Collage: Contemporary Artists Hunt and Gather, Cut and Paste, MASH Up and Transform 1452130353, 9781452130354

Citation preview

COLL AGE CONTEMPORARY ARTISTS HUNT AND GATHER, CUT AND PASTE, MASH UP AND TRANSFORM By DANIELLE KRYSA ŗŗĊŗŗ),1),ŗ3 ANTHONY ZINONOS

C H R O N I C L E

B O O K S

SAN FRANCISCO

Copyright © 2014 by Danielle Krysa. Foreword copyright © 2014 by Anthony Zinonos. Artist statements, bios, and artwork copyright © by the individual artists. All rights reserved. No part of this book may be reproduced in any form without written permission from the publisher. Page 176 constitutes a continuation of the copyright page. Library of Congress Cataloging-in-Publication Data available. ISBN: 978-1-4521-2480-3 (pb) ISBN: 978-1-4521-3035-4 (epub, mobi) Design by Kristen Hewitt Chronicle Books LLC 680 Second Street San Francisco, CA 94107

www.chroniclebooks.com

CONTENTS F O R E W O R D by Anthony Zinonos

7 I N T R O D U C T I O N by Danielle Krysa

10 THE CHALLENGE

13

L A R I S S A H A I LY A G U A D O

JESSE DRAXLER

17

56

MARÍA APARICIO PUENTES

H O L LY G A B O R I A U LT

20

63

M A R K B R A D L E Y-S H O U P

CLEMENS HABICHT

27

66

H O L L I E C H A S TA I N

BETH HOECKEL

30

73

LISA CONGDON

MICOSCH HOLLAND

34

78

M AT T H E W C R AV E N

JP KING

39

85

ANDREA D’AQUINO

KHÁNH H. LÊ

44

88

K AT R I E N D E B L A U W E R

K AT H R Y N M A C N A U G H TO N

51

93

PETER MADDEN

JOSE ROMUSSI

98

133

ARIS MOORE

ADRIENNE SLANE

105

138

VINCENT PACHECO

XOCHI SOLIS

108

145

FRANCISCA PAGEO

FABIEN SOUCHE

113

148

LILLIANNA PEREIRA

BRANDI STRICKLAND

118

153

CIARA PHELAN

BILL ZINDEL

125

158

MAHMOOD POPAL

ANTHONY ZINONOS

128

165

ARTIST BIOS

168 IMAGE CREDITS

176

FOREWORD BY ANTHONY ZINONOS "ŗ0,3ŗ #,-.ŗ)&&!ŗ ŗ,'',ŗ'%#(!ŗ1-ŗŗ,(-)'ŗ().ŗ.)ŗ'3ŗ*,(.-Ąŗ"ŗ().ŗ,Ćŗ Đŗ"0ŗ3)/,ŗ"#&,(Ĝ-(ŗĴüąÿúúąúúúĄđŗ 3ŗ-#-.,ŗ(ŗ ŗ(0,ŗ#ŗ,#0ŗ.".ŗ')(3Ąŗ ŗ"#ŗ#(ŗ."ŗ%ŗ!,(ŗ ),ŗŗ 1ŗ")/,-ŗ/(.#&ŗ1ŗ!).ŗ),ŗ(ŗ"/(!,3ąŗ."(ŗ,./,(ŗ.)ŗ ."ŗ")/-ŗ.#(!ŗ-ŗ.")/!"ŗ()."#(!ŗ"ŗ"**(Ąŗ"#-ŗ"-ŗ-./%ŗ#(ŗ'3ŗ''),3ąŗ().ŗ$/-.ŗ /-ŗ) ŗ."ŗ/(#'!#(&ŗ."#(!-ŗ."ŗ.(Ě3,Ě)&ŗ'ŗ*&((ŗ.)ŗ)ŗ1#."ŗ'3ŗ-",ŗ) ŗ ')(3ąŗ/.ŗ&-)ŗ/-ŗ."ŗ*,)--ŗ) ŗ& #(!ŗ.",)/!"ŗ-.%-ŗ) ŗ'!4#(-ŗ(ŗ(1-*Ě *,-ŗ.,3#(!ŗ.)ŗ #(ŗ."ŗ),,.ŗ&..,-ŗ.)ŗ'%ŗ."ŗ().ŗ!).ŗ'ŗ"))%Ą ŗ"0ŗ&13-ŗ(ŗ,1(ŗ.)ŗ*,)--Ě"03ŗ,.ŗ'%#(!ąŗ-*(#(!ŗ")/,-ŗ#(ŗ,%,))'-ŗ *,#(.#(!ŗ*").)!,*"-ąŗ*,**#(!ŗ-#&%ŗ-,(-ŗ(ŗ*&.-ŗ ),ŗ*,#(.#(!ŗ),ŗ1),%#(!ŗ)(ŗ-".ŗ  .,ŗ-".ŗ) ŗŗ!,.ŗ#!ŗ*#&ŗ) ŗ**,-ŗ.)ŗ&.,ŗ*./,ŗ(ŗ'%ŗ(ŗ(#'.#)(ŗ.".ŗ&-.-ŗ ),ŗ)(&3ŗ.1(.3Ě #0ŗ-)(-Ąŗ"ŗ)---#0Ě)'*/&-#0ŗ-#ŗ) ŗ'Ĝ."ŗ-#ŗ.".ŗ&#%-ŗ),,ŗ (ŗ),!(#4.#)(Ĝ!,ŗ)(.)ŗ."ŗ'#/'ŗ) ŗ)&&!ŗ(ŗ,(ŗ ),ŗ."ŗ"#&&-Ąŗ ŗ#-)0,ŗ.".ŗ ."ŗ)(-.(.ŗ-,"#(!ŗ ),ŗ(ŗ)&&.#(!ŗ) ŗ(1ŗ'.,#&-ŗ.)ŗ/-ąŗ(ŗ."ŗ(/',)/-ŗ")/,-ŗ -*(.ŗ.,3#(!ŗ.)ŗ-),.ŗ(ŗ,,(!ŗ/.ŗ#'!-ąŗ"ŗ'3ŗ('ŗ1,#..(ŗ&&ŗ)0,ŗ#.Ą 0,ŗ."ŗ&-.ŗ 1ŗ3,-ŗ#.ŗ-'-ŗ.".ŗŗĐ)&&!ŗ))'đŗ"-ŗ(ŗ.%#(!ŗ*&ąŗŗ,#-ŗ#(ŗ*)*/&,Ě #.3ŗ.".ŗ"-ŗ&ŗ().ŗ$/-.ŗ.)ŗ(ŗ#(,-ŗ#(ŗ*)*&ŗ'%#(!ŗ)&&!ŗ/.ŗ.)ŗ(ŗ#( &/2ŗ) ŗ2"##.#)(-ąŗ ))%-ąŗ(ŗ&)!-ŗ-")1-#(!ŗ."ŗ#0,-#.3ŗ) ŗ."ŗ'#/'Ąŗ)&&!ŗ#-ŗ,(#(!ŗŗ1&&ŗ)0,/ŗ &0&ŗ) ŗ,-*.ŗ-ŗŗ&!#.#'.ŗ,.ŗ ),'ąŗ#(-.ŗ) ŗ#(!ŗ.")/!".ŗ) ŗ-ŗ$/-.ŗ-)'."#(!ŗ ),ŗ "#&,(ŗ.)ŗ&ŗ1#."ŗ#(ŗ."#,ŗ,&3ŗ-"))&ŗ3,-Ąŗ"ŗ-#ŗ#ŗ) ŗ(ŗ,.#-.ŗ(#(!ŗ.)ŗ,1ąŗ *#(.ąŗ),ŗ-/&*.ŗ#-ŗ.",)1(ŗ)/.ŗ."ŗ1#()1ąŗ(ŗ."ŗ-#--),-ąŗ-&*&ąŗ(ŗ!&/ŗ,ŗ1&)'ŗ 1#."ŗ)*(ŗ,'-Ą ŗ &ŗ0,3ŗ&/%3ŗ.)ŗŗŗ*,.ŗ) ŗ."#-ŗ2*(-#)(ŗ#(ŗ)&&!ē-ŗ*)*/&,#.3Ąŗ .ŗ"-ŗ!#0(ŗ'ŗ."ŗ )**),./(#.3ŗ.)ŗ.%ŗ*,.ŗ#(ŗ2"##.#)(-ŗ.",)/!")/.ŗ."ŗ1),&Ĝ-")1#(!ŗ'3ŗ1),%ŗ#(ŗ-'&&ŗ #.#-ŗ&#%ŗ),1#"ŗ#(ŗ."ŗ(#.ŗ#(!)'ąŗ.)ŗ'),ŗ2).#ŗ'.,)*)&#--ŗ-/"ŗ-ŗ/#.)ąŗ."ŗ *#.&ŗ) ŗ/),Ąŗ .ŗ"-ŗ&-)ŗ"&*ŗ'ŗ.)ŗ"#0ŗ)'',#&ŗ-/--ŗ-ŗŗ)&&!ŗ#&&/-Ě .,.),Ąŗ ŗ)/&ŗ().ŗŗ"**#,ŗ'%#(!ŗ)&&!-ŗ ),ŗŗ�#(!Ąŗ .ŗ(&-ŗ'ŗ.)ŗ)ŗ."ŗ1),%ŗ ŗ&)0ŗ 0,3ŗ3ŗ) ŗ."ŗ1%Ąŗ ),ŗ."ŗ/,,(.ŗ,(#--(ąŗ'3ŗ)1(ŗ)&&!ŗ*,)--ŗ1-ŗ-&#!".&3ŗ ,)1(ŗ/*)(ŗ3ŗ'3ŗ./.),-ŗ(ŗ*,-ŗ/,#(!ŗ'3ŗ,.ŗ-"))&ŗ3,-Ąŗ(&3ŗ .,ŗ!,/.#(!ŗ#ŗ ŗ #-)0,ŗ."ŗ.#!".Ě%(#.ŗ '#&3ŗ) ŗ).",ŗ)&&!ŗ,.#-.-ŗ.".ŗ1-ŗ &)/,#-"#(!ŗ)(&#(Ąŗ"-ŗ,.Ě #-.-ŗ*,)0#ŗ#(-*#,.#)(ŗ(ŗ()/,!'(.ŗ(ŗ1,ŗ&13-ŗ1#&&#(!ŗ.)ŗ-",ŗ."#,ŗ*,)--ŗ

7

I

.#*-ąŗ'.")-ąŗ(ŗ1),%Ąŗ",ŗ#-ŗ-)'."#(!ŗ )/.ŗ)&&!ŗ.".ŗ,-ŗ)&&),.#)(Ąŗ (ąŗ#.ŗ-'-ŗ.)ŗŗ."ŗ*, .ŗ'#/'ŗ ),ŗ)&&),.#0ŗ*,)$.-Ąŗ),%#(!ŗ.)!.",ŗ 1#."ŗ).",ŗ)&&!ŗ*,.#.#)(,-ŗ)*(-ŗ."ŗ ,.#-.ē-ŗ3-ŗ.)ŗ."ŗ# ,(.ŗ*,)---ŗ(ŗ '.")-ŗ'*&)3ŗ3ŗ).",-ŗ(ŗ."-ŗ ."ŗ#(#0#/&ŗ)/.ŗ"#-ŗ),ŗ",ŗ)1(ŗ1),%ąŗ (ŗ")1ŗ#.ŗ#-ŗ,ŗ(ŗ*,#0ŗ3ŗ).",-Ą

