Surreal Ending?
| colored pencil on matboard

The Surreal Series is about symbolism. Most objects have some meaning to me, and a few are described below.

The undulating floor: I love nature and I feel that people isolate buildings from nature. While my rooms are rooms, I love to blur the distinction between them and nature by making it appear as if the furniture rests on hills.  

The ceiling: There isn't one. Only the walls and furniture define the area as a room. Normally, the sky isn't shown either, but is implied as objects fade into the shadows. In this piece, notice the window in the bathroom and the mountains and sky behind the columns. The view from the bathroom window is of the conical pines of my one of my outdoor scenes. I love pine trees, and our live Christmas trees planted by our living room were the inspiration for this. The mountains ant sky are a major innovation in this piece because it allows the space to continue indefinitely.  

The surreal candlestick: This is the object that makes a piece a surreal piece a surreal piece. It has remained unchanged throughout the development of my series. This came to me through a divine vision (I got hit in the head with a chalice). 

The columns: The ionic columns in my pieces symbolize the strength and innovations of the earlier civilizations. Classical architecture has always fascinated me and, although I am currently using references to Mesopotamia in my art, it is one of my favorite ways to portray a building. The eye on the capital is a addition unique to this piece. Since things have slowly brought me away from my computer as a source of entertainment, I decided to replace the eye on the monitor with a pyramid (showing one of my new interests, ANNUNAKISM) and add it to each of the capitals on the columns (symbolizing just how much the Romans and Greeks, Persians, etc. could "see"). 
The little candelabra: This has been in my last three surreal pieces and is based on something we had on our living room table. 
The plate and glass: The placement is close to where I usually find such items at home, on the arms of the chair. The plate is empty because food is impure and organic; the glass is half empty (this is emphasized by the reflection in front of the empty top) to show my pessimism. Traditionally, all of my surreal pieces have had no references to living things or the fuel they burn (it et food; even the kitchen piece was barren). There is one exception in this piece that I couldn't weaken by having a second example such as the food on the plate. 

The exception is below. 

The worm-like, nude woman: Pure organic beauty is found in the human body. Framed by my window, the body illustrates how I could only view such splendor from afar (in dreams).

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