2012.121 - Caule Violeta - Macedonia - Sunrise - 2012 - collage - 18.5 X 8.5 cm
"Scissors in the artist's hands, are a magical tool to change the world!"
Monday, April 16, 2012
om.2012.120 - Merry Rozzelle - USA
om.2012.120 - Merry Rozzelle - 2012 - Finding Faith - "Finding Faith" - assemblage - 7.25" X 8.25", Plaster, wood, found doll, wasp nests - 2012
"Art saves me each and every time. That is all."
Thursday, April 12, 2012
om.2012.115 and - om.2012.116 - Lottie Anderson - USA
om.2012.115 - Lottie Anderson - collage on paper
om.2012.116 - Lottie Anderson - collage on paper
OM.2012.113 Marie Leibenguth Stockhill - USA
OM.2012.113 Marie Leibenguth Stockhill - Untitled - 14x11 inches - collage with prepared papers on paper
OM.2012.112 - Janine Nichols - USA
OM.2012.112 - Janine Nichols - Railroaded - box assemblage
www.semi-free.com
www.flutterbox.net
www.jazzpaperscissors.
www.semi-free.com
www.flutterbox.net
www.jazzpaperscissors.
OM.2012.111 - Joseph Moniz - USA
OM.2012.111 Joseph Moniz - Thoughts and Clouds - 38" x 60" mixed media on paper ( in progress) 2010
OM.2012.110 - Christian Gastaldi - France
OM.2012.110 - Christian Gastaldi - France - collage with street posters
statement
Of flesh and blood
Opened by scars
The inner fluids
Rush.
Words
Thrown on the wall
As if calling
For a last gasp.
If one of the brightest facets
Of beauty was
Rhythm of a sentence.
In Art,
The quest
Of surpassing balance.
OM.2012.108 - Zoran Palurovic - Serbia
OM.2012.108 - Zoran Palurovic - A piece of Biedermeier - 18.5x28.cm - 2011- paper collage
OM.2012.107 - Richard Misiano-Genovese - USA
OM.2012.107 - Richard Misiano-Genovese - USA - Woman-Feathers
Fire Works
The first thing that comes to mind here is the moment I discovered fire; not in the sense of when as a child I
marveled at the bright flickering flames, or the heat radiating outwards but when playing with a bit of drawing and then touching the paper here and there with the lit match so that the paper would be blackened from the soot, or singed from the heat, and then openly burned. It was more in the discovery that the fascination and excitement that fire seems to hold over children fades with maturity.
I found that I was able to reach deep into my own psyche, and find the remnants of the fascination that playing
with fire held for me. Animals instinctively fear smoke and flames and will flee at the mere presence of fire, but humans are a strange lot. Fire appeals to our emotive levels if not our intellectual ones. My balancing act of burning my drawings, or rather burning with my drawings, was an attempt to explore unfamiliar territory, or at least less familiar than fading memories of my childhood fascination with fire, like most other children.
It is with these assemblages I played with fire.
The act of burning paper, allowing the heat and flames to consume the pulpy substance, with minimal control over the end results, is further excited by the anticipation of how this very automatic writing in smoke and flame will proceed to consume and literally re-compose an artwork as it decomposes it as well. When in the process of drawing some ideas that spill out from the subconscious regions of the mind, there is no real sense of anticipation as to what shall transpire next when flame is put to paper. The act of burning reduces too, the “preciousness” of the drawing by relegating it to the flames. The attachment of the offending matches becomes the protagonist in this drama play. Action art, the quest for truth and reason but in the end a destructive force which reduces itself to a state of grace upon further examination. It is in this mixture of proposing an idea in pencil or ink as an image, with a bit of facile attention to the materials, and then assailed by the natural force of chemistry, nature’s gifts manipulated by man into the most primal technology: fire.
Richard Misiano-Genovese
(2010)
OM.2012.106 Lis Gundlach-Sell - Denmark
OM.2012.106 Lis Gundlach-Sell - “Fragile” 2012, Assemblage, h 26,3cm x w 20,5cm,
Cardboard,wire,tape,frame
Cardboard,wire,tape,frame
Artist Statement:
Standing or hanging, tiny or enormous, two- or three dimensional, simple or complex, made out of all sorts
of paper or materials - gratis, cheap or expensive - rubbish, found objects, everyday objects - sometimes
in combination with drawing, painting, sculpture and/or photo…… crazy, amusing, beautiful, abstract,
extraordinary, subtle, cubistic, surrealistic, Dadaistic, Neo-Dadaistic, Fluxus, Pop-art, constructivist,
aesthetic, ironical, psychological, philosophic, daring, romantic, expressionist, classic, anarchist, humorous,
literary, baroque, theoretical, formalistic, lively, religious, conceptual, ugly, lyrical, poetic, prosaic, sad,
elegant, sublime, critical of society, concrete, charming, desperate, depressed, aristocratic, solemn, elegiac,
fancy, spiritual, serious, revolutionary, spherical, fantastic…...
