In each issue of Kolaj Magazine, we publish a Cut Out Page where we present imagery from various sources, carefully selected by our team of contributors or occasional guests. We then encourage you, dear reader, to cut out some of these images to create your own collage and send it to us.
Because things like this are so much more fun when there is a winner, we pick the one we like the best. For Issue One, the winner is….
It starts off with a conversation between Kolaj contributor Edvard Derkert and his friend Gunnar, a painter in his late fifties working in a sort of abstract expressionistic style. They talk about two different pieces that have a lot in common, at least visually. But something is also confronting both works and their creators’ ideas. They are comparing a painting and a digital collage.
“What Gunnar saw on the screen on my laptop he found unreal. Not real in the sense of realistic. Like photorealism. Unreal, because of the fact that there is nothing to touch, no smell of turpentine, just pixels on a screen!”
This conversation must be seen as a pretext, a starting point for Derkert to elaborate on the perception and legitimacy of digital collage using unexpected detours and colorful analogies.
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Last September, Laurence King published an intriguing book about collage aptly named Cut & Paste. Put together by Richard Brereton with Caroline Roberts, this publication presents over 250 images from more than 40 contemporary artists.
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The implications of the fragility of life and time are counterbalanced with Gilbert Garcin’s wit and humorous approach.
The collage element in Sadko Hadzihasanovic’s work extends past the physical material and into the concepts within his work.
Denis Pellerin’s compositions are simple, subtle, and a personal attempt to achieve something close to nature through unexpected material.
Catherine Farish is a print artist who, while playing with the notions of what is and isn’t print, seems to have stumbled upon collage. One of her most recent series uses piano rolls to depict music.