In Part One, after this introduction and two prefatory chapters on looking at photographs and the idea of figure and background, I present my painted responses to a variety of photographs and prints that I have introduced into collages. I hope to provide brief yet informative interpretations of the images. In explanations of devices and symbols in a collage, I call attention to features of the introduced image that I have reiterated in the surrounding painted ground, as I have in the white shape of the smoke stack, or, in spite of my doubts about a too literal analogy, as I place a photograph of a human heart in the center of the white engine to see if I can make it work metaphorically with the fire at the center of Turner’s black engine. Again metaphor is not limited to literary embellishment, but is considered fundamental to the process of understanding any concept or feeling through imaging and correcting contexts and interrelating meanings -- seeing one thing in terms of others as we process prehensions. To me, the spatial framework of whitish tubes in the collage is intended to suggest the implosion of the connecting and interrupted thoughts that I experience while responding to Turner’s engine. I describe these responses and my expressions of them – that the tubes also suggest bones, hands, and creatures – to represent the unifying body-mind that underlies all feeling and thought.
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