.ŗ'3ŗŗ.".ŗ*)*&ŗ &ŗ."ŗ(ŗ.)ŗ'%ŗ ."#(!-ŗ3ŗ"(ŗ!#(ąŗ.)ŗ*"3-#&&3ŗ.)/"ŗ (ŗ,.ŗ-)'."#(!ŗ)/.-#ŗ) ŗ."#,ŗ3Ě .)Ě3ŗ#!#.&ŗ�-Ąŗ --Ě*,)/ŗ!))-ŗ (ŗŗ*,#0ŗ-ŗ-)'1".ŗ",.&--ŗ (ŗ),#(,3ąŗ1",-ŗ."ŗ-.#- .#)(ŗ) ŗ ,.#(!ŗ-)'."#(!ŗ1#."ŗ)(ē-ŗ)1(ŗ"(-ŗ#-ŗ *,#&--Ąŗ",ŗ#-ŗ'),ŗ,))'ŗ ),ŗ,,),ŗ(ŗ ."#-ŗ-)ŗ) .(ŗ&-ŗ.)ŗ/(2*.ąŗ/.ŗ ,Ě +/(.&3ŗ/.# /&ąŗ'#-.%-Ąŗ"-ŗ'#-.%-ŗ (ŗ(ŗ-")/&ŗŗ',ąŗ/-ŗ."3ŗ ) .(ŗ!#0ŗ,#-ŗ.)ŗ(1ŗ#-ŗ(ŗ.", ),ŗ ()/,!ŗ*,)!,--#)(ŗ#(ŗ."ŗ1),%Ą

ŗ/,,(.&3ŗ�ŗ#(ŗŗ0,3ŗ#!#.&ŗ-)#.3ąŗ -*(#(!ŗ')-.ŗ) ŗ)/,ŗ3ŗ.."ŗ.)ŗŗ )'*/.,ąŗ.&.ąŗ),ŗ-',.*")(ąŗ(0#!.Ě #(!ŗ.",)/!"ŗ0#,./&ŗ*!-ŗ1#."ŗŗ&#%ŗ) ŗŗ /..)(ŗ),ŗ."ŗ-1#*ŗ) ŗŗ #(!,Ąŗ"#-ŗ'3ŗ ŗ)(ŗ,-)(ŗ ),ŗ."ŗ,(.ŗ-/,!ŗ#(ŗ*)*Ě /&,#.3ŗ) ŗ)&&!ŗ(ŗ).",ŗ ),'-ŗ) ŗ, .Ąŗ

ŗ&)0ŗ)&&!ŗ/-ŗ#.ŗ#-ŗ-/"ŗŗ..#&ŗ *,)--Ąŗ ŗ &ŗŗ)((.#)(ŗ.)ŗ."ŗ'.Ě ,#&-ŗ.".ŗ ē'ŗ/-#(!ŗ.",)/!"ŗ"(&#(!ŗ(ŗ

FOREWORD

8

I

theKAMIKAZEbarons, 2012, collage on paper II

blackBEAUTYwasAtwin, 2013, collage on paper

'(#*/&.#(!ąŗ(ŗ($)3ŗ'%#(!ŗ."'ŗ '3ŗ)1(Ąŗ"ŗ,-.,#.#)(-ŗ) ŗ1),%#(!ŗ1#."ŗ )&&!ŗ'.,#&-ŗ#-ąŗ ),ŗ'ąŗŗ1&)'ŗ "&&(!Ĝ."ŗ,')0&ŗ) ŗŗ."#(!ŗ ,)'ŗ#.-ŗ ),#!#(&ŗ)(.2.ąŗ!#0#(!ŗ#.ŗŗ(1ŗ&# ŗ(ŗ '(#(!Ąŗ)10,ąŗ."ŗ'.,#&ŗ-.#&&ŗ3ŗ#.-ŗ 0,3ŗ(./,ŗ,,#-ŗ-)'ŗ) ŗ#.-ŗ*-.ŗ1#."ŗ#.ąŗ #(!ŗ2.,ŗ*."ŗ.)ŗŗ*#Ąŗ ŗ($)3ŗ/-#(!ŗ 0#(.!ŗ#'!-ŗ/-ŗ) ŗ."#,ŗ/(*)&#-"ŗ (ŗ!,#(3ŗ+/&#.3ąŗ-ŗ1&&ŗ-ŗ."#,ŗ.2./,ŗ (ŗ)&),ŗ-./,.#)(Ąŗ ŗ&.ŗ."ŗ#'!-ŗ!/#ŗ '3ŗ,.#0ŗ*,)--Ąŗ

II

ŗ-.,.ŗ3ŗ&))%#(!ŗ.",)/!"ŗ'!4#(-ŗ(ŗ ))%-ąŗ-)%#(!ŗ#(ŗ."#,ŗ)(.(.ŗ(ŗ'))Ąŗ ,.#(ŗ#'!-ŗ),ŗ.#&-ŗ1#&&ŗ."ŗ'3ŗ ..(.#)(ŗ(ŗ1#&&ŗ-*,%ŗ'3ŗ.")/!".ŗ*,)Ě --ąŗ&#(!ŗ'ŗ.)ŗ-.,.ŗ."#(%#(!ŗ)/.ŗ")1ŗ ŗ'#!".ŗ/-ŗ."ŗ#'!ŗ.)ŗ,.ŗŗ)'*)-#Ě .#)(ąŗ#ąŗ),ŗ(,,.#0Ąŗ ŗ."#(%ŗ.",ŗ#-ŗ(ŗ &'(.ŗ) ŗ'3ŗ-/)(-#)/-ŗ.%#(!ŗ)(.,)&ŗ 1"#&ŗ ŗ1),%Ĝ)(&3ŗ .,1,ŗ1#&&ŗ."ŗ-/.&ŗ .#&-ŗ(ŗ'(#(!-ŗ1#."#(ŗ."ŗ1),%ŗ ,0&ŗ."'-&0-Ąŗ(,&&3ŗ."ŗ./&ŗ '%#(!ŗ) ŗŗ)&&!ŗ#-ŗŗ+/#%ŗ*,)--Ĝ."ŗ !,)/(1),%ŗ) ŗ-,"#(!ŗ(ŗ)&&.#(!ŗ '.,#&-ŗ"0#(!ŗ&,3ŗ(ŗ*/.ŗ#(ŗ*&Ąŗ ŗ.",#0ŗ)(ŗ."ŗ0(./,ŗ) ŗ."ŗ-,"ŗ ),ŗ (1ŗ**,ŗ!))-ŗ.)ŗ/-ąŗ,&#!#)/-&3ŗ0#-#.#(!ŗ -)("(ŗ-")*-ŗ(ŗ &ŗ',%.-ŗ-ŗ 1&&ŗ-ŗ)(-.(.&3ŗ"%#(!ŗ ),ŗ#(.,-.#(!ŗ -,*-ŗ)(ŗ."ŗ-.,.-ŗ),ŗ#(ŗ,/#-"ŗ#(-Ąŗ

",ŗ#-ŗ."ŗ-(-ŗ) ŗ,!(,.#)(ŗ(ŗ /*3&#(!ŗ.".ŗ..,.-ŗ'ŗ.)ŗ*)*&ē-ŗ#-Ě ,ŗ**,ŗ!))-ąŗ ŗ&#%ŗ.)ŗ."#(%ŗ.".ŗ ē'ŗ !#0#(!ŗ#.ŗŗ-)(ŗ"(ŗ.)ŗ-"#(ŗ#(-.ŗ ) ŗ$/-.ŗ)'#(!ŗ'),ŗ&( #&&Ą )&&!ŗ#-ŗ"*ŗ(ŗ--#&ŗ.)ŗ0,3Ě )3Ąŗ)/ŗ)(ē.ŗ(ŗ(3ŗ (3ŗ+/#*'(.ŗ ),ŗŗ1),%-")*ŗ /&&ŗ) ŗ.))&-Ĝ0,3ŗ")/-Ě ")&ŗ"-ŗŗ*#,ŗ) ŗ-#--),-ŗ(ŗ-)'ŗ!&/ŗ ),ŗ"-#0ŗ.*Ąŗ
&&ŗ3)/ŗ(ŗ#-ŗ-)'ŗ #(-*#,.#)(ŗ(ŗ) ŗ3)/ŗ!)Ĝ/..#(!ąŗ.,#(!ąŗ (ŗ-.#%#(!Ąŗ"ŗ,.ŗ ./,ŗ#(ŗ."#-ŗ))%ŗ #-ŗ()."#(!ŗ-"),.ŗ) ŗ#(-*#,.#)(&Ąŗ .ŗ-")1-ŗ ."ŗ0,#)/-ŗ-.3&-ŗ(ŗ# ,(.ŗ**,)"-ŗ .)ŗ)&&!ąŗ1#."ŗ,.#-.-ŗ/-#(!ŗ().ŗ)(&3ŗ**,ŗ /.ŗ&-)ŗ.2.#&-ąŗ*#(.ąŗ*,#(.'%#(!ąŗ(ŗ -/&*./,&ŗ&'(.-ŗ.)ŗ,.ŗ*#-ŗ.".ŗ ,ŗ)."ŗ/.# /&ŗ(ŗ.")/!".Ě*,)0)%#(!ĄŘ

