Blue_Opossum

Morning of June 5, 2015. Friday.



Haywire (Silas Weir Mitchell as in “Prison Break”) is throwing a lavish party in a small living room, though it does not seem all that crowded. He seems unexpectedly shy at some points, almost as if he regrets having all the people come to his house (the setting of which seems completely unfamiliar to me). There is a clear awareness of motion and laughter of the people who are present, not necessarily any other celebrities that I am aware of. Silas seems to be somewhat of a composite of the “real” Haywire and his “Grimm” persona (Monroe).

At one point, there is a dark brown horse in the room and a few people briefly pat it. Almost as if in an accelerated frame rate, Silas is astride the horse and dressed somewhat like a colonial soldier. The horse rapidly gallops through the room and leaps onto a table where the scene instantly freezes at the attempt of the horse to leap into Haywire’s painting (which of course is too small). Both horse and man are “frozen” as if in complete confusion (or a change of mind) at their attempt to go through the “portal” to escape the other people at the party. This is because the horse is too big to fit through the picture frame even if it were a true inter-dimensional portal, something that they (both horse and man) did not seem to realize until they were almost upon it. (The painting is to the right. I see the horse and rider in profile, facing right.)

Paintings that include a windmill have sparsely recurred throughout my life and always seem related to “escape” or an implied “better” place. Thus I found the “Prison Break” metaphor as such years after these dreams first began as quite amusing if not vaguely precognitive or of an archetypical association I am not yet aware of, although a windmill may simply represent the dreaming process itself.