charcoal / graphite / coloured pencil / crayon / tracing paper
Showing posts with label collage. Show all posts
Showing posts with label collage. Show all posts
drawing cut-ups
cutting up previous test drawing i, to create/reconstitute it as new collages
charcoal / coloured pencil / crayon / paper / tracing paper / conté / graphite
cut-up / word collage
Manuscript for cut-up sent to Charles Plymell for use in NOW NOW NOW
Looking at William Burroughs use of the cut-up technique in his writing - creation of poetry through collage & vice versa
Initial concept taken from Dada artist/poet Tsara: use of newspaper articles - W.B and friend, painter, Brion Gysin start to use their own manuscripts & tape recordings to create these word collages.
Looking at using these word 'cut-up' collages as stimulus for paintings/physical collages
Collier Schorr II
ART21: It’s remarkable how much the past, even the ancient past, is latent in your work.
SCHORR: I started reading after I made the work because my agent told me about this Simon Shama book, Landscape and Memory. And I remember reading about the Nazis’s march into Italy, trying to find this codex and trying to reclaim this history of Arcadia.
I’m not making Leni Riefenstahl’s pictures, you know. I’m not making something that’s about the façade. I’m making something that’s about removing the security, removing the myth—and then, being left with something that is more human and more approachable.
text from an interview with Art21 (2003)
A film of One's Own
A Film of One's Own [Fugue Solos] (2005) from louise curham on Vimeo.
4 channel video installation developed for Reeldance video installation at Performance Space, Sydney 2005, subsequently exhibited at the NZ Film Archive, Wellington and Te Manawa Art Palmerston North, NZ 2006. This work distresses and reworks footage from the film 'Slipped' (1997). Credits for Slipped: director Louise Curham, choreography Sue Healey, producer Peter Kaufmann, cinematographer Mark Pugh, dancers Michelle Heaven, Phillip Adams, Belinda Saltmarsh and Michael O'Donoghue.
"Louise Curham is an artist and filmmaker, who sees “Film as art.” Sue Healey is a choreographer who is interested in translating dance onto film. Their collaboration resulted in this tribute exhibition of dance, interlaid and overlaid delicately with film fragments from live performance, outtakes and trims. Curham then applied her shtick, physically treating the film, applying surface scratches, paint and ink. The result is a beautifully moving series of image and dance; art come alive on the canvas, of which we walked into – a black room projecting the film off walls, columns and footstool sized black boxes."
text from article on ThreadNz by Sally Christie (2006)
Painting taking the form of film: shots cut/spliced together, film treated or scratched to give it different qualities, overlaying and placement of clips to create moving collages
Sarah Sze Newspaper Series
Creating physical collages, in 3-D rather than traditional 2-D, by adding objects to flat surfaces. Creates layers/depth - physically interrupting the space
Collage / Cut - Out
“After years of organising [the photographs] in a logbook I realised I was making very conscious decisions about where I was placing each frame,” she says. “After that, I started cutting into pictures from a series of photos about wrestling. This impulse came because I wanted to escape the boundaries of the ‘where’ and the ‘what’ the photos were. The specifics of photography can be overwhelming [so] to cut out and rework the figures gave me a better way of talking about what I was truly interested in which was movement, performance and historical, religious paintings.
“I am most thrilled when things start by the accident of proximity and seeing two pieces together creates a dialogue that can be asserted by decisions that involve cutting out or pasting upon. In terms of surrealism, it is the desire to have punctuation, subtext. To create a work that is in itself a conversation or argument.”
Leigh Ledare Air Freshener 2010
layers/reconstructions
"
When she walks, she does not walk all of a piece, but follows herself, independently and by turns, in each part of her new guise.
In the same way, having worn a new dress, she had found herself reduced to her dress many days in a row, its shape, its weight, and its color, weighing on her mind.
Reconstructed temporarily around her dress, she’d had little latitude for thinking about anything else: to plan, to decide. She hardly had leeway enough to obey an order still.
To admire herself in her new dress paralyzes her.
To regret it, too.
"
Shoe Unknown / Matisse Cutout / Words from 'Joan of Arc' by Nathalie Quintane
Subscribe to:
Posts (Atom)