FOREWORD

9

INTRODUCTION BY DANIELLE KRYSA

0,3ŗ3ąŗ)(ŗ'3ŗ,.ŗ-#.ąŗ."ŗ &)/-ŗ/,.),ąŗ ŗ1,#.ŗ)/.ŗ)(.'*),,3ŗ,.#-.-ŗ1")ŗ'%ŗ 'ŗĐ$&)/-Ąđŗ &)/-ŗ#(ŗ(ŗ#(-*#,.#)(&ŗ13Ĝ1#."ŗ'3ŗ$/-.ŗŗ-'&&ŗ*/("ŗ.)ŗ."ŗ,.#0ŗ !/.Ąŗ ē'ŗ(ŗ,.#-.ŗ'3-& ąŗ(ŗ1"(ŗ ŗ #(ŗ1),%ŗ.".ŗ'%-ŗ'ŗ."#(%ąŗĐ"ŗ ŗ1#-"ŗ ŗ.")/!".ŗ ) ŗ.".ąđŗ ŗ%()1ŗ.".ŗ ē0ŗ!).ŗ.)'),,)1ē-ŗ*)-.Ąŗ ŗ1)/&ŗ!/--ŗ.".ŗ.ŗ&-.ŗ"& ŗ) ŗ."-ŗ*)-.-ŗ ,ŗ)/.ŗ'#2Ě'#ŗ(ŗ)&&!ŗ,.#-.-Ąŗ)/(ŗ#'!-ŗ3)/ŗ(0,ŗ1)/&ŗ"0ŗ,'ŗ) ŗ -#(!ŗ*#,ąŗ,ŗ()1ŗ ),0,ŗ!&/ŗ-ŗ)(Ąŗ
ŗ&)(&3ŗ&%Ě(Ě1"#.ŗ*").)!,*"ŗ#-ŗ!#0(ŗ (1ŗ&# ŗ1"(ŗ-.#."ŗ)0,ŗ1#."ŗ,#()1Ě"/ŗ',)#,3ŗ.",Ąŗ))%ŗ)0,-ŗ)'ŗ (0--ŗ(ŗ-/-!-ŗ)'ŗ!/(-Ąŗ
(3."#(!ŗ#-ŗ*)--#&ŗ1#."ŗŗ*#,ŗ) ŗ-#--),-ŗ(ŗŗ#.ŗ) ŗ !&/Ąŗ ŗ'%ŗ)&&!-ŗ) ŗ'3ŗ)1(ąŗ(ŗ ŗ1,#.ŗ)/.ŗ).",ŗ,.#-.-ēŗ)&&!-ŗ&&ŗ."ŗ.#'Ąŗ
(ŗ.".ŗ )---#)(ŗ#-ŗ."ŗ!,'ŗ) ŗ."#-ŗ))%Ą -#(!ŗ )/(ŗ#'!,3ŗ#-ŗ #(#.&3ŗ().ŗŗ(1ŗ#Ąŗ(ŗ) ŗ."ŗ')-.ŗ ')/-ŗ*#-ŗ ,)'ŗ."ŗ)*ŗ
,.ŗ,ąŗ ),ŗ2'*&ąŗ#-ŗ#",ŗ'#&.)(ē-Ř)&&!ŗJust what is it that makes today’s homes so different, so appealing?ąŗûăÿĀĄŗ .ŗ#-ŗ1#&3ŗ%()1&!ŗ-ŗ)(ŗ) ŗ."ŗ,&#-.ŗ*#-ŗ) ŗ)*ŗ
,.ąŗ&#.,&&3ŗ,#(!#(!ŗ*)*ŗ/&./,ŗ ,)'ŗ."ŗ*!-ŗ) ŗ'!4#(-ŗ.)ŗ."ŗ!&&,3ŗ1&&Ąŗ
(ąŗ# ŗ3)/ŗ !)ŗ%ŗŗ&#..&ŗ /,.",ŗ#(ŗ,.ŗ"#-.),3ąŗ0(ŗ#--)ŗ/-ŗ )/(ŗ#'!,3ąŗ/,#(!ŗ"#-ŗ/#-.ŗ*,#Ě )Ąŗ"-ŗ,.#-.-ŗ!0ŗ2#-.#(!ŗ#'!-ŗ(ŗ(.#,&3ŗ(1ŗ*/,*)-ąŗ(ŗ,.ŗ-)'."#(!ŗ ,-"ŗ ,)'ŗ#'!-ŗ(ŗ#-ŗ.".ŗ1,ŗ&,3ŗ0,3ŗ-.&#-"ŗ#(ŗ."#,ŗ'(#(!ĄŘ'#&3ŗ*").)-ąŗ ,/'*&ŗ*)-.,-ąŗ-,#&Ě)(ŗ))%ŗ*!-Ĝ"ŗ) ŗ."-ŗ ),!)..(ŗ#.'-ąŗ#(ŗ."ŗ"(-ŗ) ŗ .1(.#."Ě(./,3ŗ)&&!ŗ,.#-.-ąŗ"ŗ."ŗ*).(.#&ŗ.)ŗ)'ŗŗ'-.,*#Ą (ŗ .ąŗ#.ē-ŗ."ŗ.,-/,ŗ"/(.Ĝ."ŗ #(#(!ŗ(ŗ-),.#(!ŗ(ŗ-&.#(!ŗ) ŗ#'!-Ĝ.".ŗ#-ŗ ),ŗ '(3ŗ."ŗ')-.ŗ,1,#(!ŗ*,.ŗ) ŗ."ŗ*,)--Ąŗ)."#(!ŗ'%-ŗŗ)&&!#-.ŗ"**#,ŗ."(ŗ#!!#(!ŗ .",)/!"ŗŗ)2ŗ) ŗ#'!-ŗ),ŗŗ-.%ŗ) ŗ))%-ŗ/(.#&ŗ1ŗ/()0,ŗ.".ŗ*, .ŗ#'!Ĝ."ŗ%#(ŗ ) ŗ#'!ŗ.".ŗ-.)*-ŗ."ŗ",.ąŗ$/-.ŗ ),ŗŗ-)(ąŗ/-ŗ) ŗ."ŗ'4#(!ŗ,.#0ŗ*).(.#&ŗ#.ŗ ")&-Ąŗ".ŗ.,(- ),'.#)(ŗ#-ŗ)(ŗ) ŗ."ŗ-.ŗ."#(!-ŗ)/.ŗ)&&!Ćŗ"ŗ,.#-.ŗ!.-ŗ.)ŗ #(#-"ŗ .&&#(!ąŗ#(ŗŗ)'*&.&3ŗ(1ŗ13ąŗŗ-.),3ŗ.".ŗ1-ŗ-.,.ŗ3ŗ-)')(ŗ&-Ąŗ)'#(#(!ŗ(ŗ)&ŗ #'!ŗ1#."ŗ-)'."#(!ŗ'),(Ąŗ
#(!ŗŗ)&ŗ.2./,ŗ),ŗ)&),ŗ.)ŗŗ-'#(!&3ŗ*&#(ŗ*").)Ě !,*"Ąŗ/(&3ŗ.",ē-ŗ(ŗ(.#,&3ŗ(1ŗ(,,.#0ŗ.".ŗ1)/&(ē.ŗ"0ŗ2#-.ŗ).",1#-Ąŗ ,/&3ŗ!,.ŗ)&&!ŗ,.#-.-ŗ.%ŗ/-ŗ ,)'ŗ1".ŗ2#-.-ŗ#(ŗ."ŗ#.-ŗ(ŗ*#-ŗ#(ŗ ,)(.ŗ) ŗ."'Ĝ ."(ŗ./,(ŗ&&ŗ) ŗ#.ŗ/*-#ŗ)1(ąŗŗ$/-.ŗ."ŗ,#!".ŗ/(2*.ŗ&'(.ąŗ(ŗ&#'ŗ#.ŗ-ŗ."#,ŗ

10

)1(Ąŗ),ŗ(3)(ŗ1")ŗ"-ŗ0,ŗ&))%ŗ.ŗŗ &(%ŗ*!ŗ(ŗ )/(ŗ#.ŗ$/-.ŗ.))ŗ,(ŗ*, .ŗ (ŗ#(.#'#.#(!Ĝ)&&!ŗ#-ŗŗ&--#(!Ąŗ .,.#(!ŗ1#."ŗ-)'."#(!ŗ(ŗ/#&#(!ŗ)(ŗ#.ŗ #-ŗŗ"(ŗ.)ŗ,'%ŗ-.),#-ąŗ.)ŗ,.ŗ,.ŗ )/.ŗ) ŗ-)'."#(!ŗ,.",ŗ."(ŗ()."#(!ąŗ.)ŗ ',ŗ1"#'-3ŗ(ŗ"/'),ŗ(ŗ*-.#"Ąŗ

# ,(.ŗ"ŗ*#ŗ1-Ąŗ)'ŗ) ŗ."ŗ1),%ŗ ./,-ŗ."ŗ"&&(!ŗ#'!ŗ*,)'#((.&3ąŗ (ŗ#(ŗ).",ŗ*#-ŗ3)/ŗ,&&3ŗ"0ŗ.)ŗ&))%ŗ ),ŗ#.Ąŗ)/ŗ1#&&ŗ #(ŗ&&ŗ) ŗ."-ŗ'4#(!ŗ (1ŗ)&&!-ŗ#(ŗ."#-ŗ))%ąŗ*&/-ŗ)(ŗ'),Ĝ /-ŗ ŗ)/&(ē.ŗ,-#-.Ĝ ŗ"ŗ.)ŗ'%ŗ )(ŗ.))ŗġ-ŗ*!ŗûüĢĄŗ

0,3ŗ.#'ŗ ŗ #(ŗŗĐ*, .ŗ#'!ąđŗ ŗ #(-.(.&3ŗ(0#-#)(ŗ1".ŗ ŗ'#!".ŗ)ŗ.)ŗ#.Ąŗ ".ŗ1#&&ŗ ŗ%*ąŗ1".ŗ1#&&ŗ ŗ.%ŗ13ąŗ 1".ŗ-")/&ŗ ŗĎŗ (ŗ.".ŗ-'ŗ')'(.ąŗ ŗ1)(,ŗ1".ŗ-)'ŗ) ŗ."ŗ)&&!ŗ,.#-.-ŗ ŗ'#,ŗ')-.ŗ1)/&ŗ)ŗ1#."ŗ#.Ąŗ".ŗ 1)/&ŗ --ŗ,2&,ŗ%*Ďŗ".ŗ'#!".ŗ ."ŗ)%&ŗ.",)1ŗ13Ďŗ".ŗ1)/&ŗ
(.")(3ŗ#()()-ŗŗ.)ŗ."#-ŗ*").)!,*"Ďŗ &&ąŗ#(-.ŗ) ŗ1)(,#(!ąŗ ŗ-%ŗ."'Ąŗ ,ŗ"&&(!ŗ."'ąŗ3)/ŗ'#!".ŗ0(ŗ-3Ąŗ (ŗ !.",#(!ŗ.)!.",ŗ."ŗ."#,.3ŗ,.#-.-ŗ ,)'ŗ ,)/(ŗ."ŗ1),&ŗ.)ŗŗ#(ŗ."#-ŗ))%ąŗ ŗ#(ē.ŗ $/-.ŗ-%ŗ."'ŗ.)ŗ-",ŗ."#,ŗ2#-.#(!ŗ1),%Ąŗ ŗ!0ŗ"ŗ) ŗ."-ŗ'4#(!ŗ)(.'*),,3ŗ '#2Ě'#ŗ)&&!ŗ,.#-.-ŗ."ŗ2.ŗ-'ŗ #'!Ćŗŗ0#(.!ąŗ '#&3ŗ*").)ŗ) ŗŗ)1)3ŗ (ŗ"#-ŗ'/-."Ě&ąŗ),#)(Ě*&3#(!ŗ ,).",ąŗ#,ŗûăÿĂŗġ-ŗ*!ŗûýĢĄŗ"3ŗ&&ŗ .))%ŗ."#-ŗ&%Ě(Ě1"#.ŗ0#(.!ŗ!'ŗ%ŗ .)ŗ."#,ŗ-./#)-ąŗ(ŗ."(ŗ*,)ŗ.)ŗ")*ŗ (ŗ!&/ŗ(ŗ*#(.ŗ(ŗ-1Ąŗ"3ŗ',!ŗ 1#."ŗ."#,.3ŗ(.#,&3ŗ/(#+/ŗ'-.,*#-Ąŗ

ŗ")-ŗ."-ŗ."#,.3ŗ,.#-.-ŗ/-ŗ&&ŗ) ŗ ."'ŗ,ŗ#(,#&3ŗ)'*&#-"ŗ#(ŗ."ŗ 1),&ŗ) ŗ)&&!Ąŗ"3ŗ"0ŗ-*(.ŗ3,-ŗ 0&)*#(!ŗ."#,ŗ)1(ŗ-.3&-Ĝ-)'ŗ/-#(!ŗ -#'*&ŗ-#--),-ŗ(ŗ!&/ąŗ).",-ŗ/-#(!ŗ#!#Ě .&ŗ."(#+/-ąŗ(ŗŗ 1ŗ1")ŗ"0ŗ")-(ŗ .)ŗ1),%ŗ1#."ŗŗ(&ŗ(ŗ.",Ąŗ),%ŗ3ŗ ."-ŗ,.#-.-ŗ#-ŗ-)/!".ŗ .,ŗ3ŗ)&&.),-ąŗ !&&,#-ąŗ(ŗ*/&#.#)(-ąŗ1"#"ŗ"-ŗ&ŗ .)ŗ2*)-/,ŗ(ŗ2"##.#)(-ŗ ,)'ŗ)(ŗ-#ŗ ) ŗ."ŗ!&)ŗ.)ŗ."ŗ).",Ąŗ)&&.#0&3ąŗ."3ŗ ,*,-(.ŗ1".ŗ#-ŗ"**(#(!ŗ#(ŗ)(.'*)Ě ,,3ŗ)&&!Ą ŗ")*ŗ3)/ŗ($)3ŗ&&ŗ) ŗ."#-ŗ,.1),%ŗ-ŗ'/"ŗ -ŗ ŗ($)3ŗ!.",#(!ŗ#.Ąŗ"#-ŗ))%ąŗCollageąŗ #-ŗ#(ŗ .ŗŗ)&&!ŗ#(ŗ#.-ŗ)1(ŗ,#!".Ćŗ*!-ŗ(ŗ *!-ŗ) ŗ )/(ŗ#'!-ąŗ-&#-ŗ ,)'ŗ'!Ě 4#(-ąŗ0#(.!ŗ**,ąŗ(ŗ)&), /&ŗ.",Ąŗ .ŗ #-ŗŗ)&&.#)(ŗ) ŗ/.# /&ŗ#.-ŗ(ŗ*#-ŗ .".ąŗ.)!.",ąŗ.&&ŗ."#,ŗ)1(ŗ-.),3Ąŗ
(ŗ1".ŗ #-ŗ.".ŗ-.),3Ďŗ"ŗ-.),3ŗ) ŗ)&&!Ą

