Archive for the ‘collage’ Category

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colin stewart

Wednesday, August 25th, 2010

Colin Stew­art is a very recent col­lege grad­u­ate; the lat­est entry on his blog details pic­tures of a sum­mer degree show at his school. I love the approach of his col­lages. They are frag­mented and visu­ally jarring.

The flow and rhythm to Colin’s work is really what attracted me to it. Through his blog, you can see a bit of his process — he seems to assem­ble some parts of his of his col­lages, but also gives him­self the free­dom to arrange and add sup­port­ing pieces if necessary.

Peo­ple in Colin’s work aren’t “pretty” per say– their abstrac­tion exag­ger­ates their fea­tures and dis­torts their body parts. There is some­thing beau­ti­ful about it — it’s all in the shapes Colin has used and the way they have their own role in defin­ing his lan­guage. The same can be said about his choice of paper. Each paper cor­re­sponds with a func­tion within the com­po­si­tion — whether it be per­son, place, or thing.

All images via his website/blog.

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marcus oakley

Tuesday, August 24th, 2010

Mar­cus Oak­ley is an illus­tra­tor based out of Lon­don. I’m a fan of his flat­tened ren­der­ings and col­lages, and how this con­veys a sense of space and time.

Marcus’s works, while using sat­u­rated col­ors, have a cer­tain level of dilu­tion to them. They seem a bit washed out, like they could be brighter, but I’m glad he chooses not to do so. His work tran­scends what’s cur­rent going on, and ref­er­ences the past, in both style and exe­cu­tion of it. The graphic sen­si­bil­ity freezes time and leaves things locked in place.

I think Marcus’s work appeals to me on a num­ber of dif­fer­ent lev­els. It’s appeal­ing aes­thet­i­cally, but also through the pat­terns and line work that he infuses in his col­lages. Content-wise, it’s got a sense of naivety to it, but with some more “mature” themes. I enjoy that jux­ta­po­si­tion of it all.

All images via his blog. You can also visit his web­site!

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luke fenech

Thursday, August 12th, 2010

Luke Fenech wants to tell new sto­ries in unex­pected ways. His work is a push and pull as he pairs draw­ing with col­lage — cre­ation vs. appropriation.

Luke uses tex­tured papers that dic­tate a major­ity of his color choices, as well as com­po­si­tional ones. There’s a chal­lenge in work­ing with mate­ri­als that already have been cre­ated — you’re lim­ited, in a way, as some­thing has already been decided for you; it could already have a story. I think it’s what makes Luke’s work so great — he uses things in an unex­pected man­ner and gives cutouts and tex­tures a dif­fer­ent meaning.

Using paper in new ways coin­cides with the con­tent of his work. There is a push and pull of abstract and rep­re­sen­ta­tion. Through­out each image that Luke cre­ates, there are ele­ments that we can all iden­tify, as well and dis­torted shapes and col­ors to throw our eyes off.

All images via his web­site.

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julien pacaud

Monday, August 9th, 2010

In Julien Pacaud’s short auto­bi­og­ra­phy, he writes that he’s even­tu­ally hop­ing to have enough time to devote him­self to his real pas­sion — time travel.

Look­ing through Julien’s port­fo­lio, it is a topic not far from his mind. He uti­lizes vin­tage pho­tographs to cre­ate fan­tas­ti­cal com­po­si­tions of peo­ple who are able to fly, and just gen­er­ally larger than life. These illus­tra­tions are less abstract than what I’ve seen, and fully flush out for­eign lands.

Julien’s work is very clean, mak­ing it more believ­able and over­all cohe­sive. His sense of color also adds to this, and I’m fur­ther reminded of the past when I look at it — The sub­tle color dropped within monot­one is indica­tive of the way pho­tographs were col­ored in the mid 20th century.

All images via his web­site.

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daniel lachenmeier

Monday, August 2nd, 2010

Daniel Lachen­meier is an illustrator/designer liv­ing and work­ing in Basel. He uses col­lage as a way to illus­trate and express his point of view.

Daniel doesn’t always use pho­tographs in his work, but when he does, they are used rather seam­lessly. It’s obvi­ous that the pho­tog­ra­phy comes from dif­fer­ent sources. Instead of this being appar­ent, Daniel manip­u­lates every­thing in such a way that the color story is con­sis­tent, giv­ing a feel­ing of cohesion.

The play of scale is some­thing I enjoy see­ing in Daniel’s illus­tra­tions. Often times men in his illus­tra­tions hover over build­ings and trees, their anonymity pre­served with Daniel’s care­ful removal of their faces. There is a feel­ing of lone­li­ness that I asso­ciate with this, a shame­ful­ness — the idea of seen but not seen.


