Despite the fact that the centerpiece occupies a significant space in the painting and is brightly colored, the oil painting is sad. The centerpiece is orange, interspersed with yellow, a light blue, silver egg-shell white with two minuscule strands of black and, finally a spot of black. These colors seem to beam hope, innocence and confidence. The centerpiece is standing straight, not bent or in fetal position, suggesting confidence and, possibly, fame. When the gaze shifts to the right corner of the abstract painting, we see a shape reminiscent of a car crash and one immediately thinks of James Dean. The canvas becomes the substance the abstract art master uses to ‘create’ the image.
Upon further reflection of the blue surrounding the centerpiece, it appears to be menacing. This leads one to rethink the earlier interpretation of the car crash. It is not Dean’s fatal accident but Monroe’s life heading towards a crash. She is surrounded by unsettling swirl of blue, some discernibly metal, and Marilyn Monroe seems to be sinking into the vortex of that swirl. Looking again at the centerpiece, one finds two horns. The artist appears to be suggesting that Monroe had something demonic. Should we step away from the cult of celebrity which surrounds Monroe to this day and has catapulted her into the status of a Legend, one will find that she was somewhat demonic. She captured hearts at a glance, had the power of millions of adoring fans around the world behind her and the married and the powerful were drawn to her. Monroe never hunted a man, but they hunted her, from Mafia bosses to a sitting president. The most powerful of men were rendered weak when they saw her. Even an intellectual like Arthur Miller could not withstand the call of Monroe, the call of the sirens.
She was a gifted comedienne whom the camera adored, a luminous and incomparably magnetic screen presence. She had it all, yet her career and life came crashing to a tragic halt, a Cinderella story gone horribly wrong.