"ŗ,.#-.-ŗ1")ŗ,ŗ*,.ŗ) ŗ."#-ŗ*,)$.ŗ&&ŗ "0ŗ."#,ŗ)1(ŗ/(#+/ŗ**,)"ŗ.)ŗ)&&!ąŗ 1"#"ŗ#-ŗ0,3ŗ0#(.ŗ#(ŗ."#,ŗ-&.ŗ ./,ŗ1),%-Ąŗ/.ŗ1)/&ŗ."#,ŗ*#-ŗ &ŗ-ŗ# ,(.ŗ1"(ŗ."3ŗ&&ŗ-.,.ŗ1#."ŗ ."ŗ-'ŗ#'!Ďŗ ŗ1-ŗ/(-/,ąŗ/.ŗ2#.Ě ąŗ)/.ŗ1".ŗ'#!".ŗ)'ŗ%Ąŗ
-ŗ"ŗ )&&!ŗ,,#0ąŗ#.ŗ1-ŗ.",#&&#(!ŗ.)ŗ-ŗ")1ŗ

INTRODUCTION

11

I

THE CHALLENGE One image, thirty completely unique pieces of art. Every artist featured in Collage was given this snapshot from 1958. We asked them to create a new collage using some, or all of this image of a little cowboy and his accordion-playing brother. The fantastic results can be found at the start of each artist’s section.

I

II

New Collage: Danielle Krysa, Mustache Master, 2013, latex paint, found image, and thread on paper II

Bill and Dan, Jack Cumming, 1958

13

THE ARTISTS

I

LARISSA HAILY AGUADO I started the project Life Is a Collage in 2008, mainly out of a need for expression and personal communication. With collage I found a method in which I felt free to present my findings, despite the physical limitations of this technique. Paper, scalpel, and glue are my materials, and my tools. I seek, select, and classify images that I find interesting or attractive. I then combine them, transforming them into a new reality. The traditional handmade collage has its own identity and ethics, totally opposed to the infinite possibilities of digital, but this is where the true value is—the challenge of finding opportunities and achieving functionality within the constraints. I combine nature, people, and objects only in order to transmit more complex emotions, thoughts, and feelings. Today this remains my most effective way to represent my visual thinking.

II I New Collage: The Eye Has to Travel, 2013, collage on cardboard II Pasionaria, 2012, collage on wood wallpaper III Green Bird, 2012, collage on cardboard

III

17

IV

V

IV Hot Dog, 2012, collage on paper V Cool Cat III, 2012, collage on paper

18

VI

VIII

VI Cleopatra, 2011, collage on paper VII Consumed I, 2011, collage on paper VIII Pornoman, 2010, collage on paper

VII

MARíA APARICIO PUENTES I like to intervene on black-and-white images. I think that it’s a more “neutral” base where I can work, and where the relations I seek to emphasize can be highlighted in a better way. Also, I feel I am not working with the original and with that, the need to keep its reality. I think that the essence of an image can be more interesting through the overlapping of information, which in this case can be the visualization of an invisible geometry.

The subject of thread has been with me since college. I remember, I once connected the trees in a park to show the space between them. In a workshop exercise, I measured the facades of some buildings and then unrolled different dimensions of threads over me to demonstrate physically the relationship between the body and the scale of architecture. When I intervene with threads on an image, I work on another level—I am trying to demonstrate the special relationships that are generated in a moment (in a frame, in this case).

I

Untitled, 2012, embroidery on photograph

II

New Collage: Untitled, 2013, embroidery on photograph

I

20

II

III Untitled, 2012, embroidery on photograph

IV Untitled, 2012, embroidery on photograph

V Untitled, 2012, embroidery on photograph

III

IV

V

23

VI

Untitled, 2012, embroidery on photograph VII

Untitled, 2012, embroidery on photograph VIII

Untitled, 2012, embroidery on photograph IX

Untitled, 2012, embroidery on photograph

VI

VII

24

VIII

IX

I

MARK BRADLEY-SHOUP The majority of my work arises from my observation and interaction with the natural and constructed landscape and how we respond to our sense of place in the world, as I am intrigued by how we inhabit and utilize space. This work is often derived from my own photographs and from mapping systems and architectural schematics. Given my response to consumer relationships and waste, a third series of work uses discarded items that culminate in the form of collages and mixed media. The images in this body of work are a form of aesthetic play and media experimentation. While most of my work has distinct conceptual underpinnings, this series presents a more sincere discourse with the concept of play within the confines of studio practice, where I allow the images and compositions to present themselves throughout the course of experimentation. While these images do not directly address the concepts embedded in my other work, they are linked and continue to influence one another. My collage and mixed-media work is the truest form of studio research, as many of the techniques and compositions fleshed out within these works also find themselves residing in my more traditional painting practice.

II

27

I

II

New Collage: Liner Notes (Atlantic Youth Culture Killed My Dog), 2013, mixed-media collage

Liner Notes (Cowboy Rainbow), 2006, mixed-media collage

III

V

III

Liner Notes (The East Sets Its Sights), 2006, mixed-media collage IV

Liner Notes (Blind Fold), 2006, mixed-media collage V

Liner Notes (MGM Reverberation), 2006, mixed-media collage

IV

28

VI

VII

VI

Liner Notes (Eye Spy Russia), 2006, mixed media-collage VII

Liner Notes (Chrysalis Snowflake), 2006, mixed-media collage VIII

Liner Notes (Victor You Hang Up First), 2013, mixed-media collage

29

VIII

HOLLIE CHASTAIN I’ve always been fascinated with items from previous generations, especially ephemera. Letters, textbooks, little notes, and journals carry so much of a previous life. I am inspired by these snippets of a person and stamps of a particular time and place. Each graphite scribble is a treasure to me and I want to bring life back into the material that I use instead of letting it stay hidden, crumbling away.

II

I

McJunkin’s Theory, 2013, collage on book cover II

Gather It Up 5, 2012, collage on book cover III

New Collage: The 3rd Grade Suitors of Jennie May White, 2013, collage on book cover

I

30

III

IV

Noctua, 2012, collage on panel V

Bates House, 2012, collage on panel VI

Overcome, 2012, collage on panel

IV

V

VI

32

VII

IX

VII

Gather It Up 4, 2012, collage on book cover VIII

Gather It Up 2, 2012, collage on book cover IX

Clotho, 2013, collage on book cover

VIII

33

LISA CONGDON My path into the world of art and illustration has not been a standard one. I did not begin painting, drawing, or making collages until I was thirty years old, and I am almost entirely self-taught. My intense obsessions with pattern, color, and faraway cultures have driven my vast catalog of work.   Much of my work (made primarily from graphite, gouache, ink, and paper) is narrative, though none of it is intended to be realistic snapshots of any particular time or place. While I draw from actual histories

and cultures, I work hard to transform them in unexpected ways. My intention is to draw viewers in so that they can invent their own narratives about my work. Paper patchwork, patterns, and a textile presence in my work reference my longtime romance with surface design, in particular the design and folk patterns of Scandinavia and other cultures. My work also combines obvious juxtapositions: combining bold neon colors with vintage sepia-toned photographs and traditional graphite drawings with collaged geometric shapes.

I

Memory, 2012, cut paper, vintage doily, and nails in shadow box II

New Collage: Far Away, 2013, vintage wallpaper, ink, and photographic paper I

34

II

III

IV

V

VI

36

III

Sämi Woman, 2011, graphite, gouache, and cut paper in shadow box IV

Sämi Girl, 2012, graphite, paper, fake fur in shadow box V

Kvinne, 2011, vintage ephemera and cut paper in shadow box VI

Star #2, 2011, vintage ephemera and cut paper in shadow box

VII

VII

Deep, 2011, graphite, gouache, and cut paper VIII

Hooded Reindeer, 2012, graphite, cut paper, and glitter in shadow box VIII

37

I

MATTHEW CRAVEN I use historical images as a backdrop for a more abstract form of storytelling. Images from lost cultures, relics, and landscapes, both well-known and extremely ambiguous, create the patterns within my work. These arrangements highlight shape and composition rather than historical accuracy, solidifying their participation in a unique myth.

III I

New Collage: accordion, 2013, mixed media on found paper

II

II

spiral, 2013, mixed media on found paper III

dots, 2013, mixed media on found paper

39

V

IV

IV

rug, 2013, mixed media on found paper V

pot, 2013, mixed media on found paper

40

VI

order, 2013, mixed media on found paper

VI

VII

stacks, 2013, mixed media on found paper VIII shield, 2013, mixed media on found paper

VIII

VII

41

IX

42

IX bolt, 2013, mixed media on found paper X eyes, 2013, mixed media on found paper XI headstone, 2013, mixed media on found paper

X

XI

43

ANDREA D’AQUINO I strive to create work that lies in the place where Yellow Submarine, Hieronymus Bosch, Serge Gainsbourg, J. D. Salinger, The Jane Fonda Workout, Jan van Eyck, and Soul Train all intersect. At that crossroad, take a left at the Beatles and Persian art. Note that I may or may not be there, depending on the day, so occasionally anyone still looking for meanings, rationales, or explanations should continue to travel in an easterly direction. Tiresome, I’ll admit. My goal is to strike that balance between focus and spontaneity, where the mind is both sharp and strangely absent. Where fortunate mistakes take place, and I am simply there to record them, a transcriber of happy accidents.

I

I

Upsidedown Gardener, 2011, mixed media II

Communication Breakdown, 2011, mixed media III

New Collage: Death to the Mustache, 2013, mixed media

II

44

III

IV

Punctuation Series/ Comma, 2010, mixed media V

Punctuation Series/ Exclamation Point, 2010, mixed media VI

Red Bike Woman, 2012, mixed media VII

Inhale/Exhale, 2012, mixed media

IV

V

VI

VII

46

VIII

IX

VIII

Good Ideas, 2012, mixed media IX

BlowDry Lion, 2011, mixed media

47

X

Typographic Bee, 2011, mixed media XI

2 Feet, 2013, mixed media XII Uppercase Quilt, 2012, mixed media XIII Radical, 2012, mixed media

X

XI

48

XII

XIII

49

I

KATRIEN DE BLAUWER Emotions have always been the driving force and main consideration in what I do and make. I am strongly drawn to the uncomfortable in human emotion: pain, sorrow, loss, desire. I like the directness of pictures and their presence. With my condensed cuts-andpastes I try to relate a story of my own. In doing so, I find, often unwittingly, new meanings and associations, which also has a therapeutic effect on me. It’s a process of finding my own language and listening to it. I would like to quote Marina Abramović: “Difficult childhood problems, families, all those things, somehow become a treasure, become some kind of source of inspiration for later on.”

II

As my work evolves over time, there are some themes or images that reappear, for example: trees, women’s legs, hair, high heels, dresses, sea, mountains. At this moment, I’m coming to a point where I’ve started to pay more and more attention to the symbolic meanings of these themes.

