#583 The Intelligence

There is a scene in David Lynch's
Twin Peaks which replicates the
layout offered here. Not quite
the same — Lynch's characters 
seem to have more intelligence 
than these stereotypical burglars,
& the three-branched candelabra

that supports the women's heads
has been done away with & re-
placed by a minimal chorus line
of pink-clad busty Busby Berkeley
beauties. Add to that that the ex-
terior has been exorcised in the
TV shot. Is purely backstage, with

no window opening out onto an 
industrial landscape tinged in
pink, but it remains a Magritte
concept. & that is what the in-
telligence analysts seek to learn
from, the insights of the man
who brought the unreal to life.

#582 Image with a Green House 1944

In times of war, even
the mighty violincello
feels a need to hide.

Such a pity that they
didn't choose a more
subtle neighborhood

in which to conceal
themselves.

#581 The White Race 1937

No breasts, but two noses. We've
seen them before — or at least a
singular one. Then androgynous;
but with the accompaniments here
are much more feminine. It's the 
lips that give the separate pieces
gender, as they bridge the noses. 
Apart from those, one eye & one
ear. Not quite Lord Nelson, but
the ambition is there, & they're
gathered together on a navy blue
background. The whole kept out 
of the outside by a golden frame.

#580 Trois nus dans un intérieur

A girl's night in, or so
it seems. There's a movie
about that, but not about
life in a cubist setting. A
phrase from the movie —
"together we make up the 
perfect woman" — seems
at first look to have little 
relevance here, & yet the
setting has perfection in-
corporated in it. Light & 
shadow within the space.
A table on which cups are 
set. A bowl of fruit. Com-
fortable with their own &
the others' bodies. An an-
gularity to them that does
not seem to pierce the in-
timacy that fills the room.