My material is sourced from charity shops, secondhand bookshops and street markets, and I like to collage the original material, rather than collaging copies of it, although if the material is rare I will do this.
Talking to other collagists it would seem I work in a measured and organised way, but this does not preclude those wonderful and welcome occurrences of “chance” occurring with collage.
Though I am wondering, could chance be the result, the working out of some “internal” and unknown intent, which remains hidden, until the results of chance occur, and only then are made visible? Are the often random findings of collage material (how often do people say I found this book or magazine by chance) part of this too, which then impacts and further shapes this “internal intent?”
Collage is a fine juggling act between an artist’s internal and external world.
On Friday 14th August 2020, The Centre for Fine Print Research in association with the London Centre for Book Arts held a day of online collage presentations. Four collage artists, Jeremy Dixon, Jean McEwan, Jeff Rathermel, and myself were invited to make a filmed presentation about our collage work, and our artists’ books.
In my film I talk about my ideas and techniques with further examples of my work, and films of the two large collages featured here: Scenes From An Unmade Film, and The Tower.
Daniel Lehan trained in Fine Art at Winchester School of Art, England, and later studied Art Therapy at Goldsmiths College, London. He has lived in New York, Florence, Finland, and Quebec, and visits Paris each year to supplement the collage material, which he regularly finds in charity shops and street markets in London. He delivers collage workshops to a wide range of participants, including those in prison.
Several years ago he started to make laser copied and riso printed editions of his collaged books, which are available from his website. Lehan also makes small collaged boxes, and numerous series of collages.
Each day he keeps a typewritten and collaged diary titled DAY PAGES.
His visual and collaged poetry has appeared in numerous print and online magazines, and his work is included in The New Concrete, Visual Poetry in The 21st Century.
Cahier de catéchèse published by Dark Windows Press feature pages from the drawing books he kept when in Quebec, and The Morning Glories is a collection of his short stories, published in the UK.
He is a founder member of This Happy Band, a troubadour performance group, and for one year curated The Kitchen Window Gallery, a gallery based in the kitchen window of his London flat.