This will make more sense if you take a look at the previous pages of the Cultural Atlas of a Displaced Life: Embellished Errors
The title El Pescador is from the Mexican lotteria card (that somehow emigrated from Texas to Italy tucked between the pages of a book) included in the mixed media collage on the left hand page. Behind it is another hand print in marble dust on tissue painted round with lampblack. The hand print reaches towards a neon-pink sticker with my mother’s handwriting, towards an unreachable past from a composite future represented by El Pescador – the fisherman – who must always be anchored within in order not to be lost. Ironically, although the image is taken from my Texas cultural roots, the landscape on the card looks surprisingly like that of Lago Maggiore with the Alps in the background, a landscape I’ve addressed in two poems: Monte Rosa or the Picturesque and the Sublime, and Lombard Spring / Rondeau á Lago Maggiore.
The left hand page is connected to the right by a coat of white paint that covers (on the center left) an image of a person who has just opened a box (Pandora’s?), and is holding instructions for what to do with the contents but looks doubtful – again from IKEA. Living in a different cultural context with a different language and only the cultural map from my ‘mother-culture’ to navigate by was a bewildering sensation that I explored in Testimonio.
I found myself searching for constants, strangely comforted by being near the Mediterranean sea whose waters – in some slow, circumnavigation through white clouds and shifting currents – must have once broken on the sands of the Gulf of Mexico. Fingerprint:Ring expresses that unity through another universal language: hardware (no, not the computer kind). A pencil drawing of a hose clamp, comfortingly the same in any country, neither metric nor standard, adjustable with a flat-head screwdriver, a slender coin, or the tip of a butter knife. At the top left of the page, my pale, smeary fingerprint, an intentional error, both unique and universal.
Bonnie McClellan-Broussard 