I always wanted to do an art installation where you would act out the part of Moses speaking to God on mount sinai. You would go through a curtain into a type of waiting room, where you would be outfitted with sandals, and a staff. Then you go through a second set of curtains out of the dark into a seeming mountain set, similar to the one from the burning bush scene in the ten commandments. And the art installation, playing the part of God, commands you to go and free his people. Then you exit via a long twisting slide into a ballpit.

For the folks new to Lynch movies don't forget to watch his possibly the strangest of movies: Eraserhead. I have watched it more than 5 times and everytime I watch it I learn something new.

And btw this scene from his movie is just gold: https://www.youtube.com/watch?v=UozhOo0Dt4o

Although I can't understand the intention behind these exhibition designs, I must say the images are quite interesting.

I find Lynch’s works to be very puzzling to unpack. Most analyses which I find compelling have his intentions as a director conveyed within each scene independently, and not really within the larger narrative.

Whereas most works seem to have a thesis and then explore them on different levels, Lynch seems to just throw out ideas in different scenes.

I would love to unpack what parts of twin peaks were Lynch’s design and what parts were not

> a single armchair is surrounded by thick curtains made of blue velvet — a nod to Lynch’s 1986 film Blue Velvet.

I feel like Lynch might disagree with this. He pretty consistently dissuades people from trying to explain his works.

Also:

> Lynch was adamant that his new foray into design exists separately from his film career.

> known for cult films like Mulholland Drive, Inland Empire and Wild at Heart

Really? No, really? Not Twin Peaks? Not Lost Highway? Not Eraserhead, not The Elephant Man? Not Dune?!

If you somehow end up here without having ever watched Mulholland Drive. I encourage you to watch it! It's my favorite movie.

> ... a single armchair is surrounded by thick curtains made of blue velvet — a nod to Lynch’s 1986 film Blue Velvet.

Or, you know, it just means the curtains are fucking blue! (for anyone who gets the reference).

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