The collage is laid out according to stars that are hinted at in both the boulder that Sisyphus is rolling, but also in the window. Tracing Sisyphus' ankle up to the top of the curtain, then down to the forepaw of the dog, one can then go up to the two sides of the curtains and end back in the center at the hieroglyphic beast.  The beast is representational of fears. The dog of self loyalty. Behind the hunched boy is a poster declaring a seminar on the heinous sin of self pollution, masturbation. This is a metaphor for self absorption. The collage is a representation of the internal musings of the hunched male who is experiencing a despair that can not be articulated, but only agonized over. It is indicative of the repetitious assaults one can make against oneself that lead to a distancing from action through self absorption to the extent that one is placed, seemingly, outside of time, and yet affected by the specter of mutability inherent in the passage of time (Thus the specter of the  old man leering down from the opposite upper corner of the collage). The black figures represent a sense of higher understanding, but also the inability of action, and the harbingers of time; The silent watchers who record ones life. The higher self can only witness the events, neither approving or disapproving. The bells represent times passage.

The piece is about self absorption and the reoccurrence of futility through time, the recurrence of things out of ones control that force one into a reassessment of oneself, to whom one can only be true.  One must only face the fear of the future, and of mutability. It is also huge, approx. 36” x 46.”