The title here from "The Prisoner", Patrick McGoohan's ambitious science fiction TV show that melded Orwellian themes with 60's pop fashion. In the show, it also carries with it, from the protagonist, at any rate, a "fuck you" as a goodbye, and so that double meaning applies here with my impending unemployment.
There is little explicit meaning (of which I am aware) in the individual frames, here, and the strip serves more as an impression of strong verticals, diagonals, horizontals ... all of which meet at the final brick wall (which is, coincidentally, a telephone). So that's a theme I got goin' on, and it was not consciously planned; I've only now, six months later, seen it.
Quite happy with this one. It really works, and I'm not quite sure why. I like the rumpled fabric on the headless figures in the first frame. It feels full and real. This was from an image of mannequins wearing that broad vertical (the style prominent in the series), and it's curious to me that disembodied clothing can feel more tactile and real than my poor attempts at depicting actual humans. The imperfection in the middleish spoke on the second frame also makes that frame. The slogan in the third is from the show, though it would have been a sharp eye who could have picked it up on the original run in 1967 when there was no freezing and rewinding of tape, DVD, or streaming. And the phone in the last...I had a similar phone as a teen: the hook switch and rotary dial were underneath. Setting the phone down disconnected the line. This model is from the series.
And so, that's the - unconscious - message. All solid direction leads to the brick wall of communication. And, as it turned out in the series (spoiler alert), there never is any escape.
The title here from "The Prisoner", Patrick McGoohan's ambitious science fiction TV show that melded Orwellian themes with 60's pop fashion. In the show, it also carries with it, from the protagonist, at any rate, a "fuck you" as a goodbye, and so that double meaning applies here with my impending unemployment.
ReplyDeleteThere is little explicit meaning (of which I am aware) in the individual frames, here, and the strip serves more as an impression of strong verticals, diagonals, horizontals ... all of which meet at the final brick wall (which is, coincidentally, a telephone). So that's a theme I got goin' on, and it was not consciously planned; I've only now, six months later, seen it.
Quite happy with this one. It really works, and I'm not quite sure why. I like the rumpled fabric on the headless figures in the first frame. It feels full and real. This was from an image of mannequins wearing that broad vertical (the style prominent in the series), and it's curious to me that disembodied clothing can feel more tactile and real than my poor attempts at depicting actual humans. The imperfection in the middleish spoke on the second frame also makes that frame. The slogan in the third is from the show, though it would have been a sharp eye who could have picked it up on the original run in 1967 when there was no freezing and rewinding of tape, DVD, or streaming. And the phone in the last...I had a similar phone as a teen: the hook switch and rotary dial were underneath. Setting the phone down disconnected the line. This model is from the series.
And so, that's the - unconscious - message. All solid direction leads to the brick wall of communication. And, as it turned out in the series (spoiler alert), there never is any escape.