Dispatch from the Garage

Artifact
Stacked collage fragments on the garage table with a central Captain America surface held over a larger field of fractured war imagery.

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Primary stack view from the garage table.

Sepia-dominant fracture collage with layered faces, architecture, and white structural bars.

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One of the garage-state collage surfaces.
Dark red-and-black collage with skull imagery, faces, and fractured structural bands.

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Dark fracture surface from the same table.
Shield-field collage with repeated Captain America shield fragments and angled structural beams.

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Captain America shield field.
Close-up of a speech bubble fragment reading I CAN'T MOVE ANY FURTHER. I'M STUCK.

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Speech fragment preserved inside the field.
Pink-dominant collage with fractured figure fragments and black-yellow accents.

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Another active collage surface from the table.
Wide view of the garage studio showing shelves, books, archive bins, and work surfaces.

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Wide garage environment.
Angled view of the garage environment with framed works, shelving, and the Captain America panel near the wall.

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Garage environment from a second angle.
Broken mirrored fragments reflecting the operator inside a framed collage surface.

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Operator reflection in the framed work.

Location

Georgia garage studio

Artifact Type

studio dispatch

Materials

Comic paper fragments, adhesive, mounted collage surfaces, HEIC field captures

Dimensions

markdown dispatch with nine supporting stills

Year

2026

The garage table is full of fragments.

Comic pages cut apart. Panels rotated and recomposed. White structural beams crossing the surface like trajectories through the field.

Some pieces are finished. Some are still deciding what they are.

I’m holding them in one hand while photographing them with the other.

Glue shine catches the light. Edges remain torn and exposed. Layers stack and lean across the table.

Meanwhile I’m on the phone with my mom.

She’s reading from Bunnie XO’s new book.

She pauses on the dedication. It catches her immediately: grateful, candid, even congenial toward people who once stood on the other side of things.

Then the conversation moves into another theme: the author’s love for animals.

Rescuing them. Living with them. Protecting them.

She mentions a treatment facility connected to Jelly Roll, a place meant to help people recover and rebuild their lives.

An act of giving something back.

She says:

I love people like that. All about giving back. Doing good things in the world.

Across the table:

Captain America fragments. War panels. Soldiers mid-explosion. Speech bubbles frozen in crisis.

One bubble reads:

I CAN’T MOVE ANY FURTHER. I’M STUCK.

Paper conflict. Meanwhile the phone carries stories of repair.

Rescuing animals. Recovery work. People giving resources outward.

Then another call comes in.

My son.

Multiple requests.

Immediate things.

The dispatch ends there.

Fragments still on the table. Phone in hand.

The work paused.

Not finished.

Just waiting for the next moment to continue.

Object State

Edges visible. Layers unflattened. Mounting provisional.

These works remain in garage-state.

The archive begins here:

mid-process, mid-conversation, mid-life.

Garage Environment

The final images pull back from the table.

Shelves of books. Stacks of materials. Framed works leaning against the wall.

One image shows the framed surface reflecting the operator holding the camera.

The work and the maker occupying the same field.

The garage continues operating.

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Uses the Carrier Pigeon key saved on this device.

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