When Isaac Tobin is not working as a senior designer for University of Chicago Press or playing with type design, then he is whipping up some pretty phenomenal collages with minimal resources. Each piece remind us that cutting back and holding the line is just as important as drawing it. His seemingly simple use of familiar and found paper products matched with sporadic vintage text and condensed doodling presents an accessible everyday charm that inspires affordable creativity.
According to Ray Kurzweil, scientist & Singularity theorist, “We [as human beings] can ‘go beyond’ the ‘ordinary’ powers of the material world through the power of patterns . . . It’s through the emergent powers of the pattern that we transcend.”
Similarly, these concepts of materiality, patterns, technology, and transcendence haunt the mixed media paintings of Nick Gentry, who hails from the London street art scene and beyond.
As far as process goes, Gentry engages in what he calls a “social art project”, whereas people mail archaic technology (film negatives, floppy disks) to his studio/gallery to help build the base of his work. Instead of just relying on a pictorial image, Gentry allows the “history” and “variety of unique memories contained in used objects” to also serve as the subject of each piece. The result is reminiscent of 1990s Electronica and aches of a strange collective sense of contemporary loss.
Brazilian artist Vik Muniz created these images of animals using scrap metal. You can get idea of the huge scale of Muniz’ work by looking at the first image – notice the pile of car doors on the left. Much of Muniz’ art is an accumulation of what many would consider garbage to create fine art. He creates huge ‘collages’ from these objects, photographs them, and returns them to their smaller scale. You may recognize Muniz and his work from the acclaimed documentary Wasteland in which his process was detailed. [via]
Joe Rudko is a talented artist based in Washington state. In his current series he combines found photographs with his drawings. According to his artist statement: “These works are responses to a shifting relationship with found photographic objects. Collaging a vintage material with hand drawn addendums exposes the vulnerability of the static image.” Check out more images after the jump.
Garth and Pierre are an artistic team based out of Washington state, for their series MENU they appropriated nostalgic imagery of restaurants, kitchens, and table settings to explore the perceptions and politics surrounding food. The artists use geometric shapes cut into the image by hand, leaving the viewer with a lace-like grid of highly graphic saturated colors that allude to a romanticized era that has long since passed.
Artist Jamie Poole has taken a dramatic turn in his art recently. Majoring in Design Poole has primarily worked in landscapes. However, to create a portrait of Sophie, pictured above, he used a medium tied to her identity: English literature. Poole uses strips of poetry to create a unique collage. Words wrap around eyes and slide down noses to create incredibly realistic images. The pieces are particularly large compared to the intricately placed lines. Regarding this, Poole says:
“The repetition of collaging each line of text onto the board to make the image becomes similar to meditating in my view. It also means I can really focus my attention on each individual area of the picture to really look closely at the subject and learn about her.”[via]
Estonian artist Eiko Ojala expertly creates illustrations using paper. His complex collage pieces are at the same time simple in execution. His background as an illustrator is clear in each of these pieces. Ojala is able to communicate a considerable story with minimal imagery and medium. Whether a series of trees interacting through different seasons, or portraits, Ojala weaves interesting narratives using simple poignant scenes.
Oliver Payne‘s collages present many juxtapositions: East and West, new and old, digital and analog. In an interesting way, though, the images of Japanese Bullet Hell Games and photographs of classical European sculpture compliment one another. A tradition of fantastic stories and violence are present in each. Further, the gallery statement mentions that the “Greek statues serve as a background and a reminder of the fantasy worlds produced in Japanese arcade games, which often picture rural Europe.” While exhibited, the collages are joined by the raucous soundtrack of the noises of a traditional arcade flowing through the gallery.