12072 Double Phoenix - Nader tot U
I am participating in a collage project: Round Table [Collaboration].
Each participant adds something to the collage they receive and send it to the next one in line.
Collaborators: 48073 - Michael Chang - Ellen McAuslan - Niki Hare - Jan Kather
48073 - 12056 donna in de polder
The Madonna from the Lowlands. Cutouts from high-end fashion magazines combined with four museum catalogue prints of a woman wearing a 19th century Zeeland costume. They are mounted on archival art paper, a background containing a motif of a Roman sandal, found ±100 A.D. in Zeeland, a Province of the Netherlands.
Michael Chang - A Violent Act
I received a wonderful collage from 48 in Holland a couple of weeks ago and I hope s/he took photos of it. Eager to get to work I began by adding some black dots and a cutout of a drawing that had been lying around on my worktable for awhile. But then I got stuck. The collage now took the drawings place on my worktable. Luring at me for days.
I waited and waited (and waited) for something to happen and then two weeks in I finally began stripping the wonderful piece with a razor blade without really thinking. First I violently stripped everything on it. Got rid of the beauty. Then I began scraping off the laser printed footprint pattern until the paper got all swollen up.
Now the collage looked hurt and I felt good and bad at the same time. Thinking about the sacrifice both 48 and I have made, to the Goddess of art. Then I added a healing beeswax, a preferred medium of mine that, to me, have a slight resemblance of transparent skin. I finished the piece by stabling the stamp to the upper right hand side corner, like a tag in the ear of a pig on the way to the slaughter house.
I feel both sorry, excited, wondering if 48 will dis- or ap-prove of my violent act — and as if I have gone through some sort of cleansing catharsis, by ruining something very beautiful. I am also wondering if what I have done is still making a collage in collaboration? How do we define the word collage, can stripping, mutilating and molesting still be regarded as adding something? Anyway, what once was a good looking Dutch 'Helen of Troy' is now on it’s way to The Shire in England rather incognito.
I need to explore,
or just look
then feel,
then sniff
and then see…
a kind of meditation,
unknowingness (it's good)
how do I respond?
I look and look again
and wonder, how can I interfere
I like how this looks
when I add - I will change
oh yes, and I've only looked at it one way up so far…
Already the feel of the paper speaks to me it also it changes the way I view my materials...
Meanwhile - I have captured the sound...kind of:
Starting from the top left of the collage, which is held image side up with the black dot (thank you Michael) in the top left hand corner (being rubbed between the thumb and fingers of the left hand, apart from a slight nail scraping where areas get more...unyielding).
Niki Hare on October 10, 2012:
Hehe, well spotted (think I pinched that from my dad)........but checked the date on the 'Snow on the Hills' book, checks in at '46 , so we can go back still further. Awesome book and running dry, a dollar in the op shop (or a quid in the bargin basement, I loose track), funny thing is tho, I skied some of those hills as a kid and they look just the same , guess mountains have stability.
Received both collages yesterday - sending on this morning to 48073.
Found it hard to improve on 48073 collage.... maybe you will be doing more scraping:} The texture is a sensation to be perused by both eye and hand.
48073 - 12072 Double Phoenix - Nader Tot U
Attacking the collage, scraping the surface even more, drowning it, cleansing it, folding it, make it implode into a tiny package filled with all these previous stories and sensations. In the end not even being able to touch this surface anymore by covering this fragility with a melted hard plastic clam shell container.
An hour later I added 3 divine fragments that tried to run away during the battle (just in time to catch them from the studio floor). To give this clump at least some air I finally attached it on a frame. Not indented to be so, but the frame shows a newspaper photo of the grave of the Dutch writer Gerard Reve. Maybe this is enough.
Collaborative artworks stay alive as a mixture of online network communication, process images, (web) publications, exhibitions and peoples memories of the event.
Dead poets stay alive through their words.
Dagsluiting
Eigenlijk geloof ik niets,
en twijfel ik aan alles, zelfs aan U.
Maar soms, wanneer ik denk dat Gij waarachtig leeft,
dan denk ik, dat Gij Liefde zijt, en eenzaam,
en dat, in dezelfde wanhoop, Gij mij zoekt
zoals ik U.
Gerard Reve spreekt. Uit: 'Nader tot u', "Geestelijke Liederen", Verzamelde Gedichten, Bezige Bij.
Each participant adds something to the collage they receive and send it to the next one in line.
