٠ The ‘ancient’ art of cut & paste (using one’s own hands, if you can imagine) ٠

c_02_hunde© Christine Gensheimer, Hunde, 2007. Photo-collage.

c_09_eberhard© Christine Gensheimer, Eberhards, 2010. Photo-collage.

Fauve© Maria Kassab, Fauve. Paper collage.

Sans Titre© Maria Kassab, Sans-titre. Paper collage.

Slow This Bird Down-01© Maria Kassab, Slow This Bird Down, 2013. Photo-collage.

6© Isabel Reitemeyer, Herr A. und Frau I., 2008. Collage.

2© Isabel Reitemeyer, Frau L.. Collage.

14© Isabel Reitemeyer, Auf dem Arm. Collage.

5© Isabel Reitemeyer, Im Dienst. Collage.

٠ Andreas Nitschke and the urge to play ٠

nitschke02© Andreas Nitschke, from Black Beauties

9© Andreas Nitschke, from Pro Kopf

It was Andreas himself who directed me to his work and I’m glad he did so. I’m always happy to help promote work I enjoy seeing and which manages to add something to the problems I’m dealing with at the moment.

Andreas’ work is definitely contemporary, for all the imagery used in his collages is easily recognizable. The stereotypes and the conventions often depicted in his work are also straight forward. I find that refreshing. Though the process at use is not original, in the sense of its uniqueness, his work does have some qualities that fit my study on the possibility of ‘authentic traces’ in works of art.

Andreas_Nitschke_5-450x681© Andreas Nitschke, from Verkappte

nitschke07© Andreas Nitschke, from Konvertiert

Besides the most common definition of what ‘art’ is – namely that art is what the professional elite authenticates as being art -, my position is that art is a kind of manifestation or symbolic expression that appeals to the senses, that expands our perceptions and potentates our imagination. Andreas’ imagery does that for me. Obviously some collages are more successful than others and not all of them work for me, but… There’s a great liberty in making ‘the urge to play’ one of your biggest drives, for ‘play’ is an aimless activity and, for that, it helps the subject to freely express oneself.

When I speak of the ‘urge to play’ I’m actually thinking of Hans Prinzhorn‘s (Artistry of the Mentally Ill, 1922) proposal of the main elements in the configuration of works by the mentally ill. Andreas’ work ticks several of the criteria and, as far as I’m concern, that only says good things about the origins of his drive to create and the man he becomes thru his expressive manifestations. Prinzhorn speaks of the ‘urge to play’, the ‘ornament urge’, the ‘ordering tendency’, the ‘tendency to imitate’ and the ‘need for symbols’, among others.

I would add that his work is also raw and compelling. Moray Mair, from MutantSpace, describes it as a punk style that’s rooted in the fashion of our day. A cut and paste process that gives his pictures a primal quality, a rawness that gets straight to the point.

In an interview by David Dean, from ‘So Magazine’, Andreas himself speaks of a childish quality to his work: My intention is very philanthropic: I steal from magazine pictures  – without blinkers – all these body parts and reuse them for my hand-made work to show how we can be as humans: full of contradictions, sometimes controversial, sometimes nasty but always vulnerable. I hope some of my work has a bit of a toxic effect although they are so small and childish.

Though I don’t find it grotesque, I do think that some of the montages are repulsive and subversive, for they challenge our conventional perception of ‘how things look like’. In Andreas’ words Nothing is sacred! Second-hand-photographs from contemporary magazines or pulp-fanzines, fast food for the eyes… I use everything. It’s the out-of-the-box-thinking of the punk culture that is very close to my work, too.

nitschke08© Andreas Nitschke, from Pro Koft

nitschke01© Andreas Nitschke, from Koexistenz

More of Andreas‘ work can be seen @ andreasnitschke.com

٠ 21st century food styling ٠

8075500939_6ed8c56764_z© Henry Hargreaves, in collaboration with chef/stylist Caitlin Levin, from the series Mark Rice-Ko.

8075500639_b4b0fb31e9_z© Henry Hargreaves, in collaboration with chef/stylist Caitlin Levin, from the series Mark Rice-Ko.

SarahAnneWard_2© Sarah Anne Ward, in collaboration with food stylist Heather Meldrom, Pollock-rice krispie treats

SarahAnneWard_4© Sarah Anne Ward, in collaboration with food stylist Heather Meldrom, Mondrian-jello jigglers 

Catherine_Losing_Gourmand_Still_life_OCT© Catherine Losing, from the series The Serpent That Ate Its Own Tail

Catherine_Losing_Gourmand_Still_life_PUD© Catherine Losing, from the series The Serpent That Ate Its Own Tail

Catherine_Losing_Gourmand_Still_life_UV© Catherine Losing, from the series The Serpent That Ate Its Own Tail

parliament© Hong Yi (Red), Day 26, from the series 31 days of Food Creativity. Made of Tang orange powder dissolved in water.

squid© Hong Yi (Red), Day 12, from the series 31 days of Food Creativity. Made from squid and squid ink.

