The Return of Twin Peaks has been a spectacular feat of television in the midst of what is quite rightly called “the golden age” of TV. How, in the age of the “binge”, when almost any piece of recorded film is a few keystrokes away, do you hold the rapt attention of the most sophisticated audience in history from week to week?
Keep them guessing, maybe. Or in some cases, scratching their head.
According to what I’ve seen on social media, it’s Twin Peaks and Game of Thrones delivering on that classic “tune in next week” experience on TV; where cliffhangers and upheavals keep audiences on the edge of their seats and in circles around water coolers. It used to be sort of standard, but now it’s a rarity of anticipation that I’m savouring.
The Walking Dead, too – but I left that show somewhere back in the Prison.
Twin Peaks continues to fascinate in this regard because it’s not a Shakespearian tragedy full of war and politics and zombies (take your pick as to which of the other two shows I’m referring to); it’s more like a dream and a soap opera. A painting and a music video.
I’ve painted four illustrations in tribute to the show’s aesthetics already, and with the return, there’s been so much gorgeous Lynchian imagery to go swimming in I couldn’t resist doing another. As it stands now (part twelve only having aired a couple of days ago), Dale Cooper is still lost in the periphery – tangled in the curtains between worlds. Apparitions are part of the fabric of the show, and seeing Agent Cooper approaching the roadhouse alone while simultaneously walking the floor of the Black Lodge was where my heart was after watching him sleepwalking through memories of black coffee and cherry pie for so many episodes now.
This was the third of my live paintings; broadcast over the intertubes over the course of a few days. The soundtrack to the broadcasts were provided by Roy Orbison, Dave Brubeck, Booker T and the MGs, and Nine Inch Nails among others.
I should point out that the above image is reduced in size by quite a lot in order to economically put it online, and also to avoid image piracy. The source files, and the image as printed to giclee are much richer in colour and in painterly detail.
I tried to paint it fat and juicy with colour and contrasting lights and darks from the outset. If you dig in, even the shadows are full of purples and greens set against each-other in balance.
The whole scene is not only lit, but transformed by the light of the neon sign. If you let your eye rest in different places, it has the effect of a hologram; the wood of the building becoming lit from within. Inspired by painters like Edward Hopper, I wanted it to feel as much like a dream as the show itself does.
Do I overexplain this stuff or what?
I can’t wait to see what’s coming next Sunday. There’s only a few episodes left, but I’m not expecting any kind of closure on this story.