There are alot of elements in this carving, based on the overgrown swamps of my youth. There were colonial home foundations, serving as bridges across the water, overgrown with moss. It was a spooky place. Cars, old houses, the swamp ate them all, even little kids. It burped and I escaped.
I left many swamp things out of Revelations -- a little brook surrounded by fields of purple and white violets and grass, the caves formed by upturned root systems of giant maple trees blown over by the hurricane -- such things are better for a painting.
Instead I carved smooth amorphous figures among areas of great detail. When the eye travels from detail to smoothness, it tends to give the smooth object extra features needed to define it into something that the mind recognizes. It works on the same principle as seeing shapes in clouds.
I did not plan the faces which appeared when people looked at photographs. Reduced from three to two dimensions, the carving (and the lighting and shadow) revealed these 'faces.' as incomplete views of the three dimensional carving. Also with 2 dimensions we lose the advantage of stereoscopic vision. I guess that means some thing we see in our three dimensions could be an imperfect representation of that which really exists in more than three dimensions. Pretty spooky.
Lilac Dragon