Because the fountains can telescope-collapse; and the convex features can overlap one another, the stage can be reduced to make a stage of the metal mesh layer. The golden clamshell top is turned around to create a platform for the ivory figure. The fixtures twist the scenery to hang down like curtains, covering the glass tubes and grate.

The fishtails nod to Oannes.

To understand the potential narration, the way the image is painted asks the viewer to allow for a kind of weaving, swimming understanding of “figure/ground.” MANY stories are overlapped relative to Isaya and Isaac, possibly David. This is a very useful way of marking to create imagery, but understanding it as a design takes a leap of imagination. It is possible that the metal mesh features can push and expand into configurations that create this effect in reality. It is also possible that puppets are tucked behind the large features and fishtails.

Examine the area below the face, see a head with a coal being pressed to the lips - the story of Isaiah being burned by a seraphim. Above that, a face expressing agony - he is being sawed in half, per the order of King Manasseh. But around him, in and out of figure/ground are various faces, women and men, some surprised, some laughing. Topping the fishtails are vignettes of Isaiah receiving visions from God of the possible future, forming his principal message of hope and grace against a wicked world. A couple of birds flank the center, protecting that future.

The clamshell can reduce itself into a seraphim. Behind the face is a boat with a small gold figure stored, lying inside - a common motif for another story, another time.