Greenland 3
Here, we see what happens after the two lovers have entered the game; nobody speaks.
It is only by the relationship between the colors that the two subjective worlds communicate or not. The reader is invited to follow acurately what happens to the color, which has been simplified to flat and bold areas for this purpose. The color is the place where the unheard dialog should occur.
Dialog doesn't necessarily mean harmony or communication. Greenland is a narrative of mis-communication.
There is no psychology in Greenland. This is not yhe story of MR and MRs so and so. The characters can be just called masculine and feminine. They have no personal biography ; they are just the same stereotypes that you find in commercials or in Roy Lichtenstein's paintings, with even less expression, more absorption.
Sometimes, though, there will be a correspondance between the masculine and the feminine. Here, for instance, the smoke of the teacup is like the sky above the cabin and that creates a metaphor. On other occasions, the figure which will relate the two worlds will be a metonymy. And when there is no connection, we will have a contrast, or what we can call an arbitrary juxtaposition of elements. It is the same thing that we may find in a Japanese Haiku: two sentences that only the readers imagination can render relevant or absurd, or more lightly, comedic.
Paris, 2008, April, 2nd
It is only by the relationship between the colors that the two subjective worlds communicate or not. The reader is invited to follow acurately what happens to the color, which has been simplified to flat and bold areas for this purpose. The color is the place where the unheard dialog should occur.
Dialog doesn't necessarily mean harmony or communication. Greenland is a narrative of mis-communication.
There is no psychology in Greenland. This is not yhe story of MR and MRs so and so. The characters can be just called masculine and feminine. They have no personal biography ; they are just the same stereotypes that you find in commercials or in Roy Lichtenstein's paintings, with even less expression, more absorption.
Sometimes, though, there will be a correspondance between the masculine and the feminine. Here, for instance, the smoke of the teacup is like the sky above the cabin and that creates a metaphor. On other occasions, the figure which will relate the two worlds will be a metonymy. And when there is no connection, we will have a contrast, or what we can call an arbitrary juxtaposition of elements. It is the same thing that we may find in a Japanese Haiku: two sentences that only the readers imagination can render relevant or absurd, or more lightly, comedic.
Paris, 2008, April, 2nd
Aucun commentaire:
Enregistrer un commentaire