Tungaske baseball team from “Bitter Rivals”, coupled not with flowers this time but a team of guitar players instead we’ve also previously seen in the Boos series (collage 3: “The Rock”). And they’re “all together now” instead of on opposite sides of the picture — a co-mingling. Two groups of players, then, one from sports and one from music or “the arts”, with Texan writer Edward Swift, feet resting on baseball bats, sprawled out between them. We’ve seen Edward a number of times before in my collages, and I’ll give an example here of the final collage of the Embarras series coming earlier this year.

collage 10 of the Embarras series


As I describe in an analysis of the collage at the time, perhaps cryptically in retrospect, Edward Swift is combined with an image representing Kate Swift, a character in Sherwood Anderson’s “Winesburg, Ohio”. As Sherwood shows up in the next collage, along with E. Swift once more, let’s just move on to that one. The diptych “This Town Ain’t Big Enough” is where it all hangs out for the Boos series. If we don’t succeed in peering into the heart of hearts through that perspective, then our mission is incomplete. And of course we can’t succeed completely, since seeing from all angles at once is impossible in practice. It sometimes pays considerable dividends to try, though. Moving on…

(to be continued)

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Boos Interpretation 21

(continued from)

Up we go to the top floor of the Boos Gallery via a teleporter again. In the room’s more confined space, viewers are confronted by what amounts to two diptychs on opposite, long walls, both rather unusual in design in comparison to others of this kind I’ve created. These are the only 2 multi-panel works of the Boos series. On the 2 perpendicular, shorter walls are hung smaller, simpler works both based on more antique Tungaske photos. And the 2nd and last diptych is also based on same.

Let’s start, then, with collages 26 and 27. Here’s how they appear in the gallery…


The unusual aspect of this “diptych”, collectively called “2 Fer 1”, is that it shows the same 2 older Tungaske buildings, even most of the same collaged-in characters placed around these buildings, but from opposite directions. We’ve seen these similar white clapboard/ green roofed structures before. They appear in the background of “Comparative Heights” two collages back.


In “2 Fer 1 01”, we’re simply changing angles a bit and zooming into the matching buildings. We have a former school of the town on the right, and a former church to the left. Both stand on the same property, which at present time is up for sale. Like with all the miniatures of the Boos series coming before it, I used photos found on realtor’s sites as a base to build up from. I didn’t alter the dimensions of either of the two selected photos for the collages.

“2 Fer 1 01”

The 2 tall green alien thingies of “Comparative Heights” have now disappeared or either moved off camera to the right. In their stead appear new images. We have, front and center, the head of Marge Simpson — who is, of course, Lisa’s mother in “The Simpsons” show — atop a female human body of taller dimensions, it seems. I believe this represents both Marge the mother and Lisa the daughter in one, perhaps when Lisa is all grown up and a mother herself. Two her left (our right) comes a blue-green 6 legged horse that we’ll also see in the second diptych of this floor. Here it trots on the boundary between shadow and sunlight, but its body remains shaded. Contrast this to sun bathed toy avatar Taum Sauk sitting on a rust colored car to Lisa’s right. Bright vs. shade, then; light against dark. Also in the foreground (far left) is another 12 Oz Mouse character we first saw in Collage 03 (“The Rock”), who again appears in female form here but is actually half man, half woman, harking back to Lisa’s androgynous state. She appears to be in lit the sun as well. And then two more collage-in images appear in the background of “2 Fer 1 01”, which we’ll see better in the second part of the dipytch. These are Baker Bloch himself, alongside a reclining Chef Dick Halloran culled from the epicenter of The Shining movie.

In “2 Fer 1 02”, we’ve merely swiveled our viewing angle basically 180 degrees and moved it to the edge of the woods just behind Baker Bloch. From this adjusted angle toward the old school and church we see most of the same objects from “2 Fer 1 01” but also a couple of new ones. There’s of course Baker Bloch and Dick Halloran again in the foreground, then we can spy the blue-green horse in the background, which appears to be in the same position as in “2 Fer 1 01”. Then Marge headed woman stands beside it still, but with her blue hair queerly merged with the long snout of the blue-green horse. Both she and Halloran still face the camera, as if they’ve swiveled around in position with us. Then absent from “2 Fer 1 02” is Taum Sauk and 12 Oz Mouse’s Man/Woman character with the red ball, apparently hidden from sight now by the rust colored car and white clapboard schoolhouse respectively.

