Artist Fabienne Rivory combines photography, collage, and painting in her work. She often blends two images of landscapes or scenes by bisecting and combining them as if they were reflections of one another. A touch of gouache paint is then digitally added to the photos and completes each of her pieces. The effect on the landscapes is a bit disorienting but familiar. Her work doesn’t seem to document places or times as much as it documents a feeling. The bold color of the gouache contrasts against the black and white landscapes, each pulling something out of the scene, each evoking something different. [via]
Wyatt Kahn’s wall sculptures are built from a series of stretcher panels and raw canvas beautifully pieced together to make one collaged structure. The crevices and peeking back wall help create compositional depth, captivating the eye, revealing clean and simple, yet geometrically intricate work, which is devoted to the complex juxtaposition of space more so than color.
Of Kahn’s art, Sam Cornish writes, “Broadly the type of illusion Kahn employs is one that comes after the reduction of minimalist painting. The flat, object quality of each part is in one sense simply accepted. There is no hint of the surface being broken, of a window open to an atmospheric or light filled space beyond (however shallow).”
Photographer Sohei Nishino creates unique maps to document memories more than geography. An avid traveler, Sohei snaps countless photographs on his trips around the world. By hand, he recreates the city from his many images as one large collage. Not intended to be accurate representation, the ‘map’ is a record of the city as he experienced it. He’s recorded trips to cities such as London, Paris, Jerusalem, Istanbul, Osaka, Berlin, and more. To get an idea of the way the concept works check out the first two images – a ‘map’ of New York and details from the collage.
To suggest that David Adey builds art from recycled materials would be an understatement. He develops intricate patterns from previous design work. Each celebrity limb or fashion savvy lip is delicately cut out, then pinned and pieced together on a foam board, without any digitalized color manipulation; he does, however, use a Google search to locate the parts for his palette and develop an arrangement.
His process, Adey admits, is terribly methodical, time consuming, and detail oriented, however, this is exactly the point. He states, “For me as an artist, it’s a matter of developing or choosing your own constraints. Finding them and embracing them as a tool to make the work.” Echoing a similar sentiment put forth by the father of design himself, Charles Eames, Adey continues: “Without constraints, you don’t have anything. That’s the whole design process — working within constraints.”
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.