Summer’s Last Dusk

I like alternating my collages between the ones which offer the feeling of an open ended narrative and those whose goal is merely to convey a sense of lush beauty.

A key component in the creative process for me with the collages is that it feels fresh for me, otherwise it would be mere mannerism.

I seek to constantly evolve as a way to maintain my own sense of excitement. One way I do this is going outside my established methodology/mission/philosophy. As a new challenge I decided to make a piece which was beautiful but also programmatic. A work with program but which could be enjoyed by the viewer even if they were unaware of program. I have never been a fan of work that seems “blah” until you find out what’s behind it(program/meaning) and then this new gained knowledge makes one nod their head with comprehension as “Ohhh” is uttered.

This piece is 11×14. All the images are photos which I personally took. There is no digital magic worked, as always utilized my trusty scissors and adhesive applied with a brush.

Side note: I received so much positive feedback about my “In the Eights” series I decided to publicly continue it. Temporarily, I am seeking models for the series, send me an email (not through word press) for details.

In the Eights

I do not view one of my mediums as of greater importance than any other. Regardless of what I have done during the day, painting, collage et al at night I sketch. In rough estimation, I probably carry out my night time sketching 360 days a year with arriving in and returning from Europe being the only established days I don’t.

This nighttime sketching is in the parlance of musicians, termed “wood shedding”. It is the equivalent of when a musician practices scales. I am always surprised to hear some of my peers do not do this as even Coltrane continued to constantly practice.

With every collage I do, I learn something new and refine my process. Often I find that when I discover an easier way to do something, there is the feeling that it was so obvious, how had I not thought of it before?

A few nights ago the idea hit me, to wood shed with my collage too. I mulled over initial “rules” knowing that they would most likely be expanded upon as I go.

It’s very important to me that I use my own images from photos which I personally took in my collages. There is always a component of jazz like improvisation in my collages and I worried that using them to wood shed would take away some of that spontaneity and power.

As I had no intentions of showing the results of wood sheds to anyone, i would not be concerned with using images I did not photograph. The other factor of this is that with all the images I use, I do not want to have them appearing over and over again in my work (at least not without a long break in-between). Using other images will keep mine fresh for me. The other rule which immediately came to me is that they should all be small. Usually my collages are time consuming and it would not make sense to have practice work take days on end. Also working small was nice challenge. I do not have uniform size but none of these go much bigger than 3×5.

The few people who I showed these to were very enthusiastic. I must admit that I liked them too. After the first two I established an aesthetic which is beautiful but also slightly off putting. Despite the pleasure i get from even just practicing, I do not see myself putting these up to view too often, so enjoy the initial foray into establishing a new arrow in my quiver.

Underworld

Pop Culture seems almost a misnomer. It’s offerings are discussed,debated and anticipated. Almost inseparable at this point from American culture is the concept of a spoiler alert. Binged watched shows masking so-so writing with the compulsion to see what happens next. To know ahead of time of a characters death or other plot developments is to take away a major component of a work’s strength.

This is a more recent phenomenon as with many books of the western cannon or the ones which have served as a template for countless other stories such as Romeo & Juliet, we know what will happen, has happened but still get enjoyment from the journey.

I find myself often returning to Homer. Of course the trajectory of the characters’ narratives are well known to me now at this point but it still manages to offer up delight, like revisiting a well known city held dear.

There is one scene in the second part (The Odyssey) where the (anti) hero Odysseus/Ulysses is going to talk to the shades of some of his fallen comrades. To do so he must follow a complicated ritual which involves spilling out of oil, incantations and spelling things out on the earth with a stick.

During my last rereading of the epic it occurred to me that most of us now can not even remember or know anyone in our lives phone numbers as our phones do all that kind of thing for us. (this includes myself too). Yet Ulysses was given the instructions and doesn’t even write it down, he remembers it and executes it perfectly.

I got to thinking, an idle stream of thoughts where i started transposing Homer and Ovid to our times and vice versa. In some versions of Orpheus’s tale he is merely allowed to wait at the gates of the underworld for Eurydice’s shade to follow. In other translations he does equivalent of in the front door out a close by side one.

If there is ever time travel then there is already time travel. The afterlife too would be a sort of loop, so I imagined it as a vast city not necessarily of the epic poet’s visual vernacular. A dense city which is one part crumbling metropolis from Blade Runner and also the dense urban pile ups from parts of Mumbai and Hong King.

Orpheus must make his way through all this chalking up the weird architecture as merely one more otherworldly phenomenon beyond his ken. The shades are all crying out for help, lamenting all that they have lost or are cut off from, bitterly laughing or trying to cajole him into watching.

My Orpheus isn’t seen though. Maybe he is coming out, alone. Maybe he already left. He could be one of the active silhouettes in the window, finally reunited with Eurydice after having met his savaged fate. She had been everything to him. His extreme joy at their prospect of their initial reuniting and then inconsolable grief at their second separation at Hades’ exit was a powerful cosmic force. Now, reunited, they are just two more silhouettes in a vast city of shades. We are all the main characters in the movie of our lives but longing remains a force to reckon with.

