Zach Collins

4″x3″; paper; 2018

Zach Collins
Albuquerque, New Mexico, USA


My work is about memories–tragic, humorous, and everything in-between. I investigate the unexpected associations and experiment in combining these contrasting materials with collage.

My current intention is to produce work that looks beyond the expressed content in the original mass communications materials used. For me, collage is liberating because it is unbound by rules. At its core, collage is a defiant act; ripping, tearing, cutting, sanding and gluing found materials goes against most formal artistic traditions. I identify with the “they- said-not-to-do-it, so-I-did-it” mentality at its foundation. Similar to the universality of mass communications, the freedom from expected outcomes and punk rock “do-it-yourself” nature of collage makes it accessible to a wider collective. The act of choosing collage alone embodies the resistance to social customs and speaks to the rebellious aspects of my personality.

By working this way, I am flipping the context (literal to formal) and stripping the historicity; giving a new presentation, producing non-objective or abstract collages that depend completely on the elements of composition, colour, shape, process and surface to provide interest for the viewer. I simultaneously dispel the intended context of the image while creating a new one as soon as I cut it from the source. I then reinvent it, remix it along with accompanying pieces, into a new conversation—one that expands the concept using recognizable, yet fractured components.

I am attracted to many of the formal characteristics of mass communication: the graphic typefaces, along with elements of fading, uneven colour blends, halftone patterns, off-registration and the tactile nature of the paper. Before working in analog collage, I felt berated by mass communication. I was distracted by the imagery and passed by all of the detailed elements that now fuel my collages. Co-opting this imagery largely designed as commercial persuasion for use in my own open-ended abstract artistic message is a creative act of defiance that activates viewers rather than rendering them passive consumers.


I was born in Grinnell, Iowa. I received a BA from Upper Iowa University, a MA from the University of Iowa, and MFA from Minneapolis College of Art and Design. Currently I call Albuquerque, New Mexico home. I am pursuing several art-related projects. My work, which is shown extensively in the U.S. and internationally, is about memories–tragic, humorous, and everything in between. I experiment with ironic and often unrecognizable imagery. My work is an investigation of the unexpected associations that are created by combining fragmented materials through collage.


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4″x3″; paper; 2017
6″x4.5″; paper; 2019
4″x3″; paper; 2016
6″x4″; paper; 2015



Artist Archive Resident: Zach Collins

New Book: Recycled Trophies: Collage Collaboration of Zach Collins & Aaron Beebe

Review of Recycled Trophies

Book Signing: Zach Collins – Recycled Trophies

Call to Artists: Doug & Laurie Kanyer Art Collection Purchase Award at Kolaj Fest New Orleans

Revolutionary Paths: Critical Issues in Collage

Revolutionary Paths Catalog

Collage Communities

Collage as Passport

Advice for Collaborating

How I Became a Collaborator

This is Collage at Haphazard

Mister Koppa at 1900 Park

Artist Book Review: Monster Trust

Catalogue Review: CUTPASTE 2

Paper Cuts at Redux Studios & Gallery

Z2A: A Collage Alphabet

The Art of Collage at Frank Juarez

Collage/Imagine at Flow Art Space

Cut/Paste 2 at F+ Gallery

Recipher: Coding with Collage

Xperiments with Glue, Volume 1

“Return to Splendour” at Marylebone Gardens, London

“Paper or Plastic?” at Speakeasy Art Gallery, Boonton, New Jersey

You Can’t Follow Just One: Cory W. Peeke tells us about collage on Tumblr

Issue Four Editorial: One Year Later


Kolaj #7

Kolaj #12

Kolaj #16

Kolaj #17

Kolaj #22


Recycled Trophies

The Flying Glue Book Project


We Said Hello and Shook Hands

Monster Trust

Z2A: A Collage Alphabet

Revolutionary Paths: Critical Issues in Collage