This was a national newspaper picture of work displayed by Sarah in her local school. The authorship was stated to be hers. Bizarre at best, and downright sinister at worst. Lots of curious questions spring to mind, but founder upon the impossibility of fathoming the motive for such a theme as well as any hidden meaning or message. Its sadly not surprising that the eye and mind of the observer may reluctantly move on to other facts and emerging data. This definitely applied to me at the time, while pausing briefly to browse a discarded newspaper one day.
And yet, and yet. Something registered as not quite right to me. For instance, grim as the subject matter was in Sarah's painting, it was very mature in construction and context for an innocent and child-like outlook most others of her age would surely have. The skill of an artist's perspective required to balance the colour palette suggested an author quite 'dedicated ' to her work, and one surely taking up a fair amount of time in the process. Did Sarah spend a lot of time enjoying painting alone, perhaps; was she always artistic anyway - and why the preoccupation ostensibly with a horror book or movie content to such an extent as this. Who was around in her life at the time of the painting's creation. Moreover, what sort of comments did this painting attract from her teachers when it was displayed at school, compared to the other pupils ?
I deliberately don't follow the media or TV too much these days, so I can't say whether this question has been addressed by reporters , researchers or police investigators. I like to believe it has, but I doubt it. This leads to my conclusion below, but for now, let us look at the visual evidence for my commentary and its conclusion.
Sarah has firstly chosen a chequer-board floor pattern redolent of kitchens, museums and large Victorian public buildings - not forgetting some churches,the location of which is not possible to determine. Rather, look for the ' join-the-dots ' approach to the red overlaid squares and circles and observe an implied design distinct in two themes. We will highlight this later.
The bloody semi-naked male is sadly all too obvious, but consider the surrounding symbolic balance and similar choices of pastel colours in her palette. An interesting counter-point to the lower half of the stark black and white floor being carefully overlaid by intricate smaller messages or word strings which my computer will not define too well, unfortunately. The softer region is the home of the malevolent male dominating ( or being sustained by ) the functional floor ' stage 'designed to facilitate sacrifice.
This picture deceives ( or informs ? ) you when you concentrate on one or two obvious areas or themes : the man, the floor, the pillar name. Each is so obvious and yet so mysterious at the same time. Unfathomable. Sustained concentration gives us cold comfort as to the intended meaning of Sarah, which is, I state, as was intended by others than Sarah. Let us continue.
Consider : I understand it is often part of the psychology of paedophile child-abusers to secure victim compliance with the assistance of other fearful images apart from personal methods such as fists and voice etc. Those who advocate and practise satanic-based abuse will likely want to promote their own type of iconography as a process of control. It all hinges on this : was Sarah involved in satanic abuse ?
Here is the basis of other childrens' own pictoral records detailing their abuse which I have observed in a similar case elsewhere, and for which some very persuasive private independent validation exists.
The obvious is deliberately designed to distract and deflect you. The indirect contains the real message and often a celebration of the overt theme. Overt and covert images are juxtaposed to cater for their intended target audiences.
On the picture below run your mouse pointer across the image. Switch between the two images. Please don't accept or reject my annotations - simply observe things.
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