I New Collage: Movement (20), 2013, collage

III Without (18), 2013, collage

II Rendez-vous (11), 2013, collage

III

51

IV

VI

IV Rendez-vous (4), 2013, collage V Féminin (1), 2013, collage

V

VI Repetition (24), 2013, collage

VII

VIII

VII Dress (6), 2012, collage VIII Dress (8), 2012, collage

53

IX

X

IX

Dress (12), 2013, collage X

Féminin (8), 2013, collage XI

Imprévu (4), 2013, collage

54

XI

JESSE DRAXLER I am working to create a mood, rather than make a statement.  I am working to create things that explain how I perceive ideas that I do not fully understand. From series to series, these moods and ideas change. I’m just trying to keep up.

I

I From the Omens series, 2012, hand-cut collage II From the Omens series, 2012, hand-cut collage II

III New Collage: Untitled, 2013, hand-cut collage

56

III

IV

V

IV

From the Monoliths series, 2012, hand-cut collage V

From the Kahn/New Aesthetic series, 2012, hand-cut collage

VI

From the Imaginal Cells series, 2013, hand-cut collage VII

From the Imaginal Cells series, 2013, hand-cut collage VIII

From the Imaginal Cells series, 2013, hand-cut collage

VII

VI

VIII

59

IX

From the Untitled II series, 2012, hand-cut collage X

From the Untitled II series, 2012, hand-cut collage XI

From the Untitled II series, 2012, hand-cut collage

IX

X

XI

60

XII

XII

From the Ghosts series, 2012, hand-cut collage

I

HOLLY GABORIAULT I work in fragments, because of the many lives I live as an artist. My interests and studies vary, and collage has become a means of play and escape into a world I cannot plan. It reveals itself to me in the strangest ways and freely associates things otherwise not combined. I’m constantly breaking down what I see into smaller pieces and together, bit by bit, I let the story emerge, occasionally stepping back from this state of coincidence and faith. Color, pattern, humor, and the peculiar play crucial roles in my work. I began creating collages in multiple series, from studying etiquette and social codes for Victorian etiquette dance cards, to surrealist French paper dolls, to the fashion-conscious menagerie for Fashion Bestiary. A vehicle of limitless storytelling, collage is capable of communicating very profound ideas, both bizarre and poetic. Finding poetry within the bizarre is the key to most anything.

II

I

New Collage: Mustache Cha-Cha, 2013, acrylic and paper II

Taj Mahal Tiger, 2011, acrylic and paper III

Frog’s New Yo-Yo, 2012, acrylic and paper III

63

IV

V

IV

Proper Breeding, 2013, acrylic and paper V

The Grace of a Flower, 2012, acrylic and paper

64

VI

Gazelle Manifesto, 2010, acrylic and paper VII

Happy Homemaker, 2012, acrylic and paper VIII

Flaming Cha-Cha, 2013, acrylic and paper

VII

VI

VIII

65

CLEMENS HABICHT 100 Faces is my ongoing project built from found anonymous photographs. Each uses every part of the photo to build a new anonymous portrait. Similar to a previous exhibition, 100 Kites, it uses a repeated formula of limitation and constraint to better exercise the collage muscle; from face 50 onward, they really start to sing.  I work in a variety of different media, but I still feel like what I do is collage. Live-action shoots can be treated as a cooking show with ingredients that then have to slot neatly into place, often in surprising ways. For me it’s about finding coincidences that resonate and feel like more than a sum of their parts, like alchemy. I often go about planning a project by assembling things that are in themselves already interesting to play with or by designing a situation where the component parts will play with each other in new ways; then it’s just about getting a good document of the result.

I

I

Green Turtledove, 2009, from the exhibition 100 Kites

II

66

II

III

Schiff in Sicht, 2009, from the exhibition 100 Kites

New Collage: Cowboy, 2013

III

IV

68

IV

Hens, 2010, Risographica exhibition V

Elling, 2008 VI

Reluctant Hero, 2011

V

VI

69

VII

Roche, 2012 VIII

Gulls, 2006 IX

Ski 1954, 2012

VII

VIII

70

IX

I

BETH HOECKEL In my collage and mixed-media work, I interlace singular components to assemble a new story—one in which emotional narratives play as important a role as aesthetic ones. Creating this imagery can be likened to piecing together a mental puzzle. I intend to pose an unusual question to the viewer, though one with which we are already deeply familiar. I believe the personal relationships that can be forged to each piece lend the work its air of charm and magnetism. I strive to present a provocative hint to intimate mysteries, much as a vague recollection from the subconscious stirs feelings of nostalgia. II

I

New Collage: Various Hands, 2013, collage on paper II

Semi Precious, 2012, collage on paper III

Tumult, 2012, collage on paper III

73

IV V

IV

Riptide, 2011, collage and acrylic on paper V

Classique, 2012, acrylic on paper

74

VII

VI

VI

Cover Up, 2012, collage on paper VII

Funeral, 2013, collage and graphite on found book cover VIII

Out of Reach, 2012, collage and acrylic on found book cover

VIII

75

IX

Face to Face, 2012, collage on paper X

Home, 2011, collage on paper XI

Moonrise, 2010, collage on paper

IX

X

XI

77

MICOSCH HOLLAND Most of my work starts from fragments of different sources—mostly “old paper stuff ”—found images, old photographs, and pages from vintage books and magazines—and it does not matter which period, country, or theme it comes from. I try to give the fragments a new context. Maybe I’m wrong, but it seems that you can see history repeating itself in those bits and pieces of “old paper stuff.”

II

I

Sorth, 2012, collage II

I

Oh God, I Wish, 2012, collage III

New Collage: Automatique, 2013, mixed media

78

III

IV

80

V

VI

IV

Mono, 2013, collage— analog/digital V

Old Smoke, 2013, collage, mixed media VI

Space Cowboys, 2012, collage—analog/digital VII

Bank, 2012, mixed media

VII

81

VIII

IX

82

X

XI

VIII

Under the Profit, 2013, mixed media IX

Malz, 2012, collage X

Death’s Head Moth, 2012, collage XI

Principle 60, 2013, collage and pencil

83

I

JP KING I have a compulsive relationship with multiple media, including collage, poetry, print, and relational art. Through my collage, I view the original not as an end, but as a means toward a final print, or page, in which digital enlargement of analog techniques and materials makes visible the delicacy of paper and ink. Multiplicity has always been an important theme in how I distribute my work, where I favor affordable prints and publications. I value the tranquil privacy of printed matter. Relying as much on chance as on a long, steady, and meditative process, my work evolves through cultivated mistakes. Taking a sculptural approach to the body and its relationship to its environment, I play with the presence or absence of a figure through reductive and additive layering. By employing fragmentary texts, I incorporate experimental concrete poetry, resulting in chaotic language and information pollution. Taking stylistic inspiration from utopian, modernist ideals in art and design, my graphic, geometric, layered, texture-heavy anachronistic scenes intend to evoke nostalgia and elicit shadows of cultural mythology. The past and future fuse in the creation of a fictional and experiential universe.

II

I

New Collage: I Waited for You, 2013, paper on paper II

Smoke Twice as Hard, 2008, paper on paper

85

III

V

VI

How Do My Secrets Feel in Your Ear, 2011, paper on paper VII III

My Secret Trombone Song, 2009, paper on paper

When the Music Went Pink, 2009, paper on paper VIII

IV

She Sees Him, 2012, paper on paper

Take More, or Less, 2008, paper on paper IX

V

The Pants Sisters, 2010, paper on paper

IV

86

It Took a Lot of Energy to Make Wind, 2009, paper on paper

VI

VII

VIII

IX

87

I

The Rest of His Family in the Living Room on the Other Side of the World, mixed media—gold and silver paint, gold jelly roll pen, acrylic jewels, and archival pigment print on paper

KHÁNH H. Lê

II

In Her Corner of the World, mixed media—gold and silver paint, acrylic crystals, Swarovski crystals, and archival pigment print on paper III

New Collage: When I Grow Up, mixed media—gold and silver paint, sequins, and archival pigment print on canvas I

Even though I identify as a Vietnamese-born American, I still do not know what it means. There is a discord within my own origin due to the fact that I was born too late. By the time I arrived, Vietnam had already claimed its independence. Being born too late effectively removed me from that point in history. Growing up in the United States, I learned to adapt my identity living between two cultures. Identity is the central theme of my works, and I examine it through the bits and pieces of my personal memory and the collective history from the two cultures. I collect images from family photo albums, digital photographs, and fashion and home decor magazines. Through the process of mixed-media collage, I layer together the fragmented images to create a new historical narrative that is reflective of the tension within my own identity.

II

88

III

IV

Christmas Luncheon, mixed media—gold and silver paint, gold spray paint, acrylic crystals, and archival pigment print on paper V

His Family First Christmas, mixed media—gold and silver paint, gold jelly roll pen, acrylic jewels, and archival pigment print on paper VI

IV

His First New Home, mixed media—gold and silver paint, acrylic crystals, Swarovski crystals, and archival pigment print on paper

V

VI

90

VII

VIII

VII

Her 9th Birthday, mixed media—gold and silver paint, acrylic crystals, Swarovski crystals, and archival pigment print on paper VIII

And Is Found, mixed media—gold and silver paint and archival pigment print on paper IX IX

Two as One Once, Now, and Forever, mixed media— gold and silver paint, acrylic jewels, and archival pigment print on paper

91

I

92

KATHRYN MACNAUGHTON I’m an aficionado of vintage porn magazines, and my work has been heavily influenced by a feminine aesthetic. Sometimes people think I’m solely flirting with the perversions of the pornographic imagery as I create. This is partially true: I am motivated by seeing the beauty in what an audience could perceive as audaciously explicit. The female form and poise are endlessly intriguing to compose with. Often understated, though, is the fact that the palette, textures, and patterns found beyond the palpable female bodies are elements that I believe give my collage work its breadth, its depth.

I

New Collage: Head First, 2013, mixed media II

Unicorn Sandwich, mixed media

II

93

III

V

III

Volume, mixed media IV

Exposure, mixed media IV V

Explorer, mixed media

94

VI

VII

VI

The Red Pony, mixed media VII

Of Mice and Men, mixed media

95

VIII

VIII

Hand Modeling, mixed media IX

Return of the Cassette, mixed media X

Flesh and Numbers, mixed media IX

96

X

97

PETER MADDEN The collage artist, like anybody, needs a reason or two to do what he does. I write in secret, parallel to my practice. A poetry that slips often into a song, talking toward the thing that drives the art making: “Sequence serendipity, Have meanings half here and half in the beyond, have a methodology that celebrates ‘Masters of Mud’ Look to Poets you love & repeat them in another dimension, Confess only to Omni dimensional Collages, Make them have a sort of temporal itchiness, Collage like hope is shipwrecked money, Cut like the fragment has no edge, Collage like wind moving trees, celebrate surprise with collage, make the fragment breathe in the spaces of its escape ‘Plant glances like trees,’ make the indeterminate your glue, Undermine the horizon with that edge, Cut through the shadows that cast the signs of distance over you, Quote so much till you have forgotten the source, Quote till you have adopted it as your own.”

