This is your chance to share your thoughts about this image. Tell us what it means to you and your opinion could appear on this page. Suggestions as to which images should appear here in future months are also welcome.

Rodrigo Vidal says:
every time i see roger's images i have a nostalgic sensation. somehow it seems to me that the pictures are not complete and i would like to see more about those imaginary worlds. i wonder were they come from and if roger is the only eyewitness. maybe what roger shows us is just the introduction to a whole universe to explore. about this picture it seems to be a landscape representation of an organic living structure.

Waldo Muncaster says:
I love it because it reminds me of one of my most favorite junctions: the Union of challenging art and stirring music by the best of Yes!

Rodrigo Sandoval says:
It is like a window of my own images from my mind. Thank you mr Dean.

Nicola says:
well i'm doing about alien landscapes at school for my coursework and we have 2 have alook at roger dean's work but this is one of the best i've seen so far

Janet Muenzberger says:
Moon gate window...signifies looking through the perspective of the human eye to the world...light, colour, a visual feast...prismatic blues and warm yellows bring to mind a wide spectrum of experience. An Arizonatheme of landscape combined with water enables the reader to feel balance of arid sands and cool waters....all varied metaphors of lifes experiences....a lovely visual. Soothing yet stimulating. As is life.....depending on the viewer's perspective*

Rodolfo Salazar says:
This picture is excellent and shows the best of Roger Dean,

Andromeda Jones says:
When I see Roger Dean's mystical, tranquil, yet strangley compelling landscapes, I am transported to a place almost beyond imagination. His imagery is foreign, yet oddly familiar, and I find myself wanting to enter those dreamy worlds where time as we understand it does not exist. Dean's brilliant use of aerial perspective makes these vistas seem even more real, the depth further enhanced through his masterful use of vibrant color. His bluish landscapes simply tug at my heart strings. Alas, I fear my own artwork pales in comparison to the master of fantastic art.

Brenden Bates (Australia) says:
Mate...i found your classic books 'Views' and the 'M Storm' for a few bucks each in a little store while in my first year studying graphic design. I am now close to completing my fourth and final year. All i can say is that your line, perspective, and passion for the creative vision of paradise we all seek as artists has been the one lesson that keeps me questioning every design i pen. your images like this one are beyond definition....a strength of honesty to subconscious reality. keep breathing Roger, your work is timeless.

Celeste and Christine say:
Your comments here... Our comments where? Oh here you say? Well, when it comes to Roger Dean all of his works of art are masterepieces according to us. And God said "Let there be Supremacy". And so his name was Roger. this is Celeste and Christine signing off. Till next time, take of yourself and each other! Cheers!

marco says:
roger you have created a world that any men could be dream...i am a great fan of your work since i was a student.

john morrison says:
whoah... this one's cool, makes me thing of an ant's perspective of a rusty spring on the ground...

noah kareus says:
awsome i'm an artist and now i might just have some boundries to cross thank u so much roger dean.
God bless

Alex L.says:
I wish that Roger had completed this picture. I do enjoy the rawness, but a bird or two would make this picture rock.

Samy Youssef says:
it seems like a huge skeleton of an ancient animal cover the top of a mountains , and I can get inside to see the blue sky through it , it could be possible that the family of this animal turn around who knows ?

Mark Janes says:
What I really like about Canyon Cave is that, at first glance it's an almost photo accurate rendition of an earthly desert landscape... but, when one sees how the formations continue on up well past vertical, they obviously can't be of this world. But the mind wants to keep thinking it is and they are. This powerful convergence meshes well with the album whose cover it graces.

Jon French says:
A comparison and contrast of the Relayer and Union covers.
Yes through the years has undergone many changes. Probably none more stark and startling than the departure of Rick Wakeman and his replacement by Patrick Moraz. Along with the personnel change came a drastic new sound. Relayer showed influences of the then current electric jazz fusion movement and combined them with Yes' ability to develop longer, theme based pieces of music.

Matching the sudden shift of Yes' new sound, Dean gave Yes a new look to match. Previous albums had been colored with life. Now the Yesworld's window was overlooking a barren lifeless landscape of hostile cold steel gray granite. There were no flying airship escorts and no lush waterfall filled landscapes. The only indigenous life we see are serpents coiled protectively around their cold stones.