It has looked like mars around me so i have not been able to paint. I am fortunate that I can still draw and collage regardless of light conditions and burning eyes and sinus. This collage is 11×14. As usual there is no digital magic worked. I used scissors & adhesive applied with brush to images which I personally photographed.

All Night Music &Dance

For my last collage the emphasis was just on doing something lush & beautiful. With this one I wanted to return to my often achieved effect of an open ended narrative. I also have in mind the desire to collage when on the road. With my density achieved via so many small components the amount of time it takes to do the piece would mean that on a shorter trip I would only (if even) be able to do a collage and not also paintings, sculptures et al.

Right now I have two styles of collage. I have mainly been doing my denser mosaic style. The other style incorporates larger pieces and I achieve the density I prefer in my works via distortions of lines and parts. This style is perfect for on the road, while the challenge of getting my preferred density will keep me away from mere mannerisms.

As is always the case with my collages, there is no digital magic. I use my trusty scissors and adhesive applied with brush to photos which I personally took.

“All Night Music & Dance” 11×14

A Million Ways to Die

For all my work regardless of medium, emotion is my main goal. One way to ensure this happens is fostering a constant evolution.

I received many great responses to my last collage and it is a personal favorite. For my next one, I knew that I wanted to do something as dense but also different.

I limited my color palette which I have done before but this time i went with darker, more somber colors. There is a return to a more outright sense of narrative in this piece too. The last piece was a beautiful scene but not story. To my core I will always be a city boy and now I have created another one to visit in my daydreams.

As with all my collages, there is no digital magic worked. I utilize the old school method of scissors & adhesive applied w/brush to photos which I personally took. (new camera for photo)

“A Million Ways To Die” 11×14  (the lines visible beneath pieces don’t mean anything , they were resting on piece scrap paper w/discarded sketch)

 

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You Know It’s True

I have greatly enjoyed upping my game with collage, refining my process. As is true with all my work, I do not want to be reduced down to  the “..” guy. (i.e landscapes/nudes et al). With collage, when you find something that works, it is very tempting & easy to slip in what would be for a musician, pet-licks.

I would like to think all my works have an open ended narrative feel to them. For this piece, I wanted to try to maintain that feeling but with less easily identifiable components making up the piece.  The color palette would once again be restricted but darker than what I have been using. As usual, I work no digital magic, only my trusty scissors and adhesive applied with brush to images which I personally took. The black atop I hand painted on, this being the first time I have tried painting combined with collage.

“You Know It’s True” 11×17

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This Little Piggy

I greatly enjoyed creating my last collage “To the Sea”. I decided to further explore the use of a limited color palette.This piece is a companion piece to my last one in wanting to go by the same “rules”. (limited color palette, utilizing my two main techniques within one piece to equal degrees, smaller sized paper)

As usual I only used photos which I took, my trusty scissors and adhesive applied with a brush. The sort of Maxfield Parish coloring comes from the times of day that I took the photos, all Pre-Raphaelite luminescence playing upon the neighborhood but for a few minutes at a time.

For all my work regardless of medium I prefer a certain amount of density. Especially with my collages, I like the effect of the viewer being able to find new little things with each viewing. An open ended narrative which leads to one’s own personal daydreams.

“This Little Piggy” 11×14

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Boo-Boo’s Birthday & Other Tales

Currently I am working on a large 22×30 painting. Before & after, i refresh myself by working on my sculptures and collages.  I received so many compliments on my triptych that I decided to continue my challenge/explorations by doing a diptych. I was curious what it would be like to work even smaller, so the two sections of it are 5×9. (smallest so far for me!)

As i continue to refine my technique I have found that I do not go about creating my collages in the same way right across the board. I have a few techniques which I switch back and forth from depending upon the size & images of collage.

Regardless of the size or images I prefer a density of composition & the feeling of an open ended narrative. This allows the viewer to return time and again to the work and find new things, new threads of thought.

My process is old school. I use my trusty scissors and adhesive applied with a brush. There is never any digital magic and I utilize images from photos which I personally took.

“Pinks, Blues & golds. Silhouette sprinkles, the lights all turn to cake. Good or bad everyone is committed to their midnight.” B-Day W.Wolfson

 

“Boo-Boo’s Birthday” 12.5×9 (1st diptych) & “What Do You Need Another Lighter For?” 12×17

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Stretching Forms

I am fairly new to collage. Although I had a small learning curve, I continue to refine my process. Once I feel I have it “perfected” I do not want to ever be mechanically go through the act. To keep things fresh I give myself little challenges, or in lieu of that set out for uncharted (to me) territories.

A friend of mine is really into triptychs, so i decided to give that a try. each section of it was 7×10. I was very pleased with the results. The small book I got as to be able to collage when on the road finally came out of quarantine and  I got to try my hand also at working small. These two collages represent firsts for me. I am very pleased with the results. As with all my collages the images I used are from photos that I personally took. I never work any digital magic on them, merely utilizing old school methods of scissors & adhesive applied with brush. Most of my collages are available as prints on my satchi page.

“Triptych” & “Manual Style #1”

 

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