"The meeting of two personalities is like the contact of two chemical substances:
if there is any reaction, both are changed." C. G. Jung
if there is any reaction, both are changed." C. G. Jung
Assemblage
"S is for Sparkedelica"
The joy of assemblage lies in the power of juxtaposition, the spatial relationship or dialogue between concrete objects. Unlike a tube of paint or pencil fresh from the factory, objects possess a potency conferred by their contact with human beings over time. Whether through a subtle energetic transference via attention and touch, or the projection of symbolic meaning that occurs with naming and labeling, objects can act as metaphorms, transmitting the mental and emotional essence of the myndscapes through which they have traveled. This medium is the message, even before it finds the artist’s hands.
A variation on the scavenger hunt for resonant collage materials, the assemblage of three dimensional touchstones to memory or desire engages the body more fully in the dance of creativity, adding layers to not only the symbolic content, but to the sensory experience of art-making. Musty objects rescued from attics and basements tickle the nose with dust or mildew that provides instant olfactory transport through time and space. Hazards like sharp edges, nails, splinters, or termites viscerally communicate the vulnerability, mutability, and decay inherent in the human condition. Assemblage taxes physical muscles in addition to psychological ones in dealing with the logistical challenges of mass and weight, while the interactions of a wider variety of materials like metal, minerals, and glass, impacts design in new ways.
At it’s best, juxtaposition may evoke sensual pleasure, read like a zen koan, or deliver, with a flash of illumination or humor, the punch line of a good joke. I return to assemblage for the "aaaaah," the "aha!" and the "hee hee hee."
I believe part of the bias against collage and assemblage comes from a careless, superficial or random application of materials; this, however, is not my personal approach. I endeavor to apply the same aesthetic principles--focal point, rhythm, harmony, variety and unity--to collage and assemblage as to other, more organic processes. If I were to distill my design philosophy to one thing, it would be FLOW. It is essential that the visual elements connect in such a way as to lead the eye smoothly thru the visual landscape, evoking a whole that is greater than the sum of its parts.
A variation on the scavenger hunt for resonant collage materials, the assemblage of three dimensional touchstones to memory or desire engages the body more fully in the dance of creativity, adding layers to not only the symbolic content, but to the sensory experience of art-making. Musty objects rescued from attics and basements tickle the nose with dust or mildew that provides instant olfactory transport through time and space. Hazards like sharp edges, nails, splinters, or termites viscerally communicate the vulnerability, mutability, and decay inherent in the human condition. Assemblage taxes physical muscles in addition to psychological ones in dealing with the logistical challenges of mass and weight, while the interactions of a wider variety of materials like metal, minerals, and glass, impacts design in new ways.
At it’s best, juxtaposition may evoke sensual pleasure, read like a zen koan, or deliver, with a flash of illumination or humor, the punch line of a good joke. I return to assemblage for the "aaaaah," the "aha!" and the "hee hee hee."
I believe part of the bias against collage and assemblage comes from a careless, superficial or random application of materials; this, however, is not my personal approach. I endeavor to apply the same aesthetic principles--focal point, rhythm, harmony, variety and unity--to collage and assemblage as to other, more organic processes. If I were to distill my design philosophy to one thing, it would be FLOW. It is essential that the visual elements connect in such a way as to lead the eye smoothly thru the visual landscape, evoking a whole that is greater than the sum of its parts.
"The Divine Masculine"
"The Divine Feminine"
"Divine Unity"
"Conscious Creation"
"Victoria's Secrets"
"Spirit Box" (Many Paths to the Center)
"Woodland Home I"
"Woodland Home II"
"The invisible Hand of Creation"
"Back East"
"For Frida"
"Mender"
"Divine Feminine Remix; Font of Creation"
"Divine Feminine Remix: The Change"
"Indigo Messenger"
Wing Dings
Wing Dings are a whimsical reminder of the paradox of human consciousness. Our beliefs about self, about reality
arise within the mutually definitive dynamic of creator-creation. The words, concepts, and judgments that describe, also circumscribe,
imprison the mind. Embracing the blessing and curse of the mutable, rewritable brain, however, we discover the freedom to choose our cages.
arise within the mutually definitive dynamic of creator-creation. The words, concepts, and judgments that describe, also circumscribe,
imprison the mind. Embracing the blessing and curse of the mutable, rewritable brain, however, we discover the freedom to choose our cages.
"Bluebird of Happiness" - Wing Dings
"Head Case" - Wing Ding
"King Louie" - Wing Ding
