OM.2011.212 - Angela Caporaso - Italy - "Les Yeux" collage - 6.25 x 4.5 inches - www.angelacaporaso.com
Sunday, March 4, 2012
254- Marcela Liliana Mander - Argentina
 |
| OM.2011.211 - Marcela Liliana Mander - Argentina - paper collage - 11 x 10.25 inches |
253 - Karlyn Atkinson Berg - USA,
 |
OM.2011.201 - Karlyn Atkinson Berg - “Lace Totem” - Collage on paper |
ARTIST STATEMENT
I do not have a rigid or predetermined structure for the creation of a piece. A single color or shape or image may spark an entire composition. As I sort and work with materials, some will seem to connect individually or in groups creating an interaction in color, space and form. Each added element will build on the previous one by changing, adding, or even eliminating the other components. Knowing what to remove becomes as important as knowing what to add to the work. Whole sections may be chopped up and reassembled or even moved to another work. As the painting unfolds, images change. Realistic objects may no longer be recognizable on their own and will become only an element in the larger sensibility or visual impression. The intention of the work is a visual experience and, like the words of a poem or song, should leave you with an image and emotion.
252 - Win Straube - USA
 |
| OM.2011.199 - Win Straube - USA -36 x 44.5 inches - digital print of a vintage stamp collage |
Assemblage, collage and constructive art as a genre is constantly evolving to reflect the changes and evolutions of our understanding of the art world at its time of creation. The evolution of these art forms is much like the evolution of physics: we begin with the simple, solid Newtonian rules, but through relativity and quantum dynamics find ourselves in chaos theory with the butterfly effect; transformations building on the simple, creating multi-faceted works which are totally new, more comprehensive, more dimensional renderings of objects and expressions.
The Ebu-Arts philosophy is that its works are not the sole presentation of individualistic themes or thoughts, but are the embodiment of value-enhancing relationships, in the form of individual pieces of precious value joining together, creating a “worth its weight in gold” communal body of its own distinct dimensions and scope. Ebu-Arts pieces, therefore, are fascinating and mind expanding to examine. Better yet for me, when I have the opportunity, I delight in the use of “strange attractors” in the creation of such pieces of art. “Strange” because their diversity is infinitely complex, and “attractors” because in their total they are always drawn toward the behavior represented within them. Spooky? I hope not! But truly entertaining and very informative, regardless whether passively enjoyed or actively created.
That is what my submission pieces of Ebu-Arts#1 and Ebu-Arts#2 represent: In this case mosaic assemblages of a carefully considered selection of valuable stamps, each one of which is a nationally chosen art rendering of a specific subject, yet here melded into one totality of ideas and expressions, realized in one powerful unique identity of its own. To be enjoyed as a contemporary whole. Yet like newly discovered fractals, the closer the examination, the more revealing. Have fun!
251 - Win Straube - USA
 |
| OM.2011.199 - Win Straube - USA -digital print of a vintage stamp collage - 32.5 x 44.5 - an example of what the artist calls Ebullient Art |
Ebu-Arts is the combination of many precious value art pieces (maybe hundreds or more) into ONE major work of art with its own meaning. The final product is an Ebullient and Brilliant Universe of the Arts, very much like a country or the entire world seen from space is composed of many many individual valuable communities which may be quite different from each other, yet as a whole they form ONE unique home of its very own significance, appearing in stark, uplifting beauty.
Its philosophy is that Ebu-Arts works are not the sole presentation of individualistic themes or thoughts, whatever they may be, but are the embodiment of value-enhancing relationships, in the form of individual pieces of precious value joining together, creating a “worth its weight in gold” communal body of its own distinct dimensions and scope.
Thus Ebu-Arts is NOT, and in fact far removed from “recycled” or “upcycled art,” or “naive art” or “vernacular art” or “conceptual” or “neo-conceptual” art, but it could be “made by untrained artists” or could be just basic “fine art,” two dimensional as well as three-dimensional, as long as it is made of a multitude of innate high value fine art or historical pieces, which in their combination form an Ebullient and Brilliant Universe of the ARTS.
see: http://ebu-arts.org/
250 - Adriana Langtry Carreri - Italy
OM.2011.198 -ADRIANA LANGTRY CARRERI -Milan, ITALY - “Uranian Alphabet” -
dimensions: 13x 18 cm -2011 - mixed media collage
Web: www.collagepoesie.it
STATEMENT:
Collage is an ancient technique with an enormous expressive potential. It offers a lot of opportunities for experimentation with materials and invention of new realities. Cutting, tearing, layering, pasting, shifting and removing pieces, painting my own papers, looking for old images or working with asemic writing, I feel like an alchemist exploring the mystery or a “dirty nails” gardener planting seeds. Collage for me is freedom of expression, an endless creative research in a constant metamorphosis. A bright fragment of life.249 - Jessica Porterfield - USA
 |
| Jessica Porterfield - USA - collage on canvas - 8x10 inches - Materials: primed canvas, acrylic paint, scrapbook paper, hand carved stamp image, gel medium |
Never before in time have there been so many mediums to combine to express beauty or political statements or spiritual truth than currently. one can intermingle a polymer clay piece with a found object
or that perfect book page or scrap of altered paper and make something so essential.
Collage satisfies some deep itch since it marries so may other art forms together. The painting, the tactile tearing of paper, and fitting together disparate pieces of paper or found objects is deeply moving
and necessary to me.
