Cataloging the tools once used for the very same purpose, Augustine Kofie creates collages that utilize file folders, index cards, and steno notepads from the ’50s through ’80s that were found while scouring the contents of Los Angeles estate sales. Kofie chooses to compile vintage materials from before the dawn of the digital age, a time when data took up physical space rather than gigabytes on an external hard drive.
The desire for collecting these specific paper forms comes from his obsession with historical forms of organization, the physical pen-to-paper process of keeping information tidy. After building collages from the papers in various colors and weights, he utilizes ballpoint pen, silkscreen, and acrylic ink to draw shapes and lines over top. These resulting collages have an architectural appearance, built forms with interlocking lines that mimic the precision of a building’s blueprint.
The Los Angeles-based artist merges his background in graffiti with interests in illustration and architecture to create work that references all three, focusing on form and line most intently in his compositions. Kofie’s solo exhibition “INVENTORY” will be on display at Jonathan LeVine Gallery in New York from November 21st through December 19th 2015.
Since we last featured works by collage artist Eugenia Loli (previously) her works have popped up all over the place from Wired Magazine, New Scientist, and a recent series of 5 collages for Cosmopolitan out next month (she also made the collage that appears atop this very publication). The nurse-turned-programmer-turned-journalist-turned-artist first began exploring digital collages in 2013 by scanning images from old vintage magazines and science textbooks that she assembled in Photoshop and shared on her Tumblr. You can follow more of Loli’s work on Instagram or Facebook, and she sells prints and other things in her shop.
Matthias Jung (previously) creates worlds of surreal architecture that inhabit vast photographed landscapes. The works merge together different elements of photography to create unusual compositions, structures you might vividly remember from a dream. By placing the composite structures in commonplace landscapes the German-based graphic designer preserves their believability, allowing us to momentarily trick our brains into thinking these places actually exist in environments we have not yet explored.
Jung refers to the works as “architectural short poems,” a perfect description for how they are visually consumed by the eye. You can see more of his surreal architectural collages on his website gallery here.
Morgana Wallace (previously) began making cut paper collages after her interest was sparked during a monotype session in printmaking class. Wallace was most attracted to the texture of cut paper compositions, especially with unique materials like wallpaper samples. Currently her work revolves around female heroines and mystical beasts, adding detail to her characters with banners and leaves that float around the subjects’ heads and torsos.
Wallace often uses Japanese linen paper in her work because of her attraction to its texture, mixing it with Canson thin card stock to create her characters’ flowing hair. Other materials used in her works include X-ACTO knives, water colors, gouache, and pencil crayons. To create depth and shadows she also uses foam board which adds to the painterly quality of her scenes.
Wallace is represented by Madrona Gallery in Victoria, British Columbia. You can see more cut paper collages on the gallery’s artist page here.
Mary Iverson fills natural and manmade landscapes with colorful shipping containers, objects haphazardly stacked on each other and taking up a majority of the otherwise tranquil scenes. The containers and boxes are cross-hatched with overlaid lines, connecting them a predetermined pattern seemingly known only by the artist.
Iverson explains her work by saying, “My paintings are colorful abstractions that spring from the theme of the industrial shipping terminal. The canvases feature mass accumulations of shipping containers and container cranes in various perspectives. My work employs a network of searching perspective lines and layers of interlocking, colorful planes and rectangles that suggest both deep space and flat surface.”
Part painting and part collage (the pieces often incorporate found photography), her artworks address what happens when globalization and the environment collide, material possessions doubling and tripling until they spill into the natural world around them. The Seattle-based painter gathers the bulk of her source imagery for her sketches through yearly trips to parks across the country, camping and photographing the landscape around her.
Iverson received her MFA in Painting from the University of Washington in 2002 and currently teaches painting and drawing at Skagit Valley College in Mount Vernon, WA as a tenured faculty member. Iverson has two upcoming October exhibitions, one at Gallery FB69 in Munster, Germany and another at G. Gibson Gallery in Seattle. Check out more images of Iverson’s work on her Instagram here. (via Juxtapoz where she’s the cover artist for the August issue)
Brooklyn-based graphic designer Victoria Siemer (previously) explores the idea of fractured landscapes through photo manipulations and collages. Siemer makes use of reflected geometric shapes suspended over gloomy natural landscapes shrouded in fog and clouds resulting in portal-like mirrors. She says much of her work is guided by the idea of emotional fragmentation and “fragmentation of the self,” a topic she explored in-depth while studying design at SUNY Buffalo. You can keep up with her work on Instagram and some of her pieces are available as prints.