Tag Archives: collage

Digital Photo Collages of Dreamlike Scenes by Hüseyin Sahin 

Turkish art director and visual artist Hüseyin Şahin has an uncanny eye for combining disparate photographs into cohesive scenes, where technology, nature, and humankind collide. Sahin works with a variety of digital photographs which he then edits into collages that he shares on Instagram and Behance. (via ARCHatlas)

See related posts on Colossal about .

Abstracted Alterations to The New York Times’ Front Pages by Fred Tomaselli 

“Sunday, October 4, 2009” (2016) Acrylic and ink on paper. 72 1/4 x 43 in. (183.5 x 109.2 cm) Photo © White Cube (Max Yawney)

Since 2005, artist Fred Tomaselli has been altering the front page of The New York Times, highlighting the day’s catastrophes and nightmares with layered collages and detailed paintings. The series, simply titled The Times, focuses on the tactility of newsprint in a hyper-digital society, as well as the absurdity our contemporary political climate.

The displayed works are large-scale reproductions of the paper’s front page, each titled based on the date of which the original newspaper was published. Tomaselli views these artistic interventions as abstract editorials, just another decision made in the production of the news and its byproducts.

Tomaselli’s works will be featured in the solo exhibition Paper at White Cube gallery in London opening March 17. The exhibition will continue through May 13, 2017. (via Creative Boom)

“Wednesday, July 23, 2014” (2016), acrylic and photo collage over archival inkjet print, 43 x 47 1/2 in. (109.2 x 120.7 cm) © Fred Tomaselli. Photo © White Cube (Max Yawney)

“Wednesday, March 4, 2015” (2016), acrylic, photo collage and leaves over archival inkjet print, 50 3/4 x 81 3/4 in. (128.9 x 207.6 cm) © Fred Tomaselli. Photo © White Cube (Max Yawney)

“Thursday, May 12, 2011” (2016), acrylic over archival digital print, 43 x 54 in. (109.2 x 137.2 cm), 56 x 67 x 2 in. (142.2 x 170.2 x 5.1 cm) (framed) © Fred Tomaselli. Photo © White Cube (Max Yawney)

“Thursday, Feb. 27, 2014” (2016), acrylic over archival inkjet print, 43 x 59 3/4 in. (109.2 x 151.8 cm) © Fred Tomaselli. Photo © White Cube (Max Yawney)

“Thursday, April 2, 2015” (2016), acrylic over archival inkjet print, 72 1/4 x 43 in. (183.5 x 109.2 cm) © Fred Tomaselli. Photo © White Cube (Max Yawney)

“Bloom (Dec. 17)” (2017), acrylic and ink on paper, 44 x 65 1/2 in. (111.8 x 166.4 cm), 52 3/4 x 74 1/4 x 2 1/2 in. (134 x 188.6 x 6.4 cm) (framed) © Fred Tomaselli. Photo © White Cube (Max Yawney)

See related posts on Colossal about , , .

Flatland II: A New Series of Dramatically Skewed Photographic Landscapes by Aydin Büyüktas 

Turkish digital artist and photographer Aydin Büyüktas continues his dizzying landscape series Flatland with this new collection of collages shot in various locations around the United States including Texas, Arizona, New Mexico, and California. Each image requires around 18-20 aerial drone shots which are then stitched together digitally to form sweeping landscapes that curl upward without a visible horizon. As we’ve noted before, Büyüktas found inspiration in a century-old satirical novel titled Flatland about a two-dimensional world inhabited by geometric figures. You can see more from the series on his Facebook page.

See related posts on Colossal about , .

New Classical Paintings Reimagined as Part of Modern-Day Italian Life by Alexey Kondakov 

For his latest works in the ongoing series Art History in Contemporary Life, Ukrainian artist and designer Alexey Kondakov (previously here and here) has staged classical paintings in scenes from modern day Naples, Italy. The figures effortless merge with their present day surroundings, two women looking perfectly bored flipping through comic books in the back of a dusty book store, while a different woman takes a nap beside a latte and half-eaten sandwich. You can view more of his digitally altered scenes on his Instagram and Facebook page. (via My Modern Met)

See related posts on Colossal about , , , , .

Photomontages That Trace Light Through Overgrown Countrysides and Abandoned Interiors 

"Thicket" (2015)

“Thicket” (2015), all images © Suzanne Moxhay

Artist Suzanne Moxhay produces photomontage scenes which seem to effortlessly combine elements from both her own photography practice and her large archive of collected images. To compose her taken and collected photographs, Moxhay relies on a film technique dating back to the early 20th century called matte painting, a process where backdrops are illustrated on glass panels and integrated into live-action sets. Using this method she creates the illusion that all of her disparate pictures are one cohesive image, first arranging the fragments on glass, then re-photographing the new configuration, and finally touching up the compositions digitally.

“In my recent work I have been exploring concepts of spatial containment in montages built from fragments of photographed and painted interiors,” says Moxhay. “Architectures are disrupted by anomalous elements – contradictory light sources, faulty perspective, paradoxes of scale. Light casts shadows in the wrong direction, walls fail to meet in corners, an area of the image can be seen either as an enclosing wall or dark overcast sky.”

Moxhay lives and works in London. You can see more of her photomontage scenes on her website. (via ArtistADay)

Eventide (2012)

“Eventide” (2012)

"Arch" (2016)

“Arch” (2016)

"Antechamber" (2014)

“Antechamber” (2014)

"Feralis" (2011)

“Feralis” (2011)

See related posts on Colossal about , , .

New #ComboPhoto Mashups from Stephen McMennamy 

Atlanta-based photographer and art director Stephen McMennamy (previously) continues his humorous split-image photo juxtapositions that he refers to as #combophotos. It would be easy enough to sort through countless images on the web to find unusual ways to overlap images, however McMennamy dramatically elevates the quality of his work by utilizing his original photography. In this way, he’s able to perfectly execute the ideas in his head, creating objects, scenes, and hilarious creatures that matchup almost seamlessly. One exception: for a recent elephant/tree mashup McMennamy relied on a photo by Zimbabwe-based photographer Jez Bennett.

You can follow more of McMennamy’s recent work on Instagram and some of his best #combophotos are available as prints.

See related posts on Colossal about , .

Page 1 of 141234...»