Horsemen, perhaps warriors, enter the picture traveling the now familiar winding path. It descends them into a hermaphroditic world which is an unmistakable reference to Yin and Yang illustrated by a male and female symbolism, the two fused into one. What we see is an entire landscape composed of cathedral like spires of solid rock. This rock is all encompassing. When viewing the entire cover, front and back, you will notice that the rising wall seen at both the far right and the far left begins to curve in until finally moving out of our sight above. These curves suggest that they are joined beyond the paintings borders into one massive asymmetric circle overhead, a giant canopy of rock. And rising high into the center of this canopy stands the central curved shaft of granite. This central "earth" shaft is unmistakably phallic as it rises into the waiting female oval canopy and "sky." As if he felt that this reference wasn't strong enough, Dean chooses to make the visual statement again and again.

Since the cover as a whole represents the two fused into one, the left wall would better represent the singular female organ since the top of the curving canopies intersect and complete the oval and thus the vaginal reference. However even it has yet another phallic rock or two rising upwards, even an interested snake overlooks. Directly beside the rising snake, we see the winding pathway ahead as it disappears into a vaginal shaped opening.

The right wall is the singular representation of the male organ. It is a vast wall of spire upon spire upon spire. However even it has yet another vaginal shaped doorway through which the winding path and thus the warriors originate.

An entirely different element to this painting, is that the locals have turned this uninhabitable rockscape into their home. Both the left and right walls are filled with row upon row of windows through which these inhabitants can peer outward. These natural walls have been forged into their fortress. The uninhabitable has again been adapted. This is yet another recurring theme with Dean. A shattered planet finds a new home and is eventually embraced by another distant planet. On the inside of the Close to the Edge cover amid the impossible and uninhabitable waterfall, sits a small Taj Mahal type dwelling nestled on one of the tiny islands. (Good luck getting out to the store)

Now flash forward several albums to the Union album. The Union cover retraces the themes from Relayer, a similar treatment with a different twist. Before it was a hermaphroditic study of Yin and Yang, now it further becomes a vehicle symbolic of the divisions in Yes.

Union doesn't require folding out to view, but notice we have a right wall which again curves upwards out of sight as well as the left, suggesting again, and even more so, that the two sides curve together overhead to form one giant completed circle of rock. And in the center rises cathedral like spires of pure granite. We also see the pathway entering still from the right and just below it, now hidden in the shadows, is a nod to the original vaginalistic doorways.

Union gives the spires a more unified circular look almost a graphic corporate logo of the earlier Relayer cover. This cover is a look at the corporate Yes of 1991, coming from two different theaters joining into one central force, separate, unified and yet split simultaneous. Rather than the strong unified shaft of Relayer, it is now splintered, joined at the bottom and shearing as it rises upwards forming into new combinations as it continues, yet splintering further still. Offshoots at the base never connect to the spire at all, but head off on their own only to end. Yet the whole shaft somehow still retains a singular unified grain. This unity is accentuated by the use of extreme lighting off to the side, casting giant shadows longways and dividing the spires half into orange light and half into blue shadow.

This is perhaps the most hopeful element. This once gray age old scene, is given new life and vibrant color as it is being side lit by yet another early morning sunrise.

Kole says:
This picture made me have to catch up on my explaining, so that my mind could finish doing the talking!!!

Rigel says:
I have been introduced to Roger Dean's visionary art by the computer game series "Shadow of the Beast". I have been in love with those beautiful, eerie and mysterious worlds ever since. Thank you Roger!

Kimberly D. says:
This picture is sexual. The caves represent the vaginal walls to the womb. It's not subliminal pornography or anything -- but the human function is often represented. I agree with Mr. Doubleday that the illusion of space is Mr. Dean's forte. My favorite cover has to be the sleeve for YESTERDAYS -- I like when he draws animals and humans.

Ron says:
One of my favorites by Roger. I lived in the desert southwest for a large part of my life and this certainly has the feel of the desert at sunset....only in a totally different galaxy, very nice.....

Maurice Doubleday says:
The best thing about UNION is this elegant cover. I have this poster and Roger often gets complimented by Sex Pistols and Ramones fans!!!!! I think Roger's sense of creating the illusion of space makes his works so engaging.