GLENN IBBITSON    SMOKINGBRUSH FINE ART

COLLAGE:


I Initially adopted collage to sidestep a period of artists block; using high quality, full colour, glossy magazine print as source material. Used primarily as a mosaic technique, the paper selected was chosen only for its colour and tone. The paper-punch collages represent extreme examples.
This tight control over the medium relaxed once aspects of the actual printed imagery were absorbed into the compositions. 
Increasingly, the success of a work hinges on one fragment of torn paper, which provides that special intersection of textural or colour juxtaposition, not evident when originally embedded in the printed page. 
It cannot be manufactured; it is discovered, and usually only by accident. Its incorporation represents the point at which the composition assumes a life of its own and deviates positively from the original plan.
Surfaces are constantly adjusted through a series of overlayerings, and areas of particular detail are more painstakingly constructed with smaller paper fragments.
A unique characteristic of this form of collage is the variation in focus which one is able to achieve by combining the printed image edges with the physical tears of the paper fragment itself, producing ambiguities of form and space
 
  All images paper collage except where stated

london fashion week
Regency

vogue
Combats and Green Slippers


grand designs
Interior with sound stripes    relief collage


Vermeer  Delft
After Vermeer    paper-punch collage


Shinnyo Do  Kyoto
Yoshida Pine, Kyoto


matisse
Red Robe


cosmopolitan
Sequencer       relief collage


terrorism  jihad
Plunge [Icarus]        collage, origami and oil on panel


QinetiQ  Aberporth
Aberporth Nightflight    collage and origami


Vogue  cosmopolitan
The Cellar     relief collage

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