I

I

Evil Flowers, 2012, mixed media—paper on found photo II

New Collage: A Shared Past, 2013, mixed media— paper, pins, steel wire on soft board

98

II

III

Come Together, 2008, paper on glass IV

Post Disaster, 2011, paper on Perspex V

Ravaged, 2012, paper on wood in steel VI

A Man’s Past, 2012, mixed media—paper, pins, steel wire, gold and silver leaf on soft board VII

Evil, 2008, mixed media— paper, steel, found book VIII

A Chair for Us to Live In, 2009, mixed media—steel, wood, paper, human hair, baked clay

III

IV

100

V VI

VII

VIII

101

IX IX

Encounter, 2010, mixed media—paper and paint on Perspex X

Sleeps With Moths, 2009, mixed media—paper, wood, plastic, baked clay, gold leaf XI

Necrolopolis, 2008, mixed media—paper,steel wire, baked clay, various found objects

102

X

XI

103

I

ARIS MOORE Observing people pretending to be themselves is fascinating. People sitting still, alone, or with others, presenting an expected smile or a thoughtful gaze—these gestures are amusing and revealing beyond their intention. It is in the moments before they are held captive, forever still, holding in belly and breast and trying for a smile that appears real that they are truly themselves. Then, with a click of the button, appropriate behavior takes over. And what is left are photographs, portraits, that suggest more than the white lies they are trying to tell. The goal in sitting for the photograph is to appear as content and capable as it is assumed everyone else is.

The people that I invent are a combination of this truth and fiction. They lack some of the facial structure that may help to contain their awkwardness. They are simultaneously vulnerable yet defiant. They are unable to conform. They travel in and out of the space between pretending to be themselves and unavoidably being their actual selves. They are self-aware, humble, and may make others feel uncomfortable, but it is probably because, though awkward, there is something familiar about them.

I

New Collage: Joan with Her Castle, 2013, collage—ink-jet print, graphite, colored pencil II

The Henry’s 1975, 2013, collage—ink-jet print, graphite, colored pencil II

105

III

The Warren’s 1981, 2013, collage—ink-jet print, graphite, colored pencil IV

Ruthie, 2013, collage—ink-jet print, graphite, colored pencil V

Denise, 2013, collage—ink-jet print, graphite, colored pencil VI

Maureen, 2013, collage—ink-jet print, graphite, colored pencil VII

Eunice (Ready to Dance), 2013, collage—ink-jet print, graphite, colored pencil VIII

Martha, 2013, collage—ink-jet print, graphite, colored pencil IX

Just Joan, 2013, collage—ink-jet print, graphite, colored pencil

III

106

IV

VI

VIII

V

VII

IX

107

VINCENT PACHECO

I

I think of my work as a form of journaling, an ongoing narrative, that I use to help me find my path and my sense of place. I use art making as a tool for understanding. It’s a process that allows me to think about the past and consider new ways forward. I don’t know what my purpose is yet, and I don’t fully understand where I come from, but art making is helping me find my way. I imagine it will be a lifelong process of learning and discovery, and I am excited about that. I

III

Waterfall, 2010, collage on paper

New Collage: Castle, 2013, collage on wall

II

Failing This, 2011, collage on found image II

108

III

IV

IV

Generation, 2010, digital collage V

Bighorn, 2011, mixed media on wood VI

Navajo, 2011, mixed media on wood VII

Earth, 2010, mixed media on Life magazine cover, 1968

110

V

VII

VI

111

I

FRANCISCA PAGEO I find inspiration in onirism, occult, quotidianity, nature, and psychology. I consider art as a way-finding, from self-knowledge to all the things we have inside and we don’t know yet. I make art to explain to myself, and everyone else, how to find beauty around us—and because it’s the best medium for me to express myself. With photography I find questions, with collage I find answers.

II

I

New Collage: Untitled, 2012, papers and cardboards II

Life in Paris, 2010, papers and magazine cuts III

Autumn, 2011, cardboard and encyclopedia cuts

III

113

IV

VI

IV

The Girl, 2011, accueil paper, acrylic, magazine cuts V

Untitled, 2012, canvas, acrylics, magazine and encyclopedia cuts VI

The Dance, 2012, canvas, acrylics, encyclopedia cuts VII

Sketch, 2011, cardboard and encyclopedia cuts

V

114

VII

VIII

IX

X

XI

VIII

Double Girl, 2011, cardboard, magazine cuts and transfers IX

Untitled, 2011, cardboard, magazine cuts, and acrylics X

Aurora, 2012, paper, newspaper cuts, cardboard, and foam XI

3D, 2012, paper, cardboard, and foam

117

LILLIANNA PEREIRA The language of myth allows a story to be a part of a wider universal context. Although these stories and archetypes may resonate very closely with me on a personal level, their creation derives from collective material and their power lies in the meaning and the broader truths that myths convey. Culled images from magazines, books, and newspapers are manipulated and reassembled in order to activate the archetypes that lie therein. I never start a piece with particulars in mind; serendipity and the personal unconscious guide the composition. The personal becomes collective and conscious once the stories start to emerge.

I

I Evaporate, 2010, collage II Float (Ondine), 2008, collage in embroidery hoop III New Collage: Icarus, 2013, collage

II

118

III

IV

The Record Is Far from Complete (Daphne), 2008, collage V

The Circular Ruins, 2009, collage on vintage book paper VI

Marooned, 2010, collage on vintage book paper VII

A Basic Theory of Perspective (Persephone), 2011, collage on vintage book paper

IV

120

V

VII

VI

121

VIII

Who can bear the thoughts in my head?, 2011, collage IX

Tuxedo of Ashes, 2010, collage

VIII

IX

122

X

X

Support System (Penelope), 2010, collage XI

Inside Out, 2009, collage on vintage book paper

XI

123

I

CIARA PHELAN In 2010 I set up my own freelance practice so I could work on my own visual languageand image-making skills. I particularly enjoy collecting science- and nature-based vintage ephemera and I frequently spend hours combing through car boot sales, charity shops, and junk stores searching for interesting and inspiring imagery. I also have a love of surface textiles, pattern making, and art history. I try to bring these passions together in my work to create detailed and thought-provoking illustrations.

III

I New Collage: Circle of Fifths, 2013, collage II Bird Head, 2012, collage II

III Bird Head, 2012, collage

125

V

IV

VI

126

VII

IV

Watermelon Poppy, 2012, collage V

Dance of the Hours, 2011, collage VI

The Weekend, 2011, collage VII

Clowning Around, 2010, collage

MAHMOOD POPAL

I

II

III

My work explores the intersection between fantasy and reality. I take inspiration from the spirit of Dada and surrealist art of the past. The canvas is used as a stage where various conversations and stories play out. A theater of sorts. The characters and compositional elements are meant to reunite conscious and unconscious realms of experience—a space where the world of dream and fantasy can be joined and compared and contrasted to the rational world.

I A Duel 1, 2013, mixed media II A Duel 2, 2013, mixed media III A Duel 3, 2013, mixed media IV New Collage: Lift, 2013, mixed media

128

IV

V

All for One, 2013, mixed media VI

Replay, 2012, mixed media VII

The Hunt 1, 2012, mixed media VIII

The Hunt 2, 2012, mixed media IX

The Hunt 3, 2012, mixed media X

The Hunt 4, 2012, mixed media XI

The Hunt 5, 2012, mixed media

V

VI

VII

X

VIII

XI

IX

131

I

JOSE ROMUSSI Becoming an artist was a natural process for me, since I became an artist overnight, skipping most of the steps required. Finding my style came to me as naturally as becoming an artist, since I have always had in mind that there is more to what is tangible and visible. I have the belief that not everything has already been done. Therefore I am constantly exploring and discovering new techniques and materials to express and represent my ideas, reflect my inspirations, and turn them into artworks. The pictures or objects I work with are generally found. I pick them because I feel that they suggest intervention, that they want to be given a new perspective and a new moment in time. I make sure that whatever has already been forgotten is kept in the present. I am interested in stitching the past to the present, the real to the unreal.

II

I New Collage: The Pixies, 2013, sewing II Queen, 2011, collage mixed media

133

III

III

Rainbow, 2013, sewing machine on photo

IV

IV

Artcannot, 2013, embroidery on photo V London Underground, 2013, embroidery on photo V

135

VIII

VI

IX

VII

136

VI

Dancer Alla Schellest, 2012, embroidery on photo VII

Dancer Mary Ellen Moylan, 2012, embroidery on photo VIII

Dancer Diana Adams, 2012, embroidery on photo IX

Dancer S-N, 2012, embroidery on photo X

Getaway, 2011, collage mixed media

X

ADRIENNE SLANE I create intricate collages from original vintage illustrations collected from many diverse sources. I combine images of plants, insects, animals, human anatomy, and religious figures into detailed, colorful collages where individual elements fit together like pieces in a puzzle. Inspired by the history of the curiosity cabinet, the Victorian concept of memento mori, and Christian iconography and ritual, my work celebrates the beauty and interconnectivity of nature while also acknowledging the cyclical aspect of life, death, and decay. My work blends elements of science, myth, and religion into images that pay homage to the past within a contemporary context.

II

I

Brachyura, 2012, collage on paper II

Fig. a, 2012, collage on paper III

New Collage: Mustache, 2013, collage on paper I

138

III

IV

V

VI

VII IV

VI

This Mortal Coil, 2013, collage on paper

Flutters, 2013, collage on paper

V

VII

Phrenology of the Soul, 2012, collage on paper

Twins, 2013, collage on paper

141

VIII

X

IX

VIII

Sophia in the Garden, 2012, collage on paper IX

Preces Privatae, 2012, collage on paper X

Lux Perpetua, 2013, collage on paper

143

I

XOCHI SOLIS Reflections on mood and emotional states, integrated with an exploration of material and color, are central to my current artistic practice. I begin my process of construction with observing organic forms found in the everyday, such as pebbles, plant leaves, cloud shapes, and the curves of the human body. By focusing on the abstraction of these forms, I construct low-relief wall installations and small works on paper created by using a variety of paints, paper, plastics, and found images collected from books and magazines. By integrating versatile and easily attainable materials with my painting method, I am able to provide a textural experience beyond what paint alone can create.

II

This method results in work with a heightened dimensionality and weight. Contextually, each work remarks upon a private narrative, focusing on my navigation of the emotional state. Popular music and colloquialisms are of specific interest to me and communicate a link to shared expressions of emotion—specifically, love, desire, pride, and sadness. My work is about harmony and contrast existing in the same instant, in both our natural and humanistic worlds.

I

New Collage: Hear the softly spoken magic spells, 2013, gouache, acrylic, acetate, colored paper, and found images on museum board II

A little psychic research before making a diagnosis, 2012, gouache, acrylic, acetate, colored paper, and found images on museum board

145

III

Show me where you’ve failed, 2013, gouache, acrylic, acetate, colored paper, and found images on museum board IV

When you get free, come home to me, 2013, gouache, acrylic, acetate, colored paper, wax, and found images on museum board V Don’t take this heaven, 2013, gouache, acrylic, acetate, colored paper, and found images on museum board III

IV

V

146

VI

Feels like a dream and we are the moon, 2013, gouache, acrylic, acetate, colored paper, vinyl, and found images on museum board

VI

IX

VII

X

VIII

XI

VII

I was sitting in the field feeling the grass, 2013, gouache, acrylic, acetate, colored paper, and found images on museum board VIII

Look into the sky, 2013, Gouache, acrylic, acetate, colored paper, and found images on museum board IX

Not even time for birds to fly to southern skies, 2013, gouache, acrylic, acetate, colored paper, and found images on museum board X

Silver shuttle, 2012, Gouache, acrylic, acetate, colored paper and found images on museum board XI

This is the time and this is the record of the time, 2013, gouache, acrylic, acetate, colored paper, and found images on museum board

147

FABIEN SOUCHE In many ways a descendent of Dada, I think that the apparent simplicity of my universe is the result of a reflection expressed in minute detail. I look, filter my artistic and political environment, observe the broad contemporary themes very precisely, and like to play with references. I try to leave behind facile aesthetics to show the bare idea, or at least the idea in its most simple expression—with just enough material for it to exist entirely. The resulting objects mix together derision, extravagance, and black humor.

