Thursday, April 12, 2012

273 - Janine Nichols - USA

OM.2012.112 - Janine Nichols - Railroaded - box assemblage

272 - Joseph Moniz - USA

OM.2012.111 Joseph Moniz - Thoughts and Clouds - 38" x 60"  mixed media on paper ( in progress)  2010

271 - Kurtiss Lofstrom - USA

OM.2012.109 - Kurtiss Lofstrom - USA - collage

270 - Zoran Palurovic - Serbia

OM.2012.108 - Zoran Palurovic - A piece of Biedermeier - - 2011- paper collage

269 - 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


268 - Lis Gundlach-Sell - Denmark

OM.2012.106 Lis Gundlach-Sell - “Fragile” 2012, Assemblage, h 26,3cm x w 20,5cm,

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.

267 - 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

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.

264, 265, 266 - 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 - Death from This Window

263 - Suzé Gilbert - USA

OM.2012.101 - Suzé Gilbert - Maroc, July 1903 - 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.

262 - Kristin Reed - USA

OM.2012.100 - Kristin Reed - USA - mixed media collage
Collage, assemblage and montage have been used since the early days of art making when grasses, twigs, shells and available materials were assembled for the purpose of expression and decoration. In most of our contemporary lives it has been something available to us since childhood for expressing ourselves using small physical details from our daily lives in pictures or scrapbooks, much in the way that our life’s daily residues enter our dream world.
In my studio I often experiment with ideas by assembling scraps of things that catch my eye and are collected around my space, waiting for a “play day.” During these “free-flow of-ideas” sessions very spontaneous work comes through that is often different from my other work. The resultant pieces inspire ideas for painting and larger finished pieces. Or sometimes stand forever on their own—as a record of a moment in my very personal art making process.

261 - Josie Beszant - UK

OM.2012.099 - Josie Beszant - I am with You - 10x8 inches shadow box assemblage
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.

260 - Elizabeth Ostrander - USA

OM.2012.098 - Elizabeth Ostrander - Eastport Beach Composition #2
found material, acrylic, paper within a sardine can
Height 4 inches  x Width 3 ½ inches x Depth 1 inch

Elizabeth Ostrander

Accumulation, serendipity, and the surprise of juxtaposition, to me, replicates life, elements that become messages artists use to create order in unified realities expressed thru the forms of collage, assemblage, and constructs…unfettered uniqueness and personal.

My on going series of little assemblages created inside sardine cans feels satisfying to me as well as integrated. I live on a island in Maine, way north in Passamaquoddy Bay looking across to Canada.  At one time its island shores were filled with sardine factories, in its heyday, its port even rivaled New York City. But fished-out long ago, today there is not one single fish factory left, now it is the art galleries turn to flourish…this another example of community being saved by Art…and so time marches on to different tunes. I walk the beaches and collect bits of nature, and parts of aged machinery, along with more contemporary trash. Back in the studio, I compose my island beach moments into the now imported sardine cans.  To me, they are like portraits of my island’s cycling history all enmeshed with mine and my assemblaged sardine-can art becomes a mash-up of moments and objects held in timeless composition.

259 - 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.

258 - 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.

257 - 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.)

256 - Ellen Alt - USA

OM.2012.094 - Ellen Alt - USA - wall assemblage - 16x24 inches
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.