Tag Archives: collage

Contempotary Art (8) Chris Marker

Chris Marker (b. Neuilly-sur-Seine, France 1921) – actual  name: Christian François Bouche-Villeneuve – multimedia artist, photographer, film director, writer. Lives in Paris and does not grant interviews. When asked for a picture of himself, he usually offers a photograph of a cat instead (so far as the gossip says). His cat is named Guillaume-en-egypte. (See more details in my previous post here: http://wp.me/p8s8b-66)

Creator of: La Jetée (1962), A Grin Without a Cat (1977), Sans Soleil (1983) and AK (1985) a documentary on Akiro Kurosawa. From the recent projects: in 2005 Marker created a multimedia piece for The Museum of Modern Art in New York titled Owls at Noon Prelude: The Hollow Men (influenced by T.S. Elliot’s poem); in 2008: Immemory – an interactive video produced  by Centre Pompidou, created out of fascination by digital technology. 

Marker is as enigmatic, brilliant and witty in his collages above as he would be behind his directorial camera viewfinder. One simply cannot get enough of this artist’s vision – it escapes one’s full comprehension and intuitive potential. It’s a one-man world-view, a singularity which resists any thorough penetration. A beauty and power of human uncanniness captured into a compelling, enthrilling  visual extravaganza. Just keep exploring…

Site about Marker’s view of the world:  Chris Marker

Contemporary Art (3) – Douglas Kolk

Douglas Kolk, Nurse City, 2007, Collage on paper, 189.2 x 189.2cm


Douglas Kolk, Where You Went, 2007, Collage on paper, 188 x 210.8 cm


Douglas Kolk, Help me Nasal, 2005, Collage on paper, 97 x 81 cm

Douglas Kolk (b. 1963 Newark, New Jersey) lives and works in Boston. He seems to be preoccupied with the notions of identity and the contemporary experience of the visual/mental overload.  His collaged drawings hover somewhere between the finished artworks, huge posters and the studies torn out of a sketchbook. Although their visual impact, highly individual language and emotional/conceptual intensity (touching the level of an  intoxication) makes them the independent, strong artistic statements, the media used (paper on paper, some drawing, some painting) stress the fragility and the provisional nature of the subject.

Drawing influence and the original images from pop art, TV imaginary (commercials, cartoons), newspapers, popular stories/mythologies Kolk’s fragmented, troubled yet intimate works appear as the ‘organized anarchy’ and a ‘fructile chaos’ – the space of possibilities and becoming. The confusion, the lost innocence and the verge of a collapse constitutes the expressive negativeness of the language, yet – with the relatively generous patches of the white space left and the general impression of indeterminacy the propositions seem to ‘open up’ towards the new/different (desired?) state, which they are pioneers to.

The artist work has been shown internationally at galleries and museums including the Kunsthalle Mannheim in Germany,  and The Royal Academy in London. His work features in several prominent collections including The Falckenberg Collection and the Saatchi Gallery. He is represented by Arndt & Partner in Berlin and Zurich.


Contemporary Art (1) – Elliot Hundley

Elliot Hundley lives and works in Los Angeles; right after finishing his MA in Fine Art in 2005 he had rocketed to a sort of a local celebrity (see the appraisal of the artist in the Herald Tribune). Yet, his talent has been noticed beyond the ‘family’ ground and he enjoyed few interesting projects/exhibitions in 2006 and 2007. Especially the one in Andrea Rosen’s Gallery in New York has captured my attention due its unconventional, fresh appeal (visit the show here). In 2008/2009 program of the Saatchi Gallery in London Hundley’s work has been placed into the “Upcoming exhibitions” and “Abstract America: New Painting from the US” section and one can see his works with this pleasant critical brief:

Mining the nostalgic and sentimental qualities of his eclectic materials, Elliott Hundley’s collages create condensed ‘dreamscapes’, entwining the personal and symbolic into friable mythologies. Hundley engages with the dramatic in the staged emotiveness of his structures and in the performative element of their intensive making process. (…)Using formalism as a platform for narrative structure, Hundley’s exquisitely delicate consternation transforms the act of looking into an adventure of exploration and discovery. (see the artist’s page at Saatchi)

Well, fair for him. Looks like the recently lost in flesh and body Rauschenberg’s spirit lives on (R. Rauschenberg has died in May, 2008;) and its rebelliously exuberant impact continues to inspire artists of the youngest generation (either consciously or via different mediate sources).


E. Hundley’s profile opens the new series of “Terra Incognita” on the “Contemporary Art” (artists, painting, movements, tendencies) I hope to keep and develop persistently. By the “Contemporary Art” I mean the art created now – 2009/2008, going back to the first years of the new century, and reaching towards the second decade in various plans/projects. I’ve just realized that one’s responsibility for the proper art studying as well as for the self-development requires the continuous self-updating, deepen recognition and the critical evaluation of the art world as it appears to be here and now. It’s substantially more difficult than, for example, reflecting on ‘closed’ biographies of established artists and artistic phenomena; yet – it tends to be highly rewarding – one can gain some confidence and support for his/her own unresolved riddles and struggles.

As my more loyal, attentive readers may notice; my own artistic practice has been gravitating towards the – Hundley -like expression; it’s encouraging and satisfying to find similar artwork being created, recognised and cherished. One feels stronger in the choices he/she has made. I still remember a sort of horror facing my own work in its monstrous, chaotic appearance. This latest discovery of mine of alike artistic expression (Hundley’s work online) is like an award for all the hardship I’ve endured for this simple reason – to be as honest and brave as I could have afforded.

Art is a majestic, noble force – it forgives and bears everything except boredom and over-timidness of the spirit. And once revolutionary and mastered propositions do come back – it doesn’t have to mean, that no truly new expression is possible or that art is dying out of an excess of its metaphors and epitomes – but that it equals, if not surpasses the great Nature in its eternally self-regenerating, circular and always powerfully creative, life-giving existence…


%d bloggers like this: