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guide to mixed media collage

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    Keith Maddy

    I Am ReallyBeautiful

    7" 11"(17.8 27.9 cm)

    Artist Keith Maddy created I Am Really Beautifulas part of a series made on the pages of a disassembledvintage photo album.The Spark: The title is an affectionate reference to the found note in the center,which reads in part: Got my hair cut today, and you know what? I just discovered itI am really beautiful.In the piece, Maddy explores and develops the relationships between the different curved lines: the handwrit-ing, the edges of the tissue paper, the outline of the flowers in the lace, the womans hair and eyelashes, theboat, the scribbles, and the clipped lines of a doily center. The mood of the piece is nostalgic, the materialsorganic and tactile.The Process:He began by laying out the four pieces that are the horizontal backboneof the collage, playing with the arrangement until he was satisfied with their relationship to each other,then pasted them in place. To add color, texture, and another layer of lines, he glued on sheer tissue paperand material from a scarf. Finally, to give weight and balance to the collage, he placed in a round fragmentfrom a doily center and hand-drew a loop to emphasize the curvature of lines, ovals, and circles.TheNitty Gritty: Along with basic supplies (see page 10), the artist used a vintage photo album, a scarf,found papers, tissue paper, graphite pencil, a wood-burning pen, and wallpaper paste.

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    Keith Maddy

    Internal External

    7" 11"(17.8 27.9 cm)

    A colorful exploration of sinuous forms, Internal External is another in the series of collages that

    Keith Maddy created by working the pages of a vintage photo album (see previous page). The Spark:Although the dominant image is the human arterial system, the inspiration is something more abstract.

    Likening his collages to visual poetry, Maddy explores the relationship of textures and lines from disparate

    elements and combines them to create a cohesive whole. The images of birds flying serves to echo the

    curvature of the arterial system and hints at a larger interconnected ecosystem. The piece has a slightly

    surrealist feel and works on many levels, the external and internal forms interacting seamlessly with one

    another as in a dream. The Process: Maddy started with the imagery (the boy, birds, shoes, and arterialstructure) and then used a wood-burning tool to burn curved lines into the thick black paper. He added

    patches of color using gesso and colored pencils to highlight shapes and create visual balance. To create a

    unified palette, he gently sanded the collage surface, erasing parts and softening others to a translucent hue.

    The Nitty Gritty: Along with basic supplies (see page 10), the artist used a vintage photo album, pagesfrom vintage childrens books, newspaper print, gesso, colored and graphite pencils, a wood-burning pen,

    and wallpaper paste.

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    Jane Maxwell

    Full Circle Series

    1012" 13"(26.7 33 cm)

    and14" 14"

    (35.6 35.6 cm)

    The two works shown here are part of Jane Maxwells Full Circle Series, a recent effort in which, while con-

    tinuing to examine women and body image, she plays on the cyclical nature of the ideal body quest. As she

    puts it, women who diet often end up in a frustrating cycle of deprivation and weight loss followed by lack

    of sustained willpower and ultimate weight gain. The yardstick circles in this series represent measurement,

    success, failure, scale, and mirror. The Spark: Maxwell found large, colorful manure bags, which make upthe background of the work, at an antiques fair. She had been using rulers and yardsticks in another series

    about body image and measuring up. When she found the bags, she loved the eye-catching colors and the

    strong graphics and thought they would work well with leftover yardsticks in her studio. The Process:The colorful circles were created from vintage yardsticks. To make circles out of long rectangles, Maxwell

    first glued the rulers and yardsticks side by side onto plywood. Once they dried, she used an electric jigsaw

    to cut out circular forms, intentionally varying shapes, sizes, and solid versus outlines. She then sanded the

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    shapes to smooth them. To create the background, she used a wooden box canvas and an extra piece of

    plywood (she calls it a plywood top) cut to fit the canvas front. She then created a paper collage out of

    bold graphic elements cut from the manure bags on the plywood top. When the glue was dry, she moved

    around the yardstick circles on the graphic collage until the composition was right, then traced the forms

    onto the surface with a pencil. Using a jigsaw, she cut shapes into the collaged plywood top to allow the

    yardstick circles to fit into the composition like puzzle pieces. Finally, she collaged the sides of the canvas

    with manure bag cutouts and used scraps to cover the front (so that no wood is visible once the plywood

    top is in place). As a last step, she nailed the plywood top onto the canvas, and then glued and nailed the

    yardstick circles in place. The Nitty Gritty: Along with basic supplies (see page 10), the artist used awooden box canvas, vintage rulers and yardsticks, vintage manure bags (unused), a sander, an electric

    jigsaw, nails, and PVA.

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    Annie Silverman

    The Empress ofMirth

    12" 6" 112"(30.5 15.2 3.8 cm)

    Wood-cut and book artist Annie Silverman found inspiration for The Empress of Mirth in a toy-theater

    construction workshop with the Oiseaux Sisters. The Spark: She had once seen a toy theater perform-ance where a womans Victorian skirt was the theater and that idea had stayed with her. She added found

    text by looking up definitions of the word joy. The Process: Silverman began by photocopying andenlarging the figure of the woman, then mounted the image onto card stock. She painted and collaged a

    background, then created a box by joining the background to the skirt with a 2"-wide (5.1 cm) strip of

    paper (the sides of the box). To allow the strip of paper to follow the curve of the skirt and bodice, she

    cut out triangles (like dressmaker darts), and then glued a bit at a time, weighting the wet pieces until they

    were dry. Then she very carefully cut out the windows. The empresss heart is a book, made from one of

    the artists repurposed prints. It contains a found poem: Of her heart/The deepest secret/Private

    papers!/A delightful little story?/Joy, Mirth/Hilarity, delight, glee/in her heart. The curved sign is made of

    metal foil that Silverman cut and embossed using steel stamp letters. She achieved the mottled surface by

    repeatedly sanding, painting, and buffing the surface. The Nitty Gritty: Along with basic supplies (seepage 10), the artist used an enlarged photocopied postcard image, found text, permanent markers, card

    stock, cardboard, metal foil, metal stamps, acrylic paints, an intaglio print, wire, collage images with a

    circus/carnival theme, and PVA.

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    Annie Silverman

    Punk guardianangels, nest, birds,and eggs

    24" 22" (61 55.9 cm)

    Collage artists are always in search of unique materials: found objects, flea market finds, even recycled bits

    of old artwork. As a printmaker, Annie Silverman has only to go to her stash of prints, which she readily

    cuts up to use in all kinds of ways. The Spark: With a background in three-dimensional arts, Silvermanis interested in creating dimensional prints, though this is far from a traditional approach to printmaking.

    This piece brings together several techniques and ideas, including the creation of punk guardian angels,

    wire nests, and collaged eggs. The Process: To create the angels, she carved a woodblock of an originalink drawing, then printed it in black ink onto heavy Japanese paper. She used several different printed

    wings to make the figures dimensional, folding and gluing them along the top edge of the existing set of

    wings. She glued and anchored a handmade wire spring to each angels back, so it could be hung on a

    wall. To add color, she used colored inks and, in some cases, chine-coll. She created the complex wire

    structure by joining spokes of wire into a circular form with a wire rim and sewing them in place with

    thinner wire (a technique she learned from Ellen Wieske). She made the birds and eggs out of Bristol

    board and collaged them on both sides with found papers and cut up prints. The birds are attached to a

    wire by means of a hook behind the wings, which allows them to move freely. The Nitty Gritty: Alongwith basic supplies (see page 10), the artist used 18-, 20-, and 22-gauge steel wire, printmaking paper, Bristol

    board, India ink, colored inks, wood-block prints, decorated papers, and PVA.

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