All images via his web­site.

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steven riddle

Wednesday, July 28th, 2010

Steven Rid­dle is an artist work­ing in Bal­ti­more, Mary­land. He uses col­lage to cre­ate abstracted, mixed media works.

Steven uses a com­bi­na­tion of orig­i­nal paint­ing with oil-based mono prints or silk screens, assem­bling sharply-cut shapes and jux­ta­pos­ing them on back­grounds that have a psy­che­delic feel­ing to them. The col­ors are bright and com­plex with a sense of orga­ni­za­tion. They are very well-considered and noth­ing seems out of place. It’s the arrange­ment of these shapes and design that really attract me to Steven’s work. His cut outs feel like the work of late Matisse — he’s paint­ing with scissors.

All images via his Tum­blr.

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jonathan ryan storm

Wednesday, July 21st, 2010

Jonathan Ryan Storm is an artist work­ing out of Brat­tle­boro, Ver­mont. His love for Ver­mont and inter­est in gar­den­ing and plant life are impor­tant to the for­mu­la­tion of his work.

Jonathan has talked about how inspir­ing the state of Ver­mont is, and how it pro­vides an oppor­tu­nity to see the world clearly. The Wan­tas­ti­quet Moun­tain plays an impor­tant role in his life, and is the great overseer.

Jonathan’s work feels like a med­i­ta­tion. His recent works are com­po­si­tions that hold smaller pieces together. It’s the cen­ter­ing of dif­fer­ent ideas and incli­na­tions that exist in a har­mo­nious space. I find it intrigu­ing how dif­fer­ent ele­ments don’t nec­es­sar­ily need to inter­act with each other to feel whole.

Kelly Lynn Jones of Lit­tle Paper Planes did an exten­sive inter­view with Jonathan, which is infor­ma­tive not only about Jonathan, but Kelly her­self. I would highly rec­om­mend reading.

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valero doval

Monday, July 12th, 2010

With Spain’s World Cup win yes­ter­day (and let us not for­get Paul the octo­pus too), I found it fit­ting that one of today’s fea­tured artist hail from the vic­to­ri­ous coun­try. Valero Doval is an artist and illus­tra­tor based out of Spain, and uses col­lage and mixed media to con­vey his lan­guage and play­ful­ness.

Valero uses col­lage to marry both orig­i­nal draw­ings with old pho­tographs. His per­sonal work seems to like to poke fun at the con­ven­tions of the past, and his appli­ca­tion of draw­ing and shape are Dada-esque in its approach; the play against the art of the past and those sen­si­bil­i­ties to make them some­what silly.

The con­struc­tion of Valero’s work is very care­ful. His com­po­si­tions are not overly com­pli­cated or clut­tered, and he seems to place an impor­tance on a lim­ited color palette that rides a line between feel­ing antiqued and splashes of modernity.

All images via his web­site.

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jack hudson

Tuesday, July 6th, 2010

The illus­tra­tion of Jack Hud­son is really excit­ing to view. His work is an odd mix of real­ity and cre­ates a nice har­mony of dig­i­tal and hand-drawn elements.

I enjoy the way Jack com­poses an image. In his work, they depict both strug­gles and joy, with char­ac­ters that are mostly of mon­u­men­tal pro­por­tion and engulf the scenes that they inhabit. They aren’t scary or threat­en­ing, how­ever, and are almost sweet in their demeanor. It’s really easy to become engulfed in Jack’s draw­ings and paint­ings because there is so much going on in a sin­gle scene — so much to view and think about, and feel!

All images via his blog.

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maria mantella

Thursday, July 1st, 2010

When I was look­ing through the Flickr of Maria Man­tella, I was struck in the dif­fer­ence between her col­lage work and draw­ings. The feel­ings that are evoked by both are very dif­fer­ent. Maria’s draw­ings are dark and for­lorn; her col­lages, on the other hand, are much more jovial.

I love Maria’s draw­ings for the care­ful labor­ing of them. Her sub­jects don’t want the viewer to really know them and shy away from a frontal view. Maria uses pen­cil and char­coal to smudge and dis­tort clar­ity. There is a sor­row to these images, and a feel­ing of list­less­ness. There is move­ment, but a feel­ing of sta­tic the way things are placed on a page.

If I didn’t view Maria’s col­lages and draw­ings together, I’m not sure that I’d know they were done by the same artist. Her col­lages uti­lize color and shape, which is quite the oppo­site to her draw­ings. Scraps of paper are used to cre­ate funny faces, and scenes that look almost joy­ous. There are a nice mix­ture of tex­ture and shapes that work harmoniously.

All images via her Flickr. You can also check out her blog.

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