“what did you…?”
“how did you…?”
“why did you…?”
“you did that?”
I have heard comments such as these and more regarding my large collages. they are uniquely blended and expansive, with a complete saturation of wild imagery, color, and glitter, melded together with thick, clear, shiny resin. they sparkle in many ways beyond what is captured in the photos. they can provoke intense reactions – I have had people prostrate themselves and bow before these large colorful collages, oh my! now, some of the collages are being exhibited at the Jadenow Gallery in Santa Barbara and people are asking about making the art.
the first collages came from images that I collected during an exciting time when I lived in san Francisco, CA. i was going for it: i was in art school. i had headshots and an agent. i was in an experimental theatre company, called Ego Po. i was with a dance company, we did techno tribal dance. we entertained at night club events, raves and concerts, including lollapalooza. i performed interpretive dance for a friend’s monologues who later founded a theatre currently producing shows in san Francisco. busy, busy, busy. I saved anything that caught my eye visually.
eventually when I moved from the city and took some time off to help my sister with her business in Hawaii, I had a large collection of papers, photos, club flyers, events posters and other bits of memorabilia. I had to downsize, so I coalesced them into the first collages I made. i like to expand and carry out an expression to its fullest, so they grew large. other people added things to the collages, younger relatives I spent time caring for, a girlfriend, or added art made by other artist friends. there is an influence of theatre, dance, art films, raves, and ecstatic san Francisco psychedelia. that saturated time is reflected in the large red collages, as well as the soul archeology that I spoke of in my last blog.
the story of the large blue collage is a little different. this piece was made in Seattle, after i moved back from Hawaii and lived on capital hill. the blue collage was created during a lonely time. seattle was so different for me, with the rain – the slick shiny and reflective surfaces, wet gear, shiny streets in the night lights, and a view of the Olympic mountains from the balcony that saved a part of my soul when i lived there. i had an astral connection to nature that was more intense than when i lived in san Francisco. I felt ungrounded often and very close to the other side. the blossoming of esoteric wisdom became visible and I made peace with the pronounced negative space we feel when suddenly we lose someone to death.
i chose the image of Marilyn Monroe for that expression in my collage, she is pictured on the lower left side, an image of her face, an ephemeral beauty full of light. then in the same place on the right side is the beautiful negative space, like a black rose, swirling with empty darkness and emotion. there is again the notion of universes in our heads, starry substances our cells. in the top center of it all resides the ‘queen of unity’ (from a card, artist unknown) – the balance of light and dark, the perfection of balance and the supreme mother. at the bottom is the bull, also sacred to the goddess, grounded and fierce. the image is of the woman taking him by the horns, surrendering the bull and her own self to her power. it is an homage to the divine feminine, with the gentle message being: all that is sacred is not lost. this message led to the title: ‘all stars are not created perfect’.
because these collages were so large, i eventually had to do something with them to make room for other art and life…also because they were so large, i had to find creative ways to frame them, as i couldn’t afford to have them professionally framed. the frames became further decorative extensions of the artwork.