I think what characterizes collage, assemblage and constructive art is this overwhelming variety and the
endless amount of possibilities, enough for everybody forever. The future will create new artists making
art in a way we cannot imagine today. It is impossible to know but I do believe that because of the
enormous qualities and possibilities collage, assemblage and constructive art will still be a form of art
making for future generations.
Standing or hanging, tiny or enormous, two- or three dimensional, simple or complex, made out of all sorts
of paper or materials - gratis, cheap or expensive - rubbish, found objects, everyday objects - sometimes
in combination with drawing, painting, sculpture and/or photo…… crazy, amusing, beautiful, abstract,
extraordinary, subtle, cubistic, surrealistic, Dadaistic, Neo-Dadaistic, Fluxus, Pop-art, constructivist,
aesthetic, ironical, psychological, philosophic, daring, romantic, expressionist, classic, anarchist, humorous,
literary, baroque, theoretical, formalistic, lively, religious, conceptual, ugly, lyrical, poetic, prosaic, sad,
elegant, sublime, critical of society, concrete, charming, desperate, depressed, aristocratic, solemn, elegiac,
fancy, spiritual, serious, revolutionary, spherical, fantastic…...
I think what characterizes collage, assemblage and constructive art is this overwhelming variety and the
endless amount of possibilities, enough for everybody forever. The future will create new artists making
art in a way we cannot imagine today. It is impossible to know but I do believe that because of the
enormous qualities and possibilities collage, assemblage and constructive art will still be a form of art
making for future generations.
OM.2012.105 - Alison Wells - USA
OM.2012.105 - Alison Wells - USA Title: The City is Killing Me"
Medium: Acrylic, oil and paper collage on paper Size: 10"x8" Year: 2006
Medium: Acrylic, oil and paper collage on paper Size: 10"x8" Year: 2006
Statement for Collage/Assemblage Centennial 1912-2012
I consider collage to be a fascinating and intriguing art form. The process of collage
involves an intimate and hands-on involvement with the medium and thus gives it a very
tactile feel. I particularly enjoy layering and piecing together of various materials to bring
an idea and concept alive giving it incredible charm and vitality.
In contemporary art Collage is a popular and highly valued art form. The artist possesses
the freedom to manipulate the medium in a variety of manners with out feeling restricted
into certain structured rules that other mediums may demand. The Art form is flexible
and varied because there is such a variety and wide range of collage materials that exist.
It is also a wonderful and versatile medium used by both beginning and experienced
artists alike and I particularly enjoy it because of its never ending possibilities for
exploration and experimentation.
Tuesday, March 27, 2012
OM.2012.102,103,104 - David Baptiste Chirot - USA
OM.2012.102 - David Baptiste Chirot - FLUXUS STREET THEATRE
OM.2012.103 - David Baptiste Chirot -The Hideout
OM.2012.104 - David Baptiste Chirot - This Window
OM.2012.101 - Suzé Gilbert-Maroc - USA
OM.2012.101 - Suzé Gilbert-Maroc - USA - postcard collage
Artist Statement:
When I was young I watched my Polish great-grandmother gather scraps of old worn-out clothing and by sewing those pieces together, create a utilitarian quilt. Inspired by her patience in cutting and stitching, collage brings together those disparate elements of cast- off fragments of life, whether it be magazines, clothing, letters, or books.
The process of creating a new dialogue by incorporating pieces of paper into a cohesive whole is a meditative process for me, and one that continues to engage me as printed matter declines in our technological present life.
Thursday, March 15, 2012
OM.2012.099 - Josie Beszant - U.K.
Materials used include: Old deeds, music, thread, gold leaf, acrylic, perspex, acetate, photographs, pattern paper.
The work shares themes dealt with in much of my art, those of spirituality and the impermanence of life. This specific piece looks at the presence of ancestors known and unknown in our lives the legacy of unknown history that becomes part of the fabric of our lives.
www.josiebeszant.co.uk
OM.2012.098 - Elizabeth Ostrander - USA
OM.2012.098 - Elizabeth Ostrander - Eastport Beach 2 - assemblage
OM.2012.097 - Marina Bancroft - Canada
OM.2012.097 - Marina Bancroft - The Blue Eye- 2007 - 16” x 16” x 5/8” - Collage on canvas
- I have to play with the materials at hand, moving the bits and pieces around, until they settle into their spots, and then stay there. Somehow, the resulting image makes sense to me. I never know how or why it all comes together, but collage is the way through.