Collaborators: 48073 - Michael Chang - Ellen McAuslan - Niki Hare - Jan Kather
- - -
Initiated by 48073 (NL) |
12056donna in de polder - Work by 48073. Styling: Karina Leijnse.
|
48073 - 12056 donna in de polder
The Madonna from the Lowlands. Cutouts from high-end fashion magazines combined with four museum catalogue prints of a woman wearing a 19th century Zeeland costume. They are mounted on archival art paper, a background containing a motif of a Roman sandal, found ±100 A.D. in Zeeland, a Province of the Netherlands.
- - -
Michael Chang (DK) |
A Violent Act - Work by Michael Chang
|
Michael Chang - A Violent Act
I received a wonderful collage from 48 in Holland a couple of weeks ago and I hope s/he took photos of it. Eager to get to work I began by adding some black dots and a cutout of a drawing that had been lying around on my worktable for awhile. But then I got stuck. The collage now took the drawings place on my worktable. Luring at me for days.
I waited and waited (and waited) for something to happen and then two weeks in I finally began stripping the wonderful piece with a razor blade without really thinking. First I violently stripped everything on it. Got rid of the beauty. Then I began scraping off the laser printed footprint pattern until the paper got all swollen up.
Now the collage looked hurt and I felt good and bad at the same time. Thinking about the sacrifice both 48 and I have made, to the Goddess of art. Then I added a healing beeswax, a preferred medium of mine that, to me, have a slight resemblance of transparent skin. I finished the piece by stabling the stamp to the upper right hand side corner, like a tag in the ear of a pig on the way to the slaughter house.
I feel both sorry, excited, wondering if 48 will dis- or ap-prove of my violent act — and as if I have gone through some sort of cleansing catharsis, by ruining something very beautiful. I am also wondering if what I have done is still making a collage in collaboration? How do we define the word collage, can stripping, mutilating and molesting still be regarded as adding something? Anyway, what once was a good looking Dutch 'Helen of Troy' is now on it’s way to The Shire in England rather incognito.
- - -
Ellen McAuslan (UK) |
| Work by Ellen McAuslan |
I need to explore,
or just look
then feel,
then sniff
and then see…
a kind of meditation,
unknowingness (it's good)
how do I respond?
I look and look again
and wonder, how can I interfere
I like how this looks
when I add - I will change
oh yes, and I've only looked at it one way up so far…
Already the feel of the paper speaks to me it also it changes the way I view my materials...
Meanwhile - I have captured the sound...kind of:
Starting from the top left of the collage, which is held image side up with the black dot (thank you Michael) in the top left hand corner (being rubbed between the thumb and fingers of the left hand, apart from a slight nail scraping where areas get more...unyielding).
- - -
Niki Hare (UK)
 |
| Work by Niki Hare |
48073 on October 10, 2012:
Very cool showing the origin here, Niki. I understand now that this collage is already 63 yrs. old.Niki Hare on October 10, 2012:
Hehe, well spotted (think I pinched that from my dad)........but checked the date on the 'Snow on the Hills' book, checks in at '46 , so we can go back still further. Awesome book and running dry, a dollar in the op shop (or a quid in the bargin basement, I loose track), funny thing is tho, I skied some of those hills as a kid and they look just the same , guess mountains have stability.
- - -
Jan Kather (USA) |
Work by Jan Kather
|
Found it hard to improve on 48073 collage.... maybe you will be doing more scraping:} The texture is a sensation to be perused by both eye and hand.
- - -
48073 (NL) |
12072 Double Phoenix - Nader Tot U - Work by 48073
|
Attacking the collage, scraping the surface even more, drowning it, cleansing it, folding it, make it implode into a tiny package filled with all these previous stories and sensations. In the end not even being able to touch this surface anymore by covering this fragility with a melted hard plastic clam shell container.
An hour later I added 3 divine fragments that tried to run away during the battle (just in time to catch them from the studio floor). To give this clump at least some air I finally attached it on a frame. Not indented to be so, but the frame shows a newspaper photo of the grave of the Dutch writer Gerard Reve. Maybe this is enough.
Collaborative artworks stay alive as a mixture of online network communication, process images, (web) publications, exhibitions and peoples memories of the event.
Dead poets stay alive through their words.
Dagsluiting
Eigenlijk geloof ik niets,
en twijfel ik aan alles, zelfs aan U.
Maar soms, wanneer ik denk dat Gij waarachtig leeft,
dan denk ik, dat Gij Liefde zijt, en eenzaam,
en dat, in dezelfde wanhoop, Gij mij zoekt
zoals ik U.
Gerard Reve spreekt. Uit: 'Nader tot u', "Geestelijke Liederen", Verzamelde Gedichten, Bezige Bij.
- - -
