I'm not sure where my collage is going, it's developing so many layers...perhaps it will end up as a thought provoking tea-towel or a mind-map for absurdist writers.
I think the colour-scheme in this hexagon was subconsciously influenced by David Lean's
Lawrence of Arabia. I watched it the other day, wishing I had a sketchbook with me to make notes. The cinematography is so elegant; nearly every frame fits naturally into the golden ratio without feeling contrived.
I've been reading the recent biography of J. D. Salinger and it's like unpicking a load of bad stitches to reach the fragment of actual material buried within. If it wasn't a precious library book I'd be tempted to tip-ex out all of the opinions. That would probably amount to 500 blank pages. Sometimes the treasure-hunt is what keeps you going though. The factual parts are worth it once you get closer to them - especially his war years, carrying with him the first 6 pages of
Catcher in the Rye during the D-Day landings, meeting Hemingway in the Ritz after the liberation of Paris, being among the first soldiers to liberate a concentration camp.
I think its the same thing I love about his story "
Seymour: An Introduction"...so many critics hate it for its rambling and the ineffectual way in which Buddy tries to describe his dead brother. But to me that's the beauty of it. It's always impossible to describe someone who means the world to you. One of my old art tutors once told me he was haunted by not being able to picture his father's face after he died. But things like that tell you how precious that person was, how close they were, how familiar.