lant2© Alexander Crispin, LANTMÄNNEN

Lant-3© Alexander Crispin, LANTMÄNNEN

09_strawberrieschocolate_900© David Schwen, from the series Food Art Pairings

01_ketchupmustard_900© David Schwen, from the series Food Art Pairings

07_baconeggs_900© David Schwen, from the series Food Art Pairings


sandy_skoglund_2© Sandy Skoglund

Sung_Yeonju© Sung Yeonju, Banana, from the Wearable Food series

Matt-Walford4© Matt Walford, flatbed food

Matt-Walford5© Matt Walford, flatbed food

٠ Eli Craven, pulling the pictures out of the photographs ٠

14_sideswing_6x9© Eli Craven, Smoosh Smaller, from Condolences

10_smooshsmaller© Eli Craven, Side Swing, from Woman Alive

26_sofa© Eli Craven, Sofa, from Screen Lovers

26_hunch© Eli Craven, Hunch, from Screen Lovers

25_white_hair_web© Eli Craven, White Hair, from Folding

25_tuck© Eli Craven, Tuck, from Folding

More of Eli’s work here

٠ Sandro Ferreira, memory code: 6174 ٠

portefolio SandroF4© Sandro Ferreira, Não lhe digas para onde vais amanhã (Don’t tell her where you’ll be tomorrow), from the project “6174”
Set of a hundred booklets, with dimensions identical to those with speeches of some dignitaries of the Portuguese dictatorial regime: “Estado Novo”.

portefolio SandroF6© Sandro Ferreira, from the project 6174. The left card reads The useless, the right card reads The miserableportefolio SandroF5A series of 126 “lobby cards”, corresponding to the 126 films that the soldier Manuel Rosa Simões had seen since his arrival in Angola until his departure for the Metropolis. Ironically, the first film was “Les Miserables” and the last “The Useless”, setting the tone…

From 1961 to 1974, Portugal became involved in a war in its colonies, a war of subversive naturesubversive war is a war conducted within a territory by part of the inhabitants of that territory against the authority in it established, aided and reinforced or not from the outside, and in order to withdraw that authoritarian control, performing a transformation more or less wide. in Military Newsletter No. 15, Military Region Angola, August 15, 1962

Much of the research/exploration of this event converges to the advances and retreats, political questions, numbers, guilty and innocent people. The true human/animal/social essence of the event is confined to fiction literature and some published journals, often revised. Moving away from the issues widely teased I try to penetrate the internal memory of the war’s day-to-day of a generation that lived haunted with the fear of leaving for a country distant of their roots, risking their lives. In exploring these memories I gather a number of factors and situations that made the day-to-day of the oversea soldier, some did erase memories of home, others did revive memories (aerograms cinema, alcohol and sex).

The memories of war veterans, after so many years, can be divided into two branches, namely, the memories that fade away naturally with time and memories that need to be deleted. The work presented here lives in both branches of the forgotten or erased memory.” Sandro’s statement

The video tells the story of a soldier that was ambushed in Angola, while carrying the “Practical Handbook of Radio and Television” in his pants pocket. Trying to jump off the car he was ridding in, he got shot in one leg. One of the bullets hit and went through his leg and another bullet hit the book and was lodged inside it. Playing with the question of the impossibility to repeat events such as those in the context of war, I tried to recreate the situation of the bullet lodged inside the book. As the way we retell our memories is never the same, also the bullets that were lodged in the replica penetrated by different sites.

portefolio SandroF2© Sandro Ferreira, 7.65 Practical Handbook of Radio and Television, Edition of 8 books, 466 pages, with a bullet inside, 2011, from the project “6174”

portefolio SandroF1© Sandro Ferreira, Carta de Portugal Insular e Ultramarino de 1962, jogo

portefolio SandroF 4© Sandro Ferreira, Antecipação de um regresso a casa (Coming home earlier), from the project “6174”

Sandro was recently chosen for the EDP emerging artists’ award, in Portugal. He will be exhibiting new work, latter on this year, in Oporto.

┐ Heidi Kirkpatrick └

© Heidi Kirkpatrick,Mother, 2001

© Heidi Kirkpatrick,Mahjong tiles, 2011

“Portland based photographerHeidi Kirkpatrick uses photographs to transform found objects into playful pieces of art. Her images reveal a view of the world experienced by women and she prints them on film positives which she mounts within or on found objectssuch as vintage tins, blocks, boxes, copper plates, dominos and children’s toys. These wonderfully unique pieces can be handled, arranged and adorned on a table rather than hanging on a wall, allowing each object to possess its own unique interactive charm.


Kirkpatrick has struggled with a fair amount of physical pain in her life and feels that by dissecting Gray’s Anatomy and using it in this latest project it has helped her to work through her anguish. When creating the image, she prints the photograph on a film positive in the darkroom, develops it in trays, selects a page from Gray’s Anatomy then works on the pairing until she finds a combination that visually stimulates her.”

excerpt from text by Susan Burnstine

More of Heidi’s work here

║ Brad Moore ║

© Brad Moore, Trini Circle, Westminster, California, 2006 

© Brad Moore, Islands, Westminster, California, 2007
“These photographs were shot in modest, well-worn, suburban cities in central and inland Southern California. Built in the 50s and 60s, these cities provided a new home and future to a post-war population. While Southern California’s coastal cities flourish, cities in these inland counties struggle. Future prosperity and civic health seem to come primarily from growing ethnic populations, which are reviving and recreating these cities for their communities.
I grew up in North Orange County and attended school in inland Riverside County. After 25 years I returned, and was fascinated by their simultaneous decline and growth. I see these areas differently from places I have never been. Knowing what was, and now what is influences my approach. I’ve avoided traditional, documentary-style photography; instead I have photographed select buildings and shrubbery in primarily static, symmetrical compositions, reflecting change, irony and evolution.”

Brad Moore