“2 Fer 1 02”

The new characters of the second part of “2 Fer 1” are Mr. Bean, positioned near the center of the collage, and then former PGA golfer Tom Kite in the right foreground, wielding yet another golf iron of the Boos series. In fact, Mr. Kite is famous for his iron game, which I only learned about after creating the collage.

In his prime Kite had few peers with the short irons. In 1993, Johnny Miller referred to Kite as “the greatest short-iron player the game has seen.


(to be continued)

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Boos Interpretation 20

Let’s temporarily skip further discussion of “Comparative Heights” to move to the 25th Boos collage, called “Bitter Rivals”. To me this seems to be an even simpler work, not far in spirit from the miniature but larger in overall scale. The scene is clear. We have an old Tungaske baseball team returning to the right, although I’m not sure we have the same people represented. To the left we have the same picture of the team blotted out by red-violet flowers that appear to be pansies. These are the “bitter rivals” of the title, fronting a beautiful Tungaske sunset seen from approximately the same location as that of collage 14 (“The Unloading of Bigfoot”), or on the western edge of the town very near the artist’s house depicted in collage 11 as well. I believe those are even some of the same trees represented.


We’ve already associated this artist with Lisa Simpson or “Lisa the Vegetarian” through evidence gleaned in collages 19 through 23. Appropriately, we have the return of Lisa Simpson for the present collage, appearing in outline form between the two “rivals”. But, importantly, the outlined is doubled through inversion. Lisa cannot side with either team but, like the setting sun behind her, has to remain neutral. As Lisa has also been directly associated with a setting (or rising) sun in collage 22, we must assume the same here. What are the rivals? Since the flowers are culled from an advertisement for the Tungaske cemetery, they represent the dead of the town. And since all the players to the right are in all likelihood deceased now, the collage weaves a tale of past (living) colliding with present (dead). Tungaske is a dying town in that the population slowly seems to be trickling away. Again, the dead threaten to rule, vanquishing or “blotting out” a modern rival, perhaps perceived as johnnies-come-lately. The fight is between past and present, with Lisa standing between the two.

The heroine of our story does not appear in “Comparative Heights”, but her image is the last I edited out of a final draft for that collage. I decided to include an excerpt from this penultimate version as collage 25.5 of the Boos series which I call “Q Girl”, bringing Lisa to the forefront at last and not hidden. Her signature lemon tags along.


Per the title, she stands in the “Q” of the delineated “Q Street” from Google Maps’ Streetview. Given that Dorothy’s upraised arm in the overall collage points directly at mystery writing in the sky that seems to spell out a more derogatory word for “queer”, we can also assume that “Q” stands for the same. This may be a kind of coming out moment for the girl, or a realization at least of her gay or, more likely, bisexual nature. This has antecedents in “The Simpsons” show, where several times it is hinted that Lisa is a lesbian.

In the episode “Holidays of Future Passed”, a montage of photos were featured to show a glimpse of whats to come for the Simpsons family. Lisa is shown intimately holding hands with two women in one photo, then with a different woman in another photo.

I’m also reminded that the flowers in “Bitter Rivals” are pansies, which is another slang word for “gays”.

Drawing further back, Lisa Simpson represents the androgyny or two headed rebis:

In alchemy, androgyny is a symbol of immortality, transcendence and totality. It is the triumph over the deceptive duality resulting from the creation of the universe. It also stands for the merging of the selves, the triumph over mind and ego, and the accord between sameness and diversity, particularly duality.

“Q Girl” provides a summary point for the floor 3 collages of the virtual Boos gallery in Collagesity now, a period to their sentence. But we still have one more, smaller floor to examine. Lisa leads us upwards.

Nautilus City


(to be continued)

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