The physical thing – perfect bound book
“Collage cannot fully control what occurs in the juxtapositions because it uses ready mades, whereas painting and drawing require every mark on the canvas to pass through the fingers of the artist.” Ben Nicholson. Architect.
“Collagette is a multi-purpose handout for the realization and development of work, it can be used as an important manuscript as well as an trifling scribbled piece of sketching paper that keeps growing with additional thoughts. The magic of the Collagette lies within these two contradicting and dualistic disciplines; that is what makes it so important. Ateneo, Artist -Traveller”
Collagette stands as an independent graphic compilation of my research for the first two terms in MA-Fine Art-sculpture. Its name informs us on a binary methodological quality that the work has borrowed; the words of Collage and Gazette both on their own rights represent the means under which Collagette was perceived and crafted.
The first synthetic of the word – Gazette offers the key principle and terminology of ‘compilation’ and publication – (compilation of news, could be of: information and other kind of material). Due to the free spirited synthesis of the gazette, one can feel free to examine and re-examine the material in a rather anarchic and free