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“Promised Land” March 4, 2009

Filed under: collage 10x10,Gallery at the Temple of TILE (Stephen) — baker Blinker @ 6:42 pm

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Hucka D.:

So now we’ve landed safe and sound in Michigan, baker b. Gill’s Pier.

bb:

Yes. Thank you for being here. This is obviously a contrast between Gill’s Pier and Pier’s Gill. Flat and pastoral in former case and hugely steep, rocky, and unsettling in latter. Standing Baker has climbed to the edge of Pier’s Gill and is seeming to admiring the magical view into its phonetic inversion, Gill’s Pier, with a dingo in tow.

Hucka D.:

The Dingo.

bb:

Crouching baker is interacting with a wagon that has “Pier’s Gill” on its side. This is to the far left on the collage. He has the angel of Michigan (?) in the wagon, the one Esbum’s head covered in the former collage of St. Michigan. The darker part of the rock that the wagon is situated upon is not from Pier’s Gill, though, but from Gill’s Pier, as is the background for the right part of the collage, beyond the stream. The wagon use to say Gill’s Pier but baker has perhaps rearranged the letters to make it Pier’s Gill instead, and, in sync with this, attached the dark rock to the actual Pier’s Gill in England. The wagon can now, perhaps, magically ascend the edge of that gorge to the top. Is, perhaps, Crouching Baker attempting to move the wagon to the top of the crevass to toss it over the top, back to Gill’s Pier in the right part of the collage?

Hucka D.:

You are doing a good job explaining “Promised Land”. I think you should rename it, though. (pause) Maybe.

bb:

The dingo way up on the cliff, at its top in this collage, is balanced by the fox at the bottom, just inside the Gill’s Pier territory. This seems to be a contrast of Pier’s Gill and Gill’s Pier themselves again. The opposition of fox and dingo has surfaced a number of times in the art 10×10, Hucka D. Just off the top of my head, I think of Yale 04, 05, and 06 in particular. Yale 04 may especially apply here, since the fox and dingo are both present in that one together, just as we have here.

Reversal of words in signs has just occurred in the Wheeler series with “Hunt City” in Wheeler 09 turning into “City Hunt” in Wheeler 10, the last of that series. I also think back to Rose Hill 09 and the two Rose Hill city limits signs on opposite sides of that collage. (pause).

Hucka D.:

What are those children and that guitar wielding green creature to the far right?

bb:

Like you don’t know: that’s an aspect of the promised land. Different creatures can mix and understand each other, lie down in fields with each other. That didn’t come out right, did it? Anyway, that’s the impossible that can happen in paradise. This would be…

Hucka D.:

…2051. In Gill’s Pier, then.

bb:

Yes. According to the Cross of the Lamb glyph. [delete name], of course.

Hucka D.:

The cliff and gulch represent the gap between present and future. Crevass of time. Right now, if Standing Baker at the top would attempt to enter paradise, he would merely fall to his death?

bb:

There’s an interesting, powerful triangle of diminutive images forming around the rocks and cliff, Hucka D. This would be almost an (tilted) equilateral triangle, formed of Crouching Baker, fox, and then both Standing Baker and dingo at the apex. Do you see it? The triangle stands out because there are no other figures in the center of the collage; although I attempted to insert one or two or three there, I decided to remove them later on to emphasize this triangle. You have the opposites of Crouching and Standing Baker on one side, and dingo and fox on the other side. The apex unites these two complements or opposites: dingo + Standing Baker. Crouching Baker and fox also face west, while Standing Baker and dingo, united at the top, face east.

Hucka D.:

What is Crouching Baker doing to the wagon? Is he pushing it? Pulling it? Or manipulating it in some other way?

bb:

He seems to be either pushing or pulling the wagon.

Hucka D.:

Maybe, having rearranged the sign to spell Pier’s Gill instead of Gill’s Pier, he is now attempting to drag the wagon onto the actual Pier’s Gill cliff just to its right — up the incline, then. This is because it doesn’t belong to Gill’s Pier any longer, or the blackish rock it is standing on from Gill’s Pier. I think he’s attempting to move it to the east, then, baker b.

bb:

Or maybe he just rolled it down off that incline and is going to change the sign back to Gill’s Pier, to match the new location in the collage. Inverse of what you’re talking about, then.

Hucka D.:

Interesting. Could be either one. Or both.

bb:

Maybe it means that Gill’s Pier lies in the past, before Pier’s Gill, as well as the future. He must make amends with the past before passing into the future, the promised land.

Hucka D.:

You must be square with the past.

bb:

That triangle of small images is very interesting, indeed!

Hucka D.:

The fox may already have that knowledge. Fox seems to be the same as Crouching Baker, but perhaps in two different places in time.

bb:

Or maybe in almost the same instant of time. When Crouching Baker rearranges the wagon signs back to Gill’s Pier, he instantly, through the magic of this triangle, changes over to the fox *standing* in Gill’s Pier. Just on the edge, but clearly within the grassy meadow of that Michigan location.

Hucka D.:

I’m thinking that the past here may represent pre-art 10×10, and then, at the same time, pre-[delete name]. Pre-Pier’s Gill, in other words. Before the ascent to the top.

bb:

Which makes it the subject matter of the Oz/Floyd Paradox document, Hucka D., I’m guessing.

Hucka D.:

I think so. You must be square with the whole Dark Side of the Rainbow, Rainbow Sphere, SID’s 1st Oz relationship before moving on. The past secures the future.

bb:

We should add here that although this is the first appearance of Gill’s Pier in the 10×10, Pier’s Gill has come up before. Again, I think here especially of Oblong 06, and also, to a lesser degree, Oblong 18.

Hucka D.:

Let’s, then, at least take a look at “Santa Speaks” (Oblong 06).

(pause to take snapshot of image at the Gallery at the Temple of TILE)

snapshot932_001smaller

bb:

I am unsure of the relationship between the newest collage and Oblong 06, although I did want to insert another one of those pictures of Santa Clause into Jasper 04. Just didn’t seem to fit — perhaps walking up the Pier’s Gill incline, as he is in Oblong 06.

Hucka D.:

The triangle overpowered, though.

bb:

I had an image of Truman with his suitcase there in-between Crouching Baker and Standing Baker on that narrow ridge. But I had to delete it.

Hucka D.:

It is a phantom image, still, in the overall animation of the collage. Past to present to future.

bb:

We better end.

Hucka D.:

Say thank you (smiles).

bb:

Thank you!