OM.2012.088-092 - Risa Schneider - USA

OM.2012.088.a.b.c - Risa Schneider -  Blues Suite (I, II, and III), 2010 -- three 4 x 6 inch collages:

     acrylic hand-painted papers, magazine and newspaper elements, acrylic medium on  

     postcard/watercolor postcards.

 

OM.2012.092 - Risa Schneider - Gypsy -  A Collage Book -  2011 -- approx 7 x 8 by 1/2 inch altered book: acrylic hand-painted papers, magazine and newspaper elements, found papers, tea-bags

     peeled-paper image transfer, water-soluable crayon, sharpie marker, acrylic medium on children's board book

 OM.2012.089 - Risa Schneider - Spheres of Light -  2009 -- 5 x 7 inch collage: acrylic hand- painted paper, magazine and newspaper elements, acrylic medium on cardstock

 OM.2012.090 - Risa Schneider -Tinned Fish IV, 2011--3 x 4 x 1 inch assemblage:

     acrylic hand-painted papers, decorative papers, acrylic medium, fish tin  

OM.2012.091 - Risa Schneider - IBTW, 2012--1/2 x 2 x 4 inch (including hooks)-- acrylic hand-painted papers, magazine and newspaper elements, acrylic medium, "Smalls" Altoid tin, fish hooks, monofilament    fishing line, lead sinkers

Statement Risa Schneider

Collage and assemblage are interesting to me because they are art forms both practical and transformative, wherein something beautiful or engaging can be made even of something that might otherwise be considered useless or scrap. Much like quilting, collage can be a way of utilizing available materials and giving them a whole new life. This impulse to make something beautiful even if with humble materials, is, I think, quite an old impulse, even a timeless one. Yet collage and assemblage also seem particularly suited to contemporary concerns—be it in reflecting the faster pace, and sometimes fractured reality, of our daily lives since the early 20th century, or by speaking to our growing understanding of the importance of environmental concerns. I think, too, that they are contemporary also because they are democratic art forms--that can allow and enable artists who have might have less formal training to find and develop their artistic voice, at the same time that they have allowed formally trained and master artists to take their work in new and different directions these past one hundred years.