OM.2012.096 Rebecca Swanson USA
OM.2012.096 Rebecca Swanson Time Passages
Collage allows my subconscious mind to become conscious thinking. In Time Passages,
I am pondering human relationships and the fragility of life. We are all in a never ending shifting, growing, changing, dying cycle. In this piece, I use discarded paintings, pen and ink drawings and color copies.
OM.2012.095 - Cordula Kagemann - Germany
OM.2012.095 - Cordula Kagemann - Germany - In Touch - 12x12 inches - mixed media collage on canvas ( found papers and images, acrylics, varnish and graphite.)
OM.2012.094 - Ellen Alt - USA
OM.2012.094 - Ellen Alt - USA
Statement:
Collage is my baseline, history and foundation. It is where I spring off from and bounce back to. It is all about the mixing: the endless combinations of papers, natural elements next to abstract ones and fine art with everyday objects. I arrange materials like paint and then pour wax and epoxy resin. My goal is forming cohesion though spontaneity and play.
Wednesday, February 29, 2012
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.2012.090 - 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.
OM.2012.087 - Chris Rusak - USA
OM.2012.087 - Chris Rusak - USA - collage on panel
Statement:
"Collage is visual composition with elements liberated of their normal use. Collage is a way to apply media onto a surface to reflect or absorb light. Collage is painting. All the elements of painting exist within the practice of collage: line, color, translucency, stroke, the illusion of dimension. It is anti-painting, neo-painting. It is drawing and sculpture. It is an accumulation and obliteration of all other practices of art.
I began my work in collage after struggling for years to understand my way around traditional brush and palette painting. I gave up the brush and used found objects to apply the paint, but still never felt a satisfaction for or reconciliation with my compositional vision. When, out of frustration, I began to rip up papers and arrange them on a table, I realized that the surface inks were the pigment I wanted to work with, and the gestural tear of my hand or a pull of a knife were the brushstroke. The creation from destruction, a natural force of renewal, helped destroy the barriers I had encountered."
OM.2012.086 - Lou Anne Hazel - USA
OM.2012.086 - Lou Anne Hazel - Altered Egos Transformation - mixed media collage -
Artist Statement-Lou Anne Hazel
I began making collages as a child. Using objects to create an image excited me because I wasn’t limited to a single medium. Though my hands would appear blackened and bruised with the powders of chalk pastels, I could scrub them until they looked new again, and fashion a fanciful muse with cobalt blue ribbon, shiny buttons, and glitter. In early adulthood I became a skilled black and white photographer. By combining my photographs with other objects I created mixed media collages and three-dimensional assemblages. With the appearance of digital image technology, I can now embrace any medium that speaks to me.
My current work combines photography, assorted printed materials, digital manipulation of images, tactile media such as acrylic paints, and found objects in an atmosphere that allows me to investigate whatever piques my interest. While my work tends to be somewhat narrative, I believe that it echoes common experiences of many others from my cultural background. As a mixed media collage artist I often step back into the shoes of my childhood, finding ways to combine bits of memorabilia into personal vignettes that I can share with others.
OM.2012.085 - Karon L. Johnson - USA
OM.2012.085 - Karon L. Johnson - Calliope - collage on canvas -16"x16"
ARTISTS STATEMENT
I paint with paper. It becomes music which interweaves melodies to unite the whole.
The influences of Picasso, Matisse, Gris, Miro, Mondrian, Schwitters, The Japanese,
Anne Ryan inform the work. Architecture, antiquity, everyday experiences add to the
creative visualization of each piece. Always aspiring to the sacred in art.
Tuesday, February 28, 2012
OM.2012.084 - Seeking Kali Collective
Artist Statement -
Seeking Kali has been interested in exploring collage making because it allows for 3D expression vs 'flat' media and as a 3D art work it invites the viewer IN to experience the piece.
What intrigues us is that it has an assembling aspect both as (obvious) technique and as statement, i.e. bringing together pieces to make a whole that is more than the sum of its parts.
This way, constructing an art piece by way of collage can be seen as a metaphor for expressing an idea by way of connecting/weaving/bringing together separate thought fragments. In a meta way it can be seen to stand for a society's challenge to connect heterogeneous forces therein.
What intrigues us is that it has an assembling aspect both as (obvious) technique and as statement, i.e. bringing together pieces to make a whole that is more than the sum of its parts.
This way, constructing an art piece by way of collage can be seen as a metaphor for expressing an idea by way of connecting/weaving/bringing together separate thought fragments. In a meta way it can be seen to stand for a society's challenge to connect heterogeneous forces therein.