II

III

I

148

I Sky Saw, 2013, collage on paper

III Ham-Phrey, 2010, collage on paper

II Babe, 2010, collage on paper

IV New Collage: Poo-PooPee-Doo-Tsouin-Tsouin, 2013, collage on paper

IV

V

VII

V

Clint, 2010, collage on paper VI Listen to the silence of pig, 2010, collage on paper VII Sélection Naturelle (Natural Selection), 2010, collage on paper

VI

150

VIII

IX

VIII Meeting, 2012, collage on paper IX Nu ayant descendu un escalier (Nude having gone down a staircase), 2012, collage on paper

151

I

BRANDI STRICKLAND My work is a journal, a scrapbook, an experiment—a place for me to process, distill, and transform my experiences and interests into something more holistic and meaningful. For me, collage begins with collecting, saving, acquiring, searching; then, as if they were memories, I meticulously sort, separate, and organize them into something new—something that is both happily accidental and tediously arranged. I find the whole process of creating art nurturing, therapeutic, and playful, and I endeavor to grant such pleasures to the viewer as well. Through serendipity, I seek honest expression, chance, mystery, and revelations. II

I New Collage: Player, 2013, collage and color pencil on birch board II Grey, 2012, collage on paper III Quiet Contemplation, 2012, collage, gouache, and acrylic on board

III

153

IV

Learn to Teach Yourself, 2011, collage elements, gouache, acrylic, graphite, colored pencil, and ink on board

IV

V

Welcome to the Garden, 2011, collage, gouache, acrylic, graphite, colored pencil, and ink on board

V

154

VI

VI

Seed Stone, 2010, collage and acrylic on board VII

I Wanted to Lift Myself Up, 2011, collage on watercolor paper VII

155

VIII

Self-Similar, 2009, collage, acrylic, and gouache on board IX

Everything I Need Is Where I’m Going, 2009, collage, acrylic, ink, colored pencil, and gouache on board

VIII

IX

156

X

X

Summer Vacation, 2009, collage, acrylic, and gouache on board XI

Unwavering Light, 2009, Collage, acrylic, gouache, and colored pencil on board

XI

157

BILL ZINDEL My work has always involved found imagery and has in recent years shifted from printmaking and painting to collage. I am an obsessive collector of collage material from old magazines and ephemera. Tiny details, pattern, typography, and nostalgia are what interest me. My work as a designer informs my work formally, but my love of cutting, pasting, and collecting goes back to childhood. While attempting to make sense of the stacks of paper I have amassed, I am motivated by the frictions and harmonies that occur when disparate elements—beautiful or dull, suggestive or meaningless—rub up against each other to make something new.

I

I

Globe, 2011, collage II

New Collage: Standard Accordion, 2013, collage

158

II

III

160

V

IV

III

Hi-Fi Dream, 2011, collage IV

Gift, 2011, collage V

Untitled, 2011, collage

161

VI

VIII

VI

Untitled, 2012, collage VII

Untitled, 2012, collage VIII

Untitled, 2012, collage

VII

162

IX

IX

Sound, 2011, collage

163

I

ANTHONY ZINONOS My name is Anthony Zinonos, and I am a collage addict. I first tried collage at a young age and have not stopped using since. My habit has taken over my life—my studio is filled with old magazines and books, paper scraps cover the floor, I sometimes get so desperate I even pick these scraps off the floor and use them. When not using, my days consist of desperately searching car boot sales and secondhand shops to score more printed papers, then I scurry back home to cut and stick. My scissors and glue have become my best friends, they never judge me. I have attempted to quit, and have even tried other media, but neither painting, drawing, nor photography could give me that content, warm, glowing feeling.

II

I New Collage: carryingTHEblues, 2013, collage on paper II backTOtheOFFICE, 2012, collage on paper

III

III curtsy, 2013, collage on paper

165

IV

theHOUNDrebels, 2012, collage on paper V

thePINKpanther, 2012, collage on paper VI

theWHEELSPINwalters, 2012, collage on paper VII

theGREAToutdoors, 2012, collage on paper

IV

VIII

justGOtalkTOher, 2012, collage on paper

V

VI

166

VII

VIII

167

Artist Bios L A R I S S A H A I LY A G U A D O

the image, to create a new image, emphasiz-

Larissa Haily Aguado (Argentinian) was

ing geometrical and spatial relations that

born in Bahia Blanca, Argentina, in 1975. After

exist, sometimes unnoticed, in the original

high school Larissa moved to Buenos Aires

photograph. María’s work has been published

to study Graphic Design at the Faculty of

on various websites and print media, and she

Architecture, Design, and Planning, University

has exhibited her work in Spain, Canada, the

of Buenos Aires. After several years working

United States, and Chile. She now works at the

professionally as a graphic designer and design

National Council of Culture and Arts of Chile

teacher, her practice has taken a more exper-

as Producer in the Architecture Area.

imental turn. Her Life Is a Collage project has

(cargocollective.com/mariaapariciopuentes)

evolved and expanded to become her principal method of communication. The possibilities of fixed manual collage in the digital age

M ark B radley-S houp

provide exciting opportunities to engage with

Mark Bradley-Shoup (American) earned

craft, materials, analysis, and outcomes. The

his BFA from the University of Tennessee at

limitations of found materials, and random

Chattanooga in Painting and Drawing and his

and manual tools, provide a sharper, more

MFA from the University of North Carolina

immediate, and more human dynamic than

at Chapel Hill in Studio Art. He has exhibited

is possible with computer software.

his work in Los Angeles, Boston, Atlanta, Nash-

(larissahailyaguado.com)

ville, Knoxville, Omaha, Miami, Birmingham, Santa Monica, New Orleans, and Vancouver, B.C. In addition to his extensive exhibition

MARíA APARICIO PUENTES

record, Mark has been the recipient of two

María Aparicio Puentes (Chilean) was born

Make Work grants, the Individual Artist Fellow-

in Santiago de Chile, and studied Architecture

ship from the Tennessee Arts Commission,

at the Universidad de Chile, graduating in

an Individual Arts Grant from Allied Arts of

2008. She then received her Masters of Urban

Greater Chattanooga, and a Pollock-Krasner

Design: Art, City, Society from Universitat

Grant, as well as nominated for the Dedalus

de Barcelona in 2011. Since 2011, she has

Foundation Fellowship, Joan Mitchell Award,

developed several collaborative intervention

and a George Marshall Fellowship. His work has

projects with photographers, artists, and

been published in New American Paintings,

designers. She uses thread, sewn directly onto

Backwards City Review, and the New Orleans

168

for the rest of her life. Lisa lives in Oakland, California. (lisacongdon.com)

Gambit Weekly. Currently, Mark is based in Chattanooga where he is a Visiting Lecturer at the University of Tennessee Chattanooga. (markbradleyshoup.com)

M AT T H E W C R AV E N H O L L I E C H A S TA I N

Matthew Craven (American) was born in

Hollie Chastain (American) is an artist living

1981 in Grand Rapids, Michigan, and he 

and working in Chattanooga, Tennessee. She

currently lives and works in New York. He 

has worked with various media from an early

received his BFA from Michigan State

age, but fell in love with collage in 2008 after

University in 2004 and his MFA from the

looking for a fresh start in a previously unex-

School of Visual Arts in 2010. Matthew has

plored direction. Her work is often influenced

participated in numerous exhibitions, includ-

by materials, as opposed to building around a

ing shows at Marvelli Gallery (New York),

sketch or idea. She is self-taught, and has had

Allegra LaViola (New York), Cindy Rucker

exhibitions at galleries all over the world; her

(New York), Jen Bekman (New York), Perry

work has been published in several magazines

Rubenstein (New York), Gallery Hijinks

(including Lilith and Fine Line); and boutiques—

(San Francisco), Nudashank (Baltimore),

from Tennessee to New York, and all the way

and Grizzly Grizzly (Philadelphia).

to Spain—carry her work.

(matthewcraven.com)

(holliechastain.com)

ANDREA D’AQUINO Andrea D’Aquino (American) was born in

LISA CONGDON Fine artist and illustrator Lisa Congdon (American) is best known for her colorful paintings and collages. Her portfolio includes illustrations for Chronicle Books, Harper Collins Publishing, and Simon and Schuster, among many others. Lisa is also known for her hand-lettering and pattern design, and she keeps a daily blog of her work called Today is going to be awesome. She is a voracious world traveler, and plans to visit a different country or city every year

New York City. She has always resisted labels like illustrator, art director, graphic designer, or writer, and finds herself happiest straddling the lines between all those things. For years, she was an art director for major advertising agencies. More recently, she has focused on a more personal vision, using a wide variety of mixed media from traditional to digital. Her work has been recognized by the Society of Illustrators, American Illustration, the Art Directors Club, Communication Arts,

Artist Bios

169

3x3 Magazine, The One Club, and the Type

the Rhode Island School of Design with a BFA

Directors Club.

in Illustration, she was writing and illustrating

(andreadaquino.com)

her own books and dreaming of being a famous archeologist. Holly’s work is a unique blend of history and folktales woven between books, paintings, collages, costumes, and installation.

K atrien D e B lauwer Katrien De Blauwer (Belgian) was born

Currently her projects include writing and

in 1969 in Ronse, Belgium. Katrien studied

illustrating several books, a series of paint-

painting at Higher Art School, SSKI, Ghent,

ings exploring global textiles, and exploring

and then moved on to Antwerp to study fash-

the mysteries of letterpress and filmmaking.

ion at the Royal Academy, but abandoned this

(madammeow.com)

training after two years. Her collage work is simple and emotional, and has been exhibited all over the world, including shows in Thai-

C lemens H abicht

land, Brazil, Spain, the United States, France,

Clemens Habicht (Australian) was born in

and her home country of Belgium.

Sydney in 1978. He graduated from the Uni-

(katriendeblauwer.com)

versity of Technology, Sydney, with a Bachelor of Design in Visual Communication (First Class Honors) in 2000, and now lives and works in Paris as a director, illustrator, and

J esse D raxler Jesse Draxler (American) is from a small

graphic designer. Clemens’s illustrations have

town in Wisconsin, and now lives and works

been commissioned by publications including

in the small big city of Minneapolis, Minne-

Creative Review, the Bulletin Magazine, Good

sota. His work has been shown extensively

Weekend Magazine, and the Sydney Theatre

throughout the Midwest, in Los Angeles, and

Company. He has directed music videos for

internationally, and has been featured in the

the bands Bloc Party, Tame Impala, Friendly

New York Times, Target Headquarters, and

Fires, and PVT, and has taught design and

Beautiful/Decay. Jesse’s work has received

communication at the Bauhaus School in Wei-

attention from publications and institutions

mar and at UTS Sydney. He has had two solo

all over the world, and he was recently named

illustration shows, 100 Kites and Other Sides. 

one of the Walker Art Center’s “Ten Artists

(clemenshabicht.com)

to Watch in 2013.” ( jessedraxler.com)

B eth H oeckel Beth Hoeckel (American) is a multidisciplinary artist from Baltimore, Maryland. She

H olly G aboriault Holly Gaboriault (American) is an author,

received a Bachelor of Fine Arts degree from

illustrator, and designer working in Providence,

the School of the Art Institute of Chicago

Rhode Island. Long before she graduated from

where she focused primarily on painting,

Artist Bios

170

photography, and printmaking. Beth is cur-

lishing company specializing in Risograph

rently a full-time artist creating mixed-media

printing. He lives and works in Toronto, with

paintings and collages in Baltimore City. Her

his wife and collaborator, Kirsten McCrea. 

work has been exhibited in shows all over the

( jpking.ca)

world, and has been featured in a long list of publications including Bust Magazine, Rookie Magazine, and Nylon Magazine.

