Tuesday, November 15, 2011

OM.2011.134 through 148 - Marty Gordon - USA - Collage Centennial

 Above: Marty Gordon - Title: Charles Mattson: triptych, 3 4"X6" 
collages on mat board mounted on wood panel, 2010.

 Amateur Hour: 5"X5" collage on mat board mounted on wood panel, 2010.

 Elephant Gun: 4"X6" (approx) collage on postcard, 2009.

 Input: 5"X5" collage on canvas, 2008.

 Memory: 5"X5" collage on canvas, 2008.

 Processing: 5"X5" collage on canvas, 2008.

 Outsourced: 4"X6" collage on mat board mounted on wood panel, 2010.

 Primeval Postcards 1 - 4: 4"X6" collage on postcard, 2010.
 The Random Act of an Indifferent Universe: 6"X6" collage on wood panel, 2009

 Whale of a Tale: 4"X6" collage on mat board mounted on wood panel, 2010.

 15 works by Marty Gordon 



I fell into collage by accident. Back in 2004, I began dating my wife, Sarah. While at her apartment one day, she sat down at her kitchen table and started making collages. I asked if I could join her and I've been doing it ever since. I hadn't done much collage before then. My concentration for my BFA was printmaking and I excelled at collagraphy (collage printing) so I suppose you could say that was my introduction to collage. To this day, I build my collages with the same strength and durability that I once applied to my collagraph plates. Imagery is another matter. Through the prompting of a friend, my work became cathartic. My collages tell stories that relate to my trying to make sense of life. I have always been an artist but never has it been such an integral part of me. Collage has made that possible and I am thankful.

OM.2011.132, OM.2011.133 - Braeden Dillenbeck - USA - Collage Centennial

Braeden Dillenbeck - USA-  "SPACE AGE": Magazine Images, Craftbook Clippings, and Ink.

Braeden Dillenbeck - USA- "The Excess of His Delights": Magazine Images, Wax Paper, Cardstock, and Ink. "The Prolific would cease to be Prolific unless the devourer as a sea received the excess of his delights." -William Blake


Artist Statement: As a contemporary form of making art, collage is interesting to me for several different reasons. In addition to the more traditional aesthetic aspects of a piece (color, composition, etc.), collage functions largely through the juxtaposition of imagery. This seems particularly well suited to modern day society because of the widespread ability to share information, use multi-media, and gather materials from pre-existing sources. The juxtaposition of imagery has profound potential for generating meaning. When one places seemingly unrelated images in a shared context, the images interact and resonate with each other to create a layered experience for the viewer. I liken this process to a dream. When we sleep our minds become busy sorting information which we see in the form of seemingly random images, experiences, and feelings mingling in a shared environment. It is only upon waking that we realize that individual aspects of the dream were odd or out of place. In that moment of the dream everything belongs together (regardless of time or space) and works to create something vivid and beautiful that is much larger than the sum of its parts. This is what I love about the form of collage: its potential to make meaning out of the surreal cohesion of unrelated energies.  

OM.2011.129, OM.2011.130, OM.2011.131 - Dilar Periera - Portugal - Collage Centennial

 Dilar Periera - Portugal - collage on canvas - each 16x16 inches

In my collage work inspiration and materials come from found-papers that surround our
daily lives and usually end up having an ephemeral existence from the most obvious to
the most unusual and unsuspected such as posters, newspapers, packages, tickets,
brochures, magazines, postcards, advertising, among many others.
My process of plastic improvisation based creation requires a demand for selfdiscipline
that led to the settlement of Daily Collage Project in 2006. This project aims
to create a collage every day which turns out to be a personal dairy which also acts itself
as a commentary on everyday life.
The relationship word/image, the incorporation of typographic and commercial
elements, the scale and juxtaposition of different textures and shapes, reflects many
aspects of the historical background of this collage technique, such as the early 20th
century artists (Picasso, Braque, Schwitters and Hannah Hoch, by example), or latest
American artists like Joseph Cornell and Robert Motherweel, among others.


The discovery and use of materials related to everyday life, from recycling or the daily
practice of gleaning materials is reflected in the handling of a dual language discourse.
On one hand, it reveals a conceptual sense on improvisational relations in colors,
images, textures, forms, meanings, pictograms; on the other, it focus on mono and
polysemy of language associations among titles, images and signs. Color is the one
characteristic inherent to used materials.
The decision to embrace this technical process is related to the fact that collage
is a recurring feature in my artwork. Sometimes I use transfer techniques that allow the
juxtaposition of images, or vintage images that give the work a new element of
something remote, appealing to our collective memory, although
collages emerge as practices of plastic improvisation whose ephemeral condition
acquire new meanings as a result of the clashes, tensions, dialogues, balances from their
spontaneous combination.
Each work is a dynamic impulse of the act of tearing, select and re-render, and a
material combination of different pieces ending in experimentation built from
discovery. There is an idea of gaming, connected to the act of adjusting, juxtaposing,
uniting, as a daily playful operation breaking the monotony of everyday life.
Improvisation is the result of instant choices – choice made "by itself", cleared
from what is around and of what’s happening. One practice of a combined exercise,
which tears, destroys and rebuilds a work in progress taking place from the act of
dealing with "what is around," like an instant of an event.
In addition to operative act it is the intellectual doing and the visibility that matters.
There is no narrative sense in each collage, but maybe one can be found in Daily
Collage Project. It does not intend to tell a story, but there is a loose speech on daily life
which inhabits time.
Dilar Pereira
Lisboa, September 18th, 2011

OM.2011.126, OM.2011.127, OM.2011.128 - Aila Koivisto - Finland - Collage Centennial

OM.2011.126, OM.2011.127, OM.2011.128 - Aila Koivisto - Finland - collage on paper - 21 x 46 cm.
Artist Statement: This is my way to build a collage. I'm just a small part of the English language.! But I try to do everything right.  WELL -  THOUGHT  -  OUT  SENTENCES : Collage is always a new trip to an exciting world, where a path of colours and rhythm leads you forwards. I dive into the secrets of abstract and  sometimes simplified pictures. It preoccupies my thoughts. I forget time and one hour changes into one minute. WHY DOES COLLAGE INTEREST ME?   I`m  interested in collage because building it is so multiform.     I never know in advance, how many new  thoughts I find or even stories. Only imagination gives the limits and the spectrum of materials is endless.

OM.2011.124 & OM.2011.125 - Svetlana Pesetskaya - Russia - Collage Centennial

 Svetlana Pesetskaya - Russia - two visual poems: Ritual #1 and Ritual #2 - mixed media on paper - 12x16 inches - online

Artist Statement: For the first time I have seen Henri Matisse's collage magic it is an art genre have subdued me since the childhood.
 The collage is combined and laconic, different invoices and.... The Collage includes all genres of the fine arts painting, a drawing, a calligraphy and poetry. It is always modern and actual. Collage possibilities are boundless. It is magic of theater and a reality, the Fairy tale and the present -  that for me is a collage.