The title, "Insidiae" with is Latin for conspiracy is a a play on words in relation to the method of art making we do as the Seeking Kali Collective. Our pieces are worked out as a group as a direct refutation of the idea of the artist as an isolated cultural worker.
Seeking Kali is William Evertson (USA), Susan Shulman (Canada) and Ria Vanden Eynde (Belgium)
OM.2012.081, 082, 083 - John Andrew Dixon - USA
OM.2012.081 - John Andrew Dixon - USA
OM.2012.082 - John Andrew Dixon - USA
OM.2012.083 - John Andrew Dixon - USA
John Andrew Dixon — a statement from the artist
After a full century, people may continue to debate whether collage as a technique was “invented” by George Braque or Pablo Picasso, but in my considered view, the seminal genius of the medium was Kurt Schwitters, perhaps the first modern artist to fully master the process. I hold the opinion that relatively few aesthetic traditions emerged from early-20th-century collage experiments without the inherent sensibilities of DADA, and I find it endlessly fascinating to probe toward the heart of creative spontaneity while unraveling the ever-present contrasts of beauty versus non-beauty, optimism versus pessimism, and art versus anti-art. In addition to being intrigued by such mindful intuition, I remain awestruck by the capacity to create extrinsic value from everyday material that has virtually no intrinsic worth. By aesthetic sensitivity and creative ingenuity, anything that has been discarded can be infused with meaning or be brought into a contributory connection with our daily awareness. Thus, the core relationship between found material and the art of collage transmits a unifying principle. When the remnants of ordinary living are physically re-purposed to inevitably resolve their unique compositional harmony, the underlying link between visual form and symbolic communication is revealed. When the literal characteristics of the ingredient elements are successfully transcended, a culminating artifact offers the potential for a shared experience with each participating observer. I am convinced that the resulting totality of emotional impressions and layered associations derive more from a deeper artistic intent than from conscious decision making. As in most improvisational activity, there is ample opportunity for mystery, surprise, discovery, and joy.
John Andrew Dixon — biographical summary
With a 40-year foundation as a designer and illustrator, John Andrew Dixon brings a new creative focus to his work as a collage artist, wood engraver, and watercolorist. His Kentucky studio is in the heart of historic downtown Danville.
With a 40-year foundation as a designer and illustrator, John Andrew Dixon brings a new creative focus to his work as a collage artist, wood engraver, and watercolorist. His Kentucky studio is in the heart of historic downtown Danville.
Thursday, February 23, 2012
OM.2012.080 - Frederick Epistola -Philippines
OM.2012.080 - Frederick Epistola -Philippines - Visual Existence through a Random Consciousness.
Mixed Media Collage - 8.5”x11”
Artist Statement:
Collage is a product of one’s vision, emotion, thoughts and juxtaposition of found objects, color and texture, all of which can emphasize the common theme of man’s social relationships, of his culture, and history. It involves the technique of assembling and combining found objects from different contexts and randomly placing them on a plane to create an imagery reflective of both spontaneity and consciousness.
Wednesday, February 22, 2012
OM.2012.079 - Janice Mcdonald - USA
OM.2012.079- Janice Mcdonald - Mischief - collage
Artist Statement
These days my collages are abstract -- created with fragments of paper and recycled imagery collected from my daily life and wanderings. I'm especially intrigued with the often-overlooked backgrounds and negative spaces in everyday printed materials.
The softness of ripped elements lends a painterly feeling -- any straight lines are a function of the image I've selected or a paper's edge. Compositions are not planned in advance but grow/change/evolve over time.
Collage-making has become a very contemplative practice for me. The process of deconstructing images and then re-integrating many pieces, to create something completely new, is an intuitive and ongoing visual experiment.
I love the elegance and freedom of the collage medium and am continually inspired and fascinated by the variety of work that is being produced. Happy hundred years of collage!
Tuesday, February 21, 2012
OM.2012.076 + 077 - Robert McGraw - USA
Materials: Acrylic paint, sandpaper, plastic discs, sheet plastic, “Contact” paper, and metal, on Bristol paper.
Artist Statement
Collage gives me the freedom to follow where Imagination leads.
Hardware, bits of sandpaper, old floppy discs, semi-precious gemstones: If such disparate materials produce the result I want, I am free to use them (...and I have). Collage doesn't constrain my imagination.
I invite viewers to join with me in the creative process by using their imagination to complete the "backstory" of my works.
[The viewer's imagination would have more latitude if I used serial numbers rather than titles, but many viewers think works without titles are unsettling. Therefore I give titles, but they are often cryptic or sketchy.]
I find joy and satisfaction in using my imagination. I hope your imagination finds joy in creating its own interpretations.
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