248 - Patricia Sahertain - USA
OM.2011.196 - Patricia Sahertain - USA - collage - 6x4 inches
title: I Dropped My Bags and Sat On the Bed
title: I Dropped My Bags and Sat On the Bed
237 - 246 - Marianne Midelburg - Australia
 |
| Above OM.2011.182-187 - Marianne Midelburg - Australia - 6 black and white 'vest' collages - 18 x 15.5 cm |
 |
| Above OM.2011.188-189 - 2 color 'Vest' collages - 23.5 x 17.5 cm |
 |
| OM.2011.190 - 'Strange Children' collage - 23.5 x 18.5 cm |
 |
| OM.2011.191 collage titled 'Separate Vacations' - 26.5 x 19.7 cm |
OM.2011.182-191 - Marianne Midelburg is a textile artist living in Victoria, Australia
web: http://mc2.vicnet.net.au/home/midelburg/web
ARTIST STATEMENT
I've been making collages for a number of years. I started off very small, just making a few cards for friends. Then, several years ago I met a fellow artist, who introduced me to international mail art projects and my interest and experimentations with collage greatly increased. I thoroughly enjoy the art of gleaning, i.e. finding the materials with which I create my paper collages and my textile art works. The methodical and repetitive nature of creating themed collages gives me great pleasure. I often use humor and word play in my works. I regularly visit many of the charity shops and garage sales, as well as markets and the recycle tip-shops in Bendigo, where I find a wide variety of free or extremely cheap materials, which have collage potential. We live in such a throw-away society, which is great for the creative gleaner. (Aug. 2011)
236 - Janice Anderson - USA
OM.2011.181 - USA
Artist: Janice Anderson
Title of Collage: Shadows of the Southwest
Size: 15 1/2 x 13 1/2 inches framed
Materials: Book Covers, Game Pieces
Year: 2011
235 - Paul Russo - USA
OM.2011.179 - Paul Russo - USA - 'Neoteric' - collage on panel - 24x24 inches
234 - Carol Perroni - USA
OM.2011.178 - Carol Perroni - 'Baroque Flowers' - mixed media on paper - 4x6 inches - USA
233 - Matt Taggart, USA
 |
| OM.2011.177 - Matt Taggart - collage on paper - 10x7 inches USA title: Karaoke |
Being a musician/noise artist also, collage embodies the same ideas and directions I take sound. Exploring combinations of materials and images to create new ideas. Collage to me is improvisation, immediatism and pure.
232 - Ken Stalebread Coleman - France
 |
| OM.2011.166 - Ken Stalebread Coleman - France |
Description
Untitled work #97
Actual size = 8 X 6.25 inches
Dated Dec. 2011
Various papers with watercolor, ink and colored pencil on Bristol board
Initials KMC in circle on back
Statement
I don’t have much of an artist’s statement. Mostly I construct, or try to construct pictures. I react to, and interact with, various materials, colors, images, textures, marks. Everything I see, smell, taste and touch informs everything that comes after. Inspiration is trumped by work over time and lots of trial-and-error. I try to make the pictures interesting or entertaining (“entertaining” is that artistic blasphemy?) for myself and maybe for a few others. Occasionally I succeed, often I fail. I keep at it.
224-230 - Risa Schneider - USA
[228-230] 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.
[227] 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
[225] 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
[224] 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.
223 - 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."
222 - 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.
221 - 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.
220 - Seek 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)
217-219 - John Andrew Dixon - USA
OM.2012.081 - John Andrew Dixon - USA - Grateful Ode to Merz
Collage on Bristol
Collage on Bristol
OM.2012.082 - John Andrew Dixon - USA - Gold Star for the Plow Man - Collage on Bristol
OM.2012.083 - John Andrew Dixon - USA - Plate Touchonics
Collage on Canvas
Collage on Canvas
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.
216 - 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.
Saturday, March 3, 2012
215 - Joel Lambeth - Australia
 |
OM.2011.180 - Joel Lambeth - Australia - “The Everlasting Gobstopper” - collage on panel - 12x12 inches
Artist Statement:
I see making collage works, or more specifically photomontage pieces, as a tool for making some kind of sense of the world around me. Artist Statement:
Regardless of the subject or situation that presents itself, whether it be political, social or personal in nature, it has become impossible to have all of the relevant information in order to see the issue from all perspectives. Perhaps it has always been impossible to achieve this. However, in the modern time, with all of the multiplicity of sources of information that are available, the ability to access all of the facts has become contradictorily increasingly difficult.
Collage allows me space to take fragments, each loaded with meanings and associations, and arrange them into a form that presents (to me, at least) some kind of logical order or rationalisation, and permits reflection on subjects from a multitude of often disparate standpoints.
This can be a meditative process. In a way, the elements that are being used in the collage take on the form of a mandala, and my ambition in making these works are to attain a balance of form and (perceived) meaning.
Friday, March 2, 2012
214 - 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!
211 + 212 - 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.
210 - - Silvia Bocca - Buenos Aires, Argentina
OM.2012.075 - Silvia Bocca - Buenos Aires, Argentina -Blue eye shadow (2012), 6x8x7 cm. Description: Assemblage in a used eye shadow box, acetate film, carved design on transparent plastic, found objects and oil colours.
209 - Suzé Gilbert - USA
OM.2012.073 - Suzé Gilbert - USA - Earthbound - 4" x 6" - collage with magazine papers
OM.2012.074 - Suzé Gilbert - USA - Global Shortage - 4" x 6" - collage with magazine papers
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.
Subscribe to:
Posts (Atom)