K h á nh H . L Ê

(bethhoeckel.com)

For Khánh H. Lê (Vietnamese American), identity plays a central role in artistic output. He continuously probes his personal and

M icosch H olland

familial histories in an attempt to carve out a

Micosch Holland (German) was born in 1968

cultural identity for himself. Khánh gradu-

in Mönchengladbach, Germany. He studied

ated with an MFA from Syracuse University

Visual Communications at the Academie

in 2008. His work has been exhibited at the

Beeldende Kunsten in Maastricht, and now

Hunterdon Art Museum (Clinton, New

works as a graphic designer in Berlin and

Jersey), Corcoran Gallery of Art (Washington,

Munich. Informed by his design background,

DC), Vox Populi (Philadelphia, PA), Honfleur

his work uses vintage bits and pieces of found

Gallery (Washington, DC), DC Arts Center

imagery, distinctive color palettes, and bold

(Washington, DC), Hillyer Art Space (Wash-

typography.

ington, DC), and Transformer (Washington,

(micosch.tumblr.com)

DC). The DC Commission on the Arts and Humanities awarded him the Artist Fellowship for the Visual Arts in 2011. He continues to live and work in Washington, DC, where he

J p K ing

actively explores and questions the notion of

Jp King (Canadian) is an artist, writer, and

identities through the lenses of culture and

printer whose work explores utopia, garbage,

memories.

masculinity, and contemporary mythology.

(khanhartist.com)

His artistic practice employs collage in myriad forms: from multiple bodies of work created from vintage postcards and French magazines, to his relational publishing experiments. His

K athryn M acnaughton

project Free Paper, 2011, turned a gallery

Kathryn Macnaughton (Canadian) is a grad-

into a pop-up newspaper office, while the

uate of the Ontario College of Art & Design in

Nomadesk, 2009–2011, transformed a wheel-

Toronto, where she still lives and works. She

chair into a mobile writer’s residency. His

is a graphic designer and illustrator, which

poetry, critical writing, and artwork have been

comes through vividly in her graphic, story-

published and exhibited internationally. He

telling collages. She has exhibited her work

runs Paper Pusher Printworks, a micropub-

with Huntclub Studio, StolenSpace Gallery,

Artist Bios

171

and 100 Euro Show, and has a long list of

same year she had her first group and solo

clients including Penguin Publishing, Fashion

show at the Jack Hanley Gallery in New York.

Magazine, The Walrus, Report on Business

(peekadoo.blogspot.ca)

Magazine, and Nylon Guys Magazine. (kathrynmacnaughton.com)

V incent P acheco Vincent Pacheco (American), also known

P eter M adden

as Mudchicken, was born in Redwood City,

Peter Madden (New Zealand) lives in

California. He is the descendant of out-

Auckland. He completed a BFA in 1995, and

laws and revolutionaries, the cofounder of

an MFA with First Class Honors in 2003.

WAFA Artist Collective, and editor of Earth

He has exhibited in major institutions and

Quarterly. He has had recent exhibitions in

galleries throughout New Zealand and

Los Angeles, Vancouver, Seattle, Berlin, and

Australia. Peter’s hometown is the provin-

Lyons, and has been published in Elle maga-

cial city of Napier, New Zealand, which has

zine, Cutting Edges (published by Gestalten),

been described as a seaside town, frozen in

and Rojo Magazine (Barcelona). He currently

time, on the edge of the world. As a child,

lives and works in the Tahoe National Forest,

Peter discovered a world of images, thoughts,

California.

and fantastical creatures through National

(mudchickenart.com)

Geographic Magazine. Today, his exploration has expanded beyond National Geographic to a wide world of lost and found images from

F rancisca P ageo

myriad sources. Peter has often commented

Francisca Pageo (Spanish), also known as

that his practice releases lost ghosts within

Misspaq, was born in Murcia, Spain. She is a

the photograph, which then inhabit the small

photographer and illustrator, but has chosen

spaces of his art.

to focus on collage. She is also coeditor for

(fehilycontemporary.com.au/pages/

Détour cinema magazine, and the Mujeres

peter-madden)

con Pajarita collective. Francisca collaborates with magazine and advertising/design studios (Rapporto Confidenziale, 10x15 magazine,

A ris M oore

Germinal Comunicación Agency, etc.), and

Aris Moore (American) graduated with her

she is art director of album covers, books, and

BFA from Montserrat College of Art in 1998.

painted papers. She had participated in various

She began teaching middle school art the

exhibitions—Lab (Spain), Gallery Art RE.Flex

following year, and fifteen years later is still

(Russia), Galleri KG52 (Sweden), and Vernis-

enjoying it. In 2012 Aris graduated with her

sage Ephimère (France). She has also taught

MFA from the Art Institute of Boston. That

art in her home country of Spain as part of the

Artist Bios

172

Distrito Artístico Program, CAMON (Cultural

London, Brooklyn, and Beijing.

Center), and San Colorea Art Residence.

(iamciara.co.uk)

(franciscapageo.com)

M ahmood P opal L illianna P ereira

Mahmood Popal (Afghan-Canadian) was

Lillianna Pereira (American) grew up on a

born in Kabul, Afghanistan, in 1979 and moved

steady diet of comic books, which fostered her

to Toronto in 1988. He received a Bachelor of

love of visual storytelling and inspired her to

Design degree at the Ontario College of Art

put pencil to paper. Fast-forward to art school

and Design. In 2011, he founded Craft Studio,

and the discovery of mythology, Campbell,

a multidisciplinary art and design studio

and Jung. The girl who wanted to draw comics

that focuses on the design of interiors and

and tell other people’s stories now wanted to

custom art installations. Mahmood’s work

tell her own. Mythology became her muse, and

can be seen throughout Toronto in various

collage became her medium. Lillianna lives

commercial venues. His collage and sculpture

and works in Hadley, Massachusetts, where

works are in private collections locally and

she is a freelance graphic designer. She has

internationally.(craftstudio.ca)

won numerous design awards (Grand Gold and Gold CASE awards from the Council for Advancement and Support of Education,

J ose R omussi

regional Ad Club awards, and Lamplighter

Now based in Berlin, Jose Romussi (Chilean)

awards from the New England Society for

studied landscape design at the Universidad

Healthcare Communications) and has been

Católica de Chile, Santiago de Chile. Over the

included in several exhibitions within the

past few years he has gained a significant 

United States and beyond (United Kingdom,

following for his screen prints and collages, in

Ireland, Portugal, India, Canada, and

which he combines vintage black-and-white

Germany).

photographs with colorful forms of embroi-

(lillypereira.com)

dery. The supernatural power of dancers and their poses and movements inspire him with their precision and elegance. Jose brings

C iara P helan

these pictures back to life with bright, vibrant

Ciara Phelan (British) has created intricate

colors, underlining the dynamic of their frozen

collage concoctions that have graced the pages

movements. With each new line of embroidery

of Wired US, the Guardian and the New York

he invites the viewer to dream with him and to

Times. A University of Brighton graduate, she

experience each subject’s hidden vitality. He

has also worked on projects for Gap, the New

has exhibited his work all over the world, from

York Times and Toyota, and has exhibited in

Rome to Chile to London, and most recently

Artist Bios

173

in a solo show, titled Life Is Beautiful, at

Center, University of Texas at Austin, and is

Artconnect in Berlin.

currently an active member of MASS Gallery,

(cargocollective.com/joseromussi)

an artist-run project space in East Austin. (xochisolis.com)

A drienne S lane Adrienne Slane (American) is an artist who

F abien S ouche

works with collage, drawing, printmaking,

Fabien Souche (French), aka Souche, was

photography, and animation. While attend-

born in Ambert, France. He now lives and

ing the Cleveland Institute of Art, she was

works in Brussels, Belgium. He has shown

awarded two scholarships, and she graduated

his edgy and humorous collage work all over

in 2010 with a major in drawing. She currently

Europe (including Berlin, Paris, Belgium,

lives in a rural town in Ohio and spends her

and the Netherlands), in both solo and group

days working in her studio, taking hikes in the

exhibitions, and in 2010 was awarded the

forest, beachcombing, exploring abandoned

Special Jury Prize of the 55th Salon de Mon-

places, and participating in the arts commu-

trouge. His work is simple, clever, and full of

nity. Her work has been shown in several

pop-culture wit. He filters his artistic and

exhibitions in the United States, and in 2013

political environment, observes the broad

she immersed herself in an art residency at

contemporary themes very precisely, and then

Spark Box Studio, just outside of Toronto,

plays with those references. He leaves behind

Canada.

just enough to show us the bare idea, or at

(adrienneslane.com)

least in its most simple expression, with just enough material for it to exist at all. (www.souche.me)

X ochi S olis Xochi Solis (American) is a painter living and working in Austin, Texas. She received

B randi S trickland

her BFA in Studio Art from the University

Brandi Strickland (American) is a collage

of Texas in 2005. Along with multiple group

and mixed-media artist based in Floyd,

exhibits, Xochi most recently presented a solo

Virginia. She grew up in North Carolina and

exhibition—Rivers of Our Vision—at Lawn-

received a BA in Art from Queens University

dale Art Center in Houston, Texas, and has a

of Charlotte in 2007. Working from her home

forthcoming residency in Oaxaca, Mexico, to

studio, Brandi creates small, detailed works of

learn and work with natural pigments. Along

art combining collage, painting, and drawing.

with her studio practice, she is the Director

She runs a shop and blog called Paper Whistle

of Public Programming at the Visual Arts

and is a member of the WAFA Collective.

Artist Bios

174

Besides art, she enjoys living out in the

United Kingdom. He is a member of the WAFA

country, cooking, gardening, and researching.

Collective, has exhibited his collages world-

(brandistrickland.com)

wide (including the United States, Australia,

(paperwhistle.com)

United Kingdom, Germany, France), and produced works for clients such as Chanel, Nestea, Gshock, and Kate Spade. (anthonyzinonos.com)

B i ll Z indel Bill Zindel (American) is an independent artist, illustrator, and designer who lives near Oakland, California. Working from his home studio, Bill creates collages that are structured yet unrestrained, employing bold colors and patterns, with geometric leanings and spontaneous tendencies. In between gigs at San Francisco design agencies, Bill keeps busy with other projects. Recently he created an illustration for the New York Times, contributed a collage to the book Sundance Film Festival A to Z, designed and illustrated a series of book covers for Farrar, Straus & Giroux, silk-screened posters for a local band, and opened a record store. A graduate of the Rhode Island School of Design, Bill has shown his work in San Francisco, New York, Detroit, Nashville, Omaha, Ireland, and Berlin. Bill’s collages have been featured in several books and on a long list of art blogs including Booooooom.com, Notpaper.net, and TheJealousCurator.com. (billzindel.com)

A nthony Z inonos Born in South Africa and raised in Cyprus, artist/illustrator Anthony Zinonos (British) now lives in the fine city of Norwich in the

Artist Bios

175

IMAGE CREDITS Page 20 (I), 25 (IX): Featuring photography by Claudio A. Troncoso Rojas Page 61 (XII): Featuring photography by Madison Dubé Page 69 (V): Commissioned by Sydney Theater Company Page 69 (VI): Commissioned by Good Weekend Magazine Page 70 (VII), 71 (IX): Commissioned by The Design Files Page 70 (VIII): Commissioned by City of Sydney Page 98 (I), 101 (V): Photographed by Samuel Hartnett Page 99 (II), 100 (IV), 101 (VI): Photographed by Melissa Irving Page 102 (IX), 103 (X): Photographed by Kallan Macleod Page 103 (XI): Photograph credit unknown; Collection of Auckland City Gallery Page 134 (III), 135 (IV), 135 (V): Featuring photography by Rocio Aguirre

176

Want More Chronicle Ebooks? Click Here!

Get freebies, discounts, and more!