Jean Cocteau once said,”a poet doesn’t invent, he listens.”
The pieces built by self-proclaimed “melancholic post-situationist” artist Robert Montgomery, likewise, work as interesting dreamy receivers or lightning rods, absorbing bursts of humanity’s collective subconscious in relation to varying environments.
Translating frequencies and teetering between genres, Montgomery, in Interview Magazine asserts, “Obviously my own work comes from a conceptual art tradition, but I love the graffiti artists, and I feel spiritually closer to them than to most contemporary art; they make the city a free space of diverse voices and we shouldn’t get all cynical about them just because Banksy made some money.”
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]
Julie Schenkelberg makes installations that look like domestic earthquakes. Her monumental pieces talk to us about the collective memory we share in objects and its inevitable disintegration. As most all domestic objects have some sort of function, their ubiquity–tables, chairs, lamps, plates, etc in every home– is a sign that our experience of the life is much more communal than individual, and likewise our memories. Julie takes the objects of our experience and compiles them into globs of memory, as they are probably situated in our own brains. But, like our own memories, she shows us these objects as broken and decaying in structures that look strong and sound but are, in the grand scheme of things, utterly tenuous. Her work is physical poetry at its best.