De-constructing the Grand Master Part VII, Benjamin Williams Leader

My guidance from Dr Townley last week left with me a strong set of messages, I've been pondering on these for most of the week end.  I kind of know what I need to do, for example, I need to;

• ]Try to make more suggestive openings within the final piece that have less obvious messages to the viewer,
• Incorporate items or objects into the "real" from thew virtual. Such as making the "Hotel or Gesthof Nietzsche" more tangible, (even though it doesn't exist), by creating a website advertising holidays there perhaps, or make a blog site for it?
•  Vary and make suggestive links as to what might be happening or what might appear off the scene.  For example, zoom into the woods to show what might have been unseen in the original...
• It's important to carry on with the story, allow the viewer carry on with their own story.  Dr T has cleverly challenged me, in that one of my traits is to be "very didactic", in other words, I try to teach / I make things too obvious!...  Dr T. is absolutely right.
  An example that was given to me was to explore a recent contemporary adaptation of Millet's remastered painting of Poppy Fields, which has been adapted to show a Rocket Launcher within the painting, - particularly poigniant when considering it's contemporary connection with the War in Afganistan and the major export of that country still being drugs derived from Opium farming (from poppies of course).

I have thought about this over the last few days and working out how I can connect the work I have already produced to the wider context of the image.  

• What is going on outside the scene?
• Is this just a stage set?... = This generated more ideas, and a quick sketch showing stage props
• What's happening outside boundaries of the scene in Switzerland? - I committed myself to finding out where the "Leader" scene actually was, trying to find the actual road on Google Maps...
• My thoughts on this being a Wasteland... This conjured up a memory when I was working in Germany.  - Namely, my old German friend and colleague Jurgen Nolle, who thought that the UK's "British Layland" had been a rather unfortunate choice for a name, as in german, there is a very similar word of 'Ayland', which when translated, virtually means "Wasteland".  Once this had been explained to me, I also have had a wry smile each time I have heard this phrase.  Jurgen was right!...  
• Because of that little spark being refreshed in my mind, I thought of the Swiss Ayland, and then as a result, the link to Derrida's "Un-decideables" and such being linked to our previous project of Liminality and "In-Between-ness"... There is a good segue between the two, and I think it is very clever of Dr Townley, Christian, Bob P. and the lecturers / tutors of the university to have linked the projects in this way.

I have decided to continue with the piece however. I want to finish the painting to a standard that does leave the viewer a little confounded.  One area that I hadn't considered until the weekend was the type of trees that Leader had rendered in Autumn in Switzerland.   It appears that there are some Norway Spruce Trees in the foreground.  Whilst these could have been in the original scene, I wondered if he had painted the actual works in his studio, in which case he may have been influenced by the recent (at that time) gifts of the classic Christmas Tree shape (i.e. Norway Spruce) to Queen Victoria.... My research suggests that the actual trees would have more likely been Swiss Stone Mountain Pines, that are rather different....  So in that alone, there is a subtle correction / deconstruction.