Just like opposing soft and hard edges, or warm and cool colors - opposing styles placed next to each other creates a kind of vibration. I think I can enhance the "presence" of the figure by obscuring it with other stuff. I think I can also enhance the "realness" of the style by using a contrasting style over it. The engraving-type, freehand flowers live in their own separate reality, but now the breeze blowing the figure's hair around makes more sense. And the monochrome grey of the flowers makes the pinks in her flesh more vibrant. Even though these are separate planes in the pictorial space, and separate concepts, I think they are sort of "hyperlinked" through this juxtaposition, creating a metaconversation that no one plane would be able to convey on its own.
At this point, the concept is a little too literal, and I think with time I'll be able to arrive at a more finessed methodology, and I hope a more graceful explanation. For now I have to content myself with the idea of representing memory by painting the object of the memory, then its transformation through actual planes of enhancement, alteration, and degradation - leaving pieces of the original memory tantalizingly complete/incomplete. Like I said, this idea is at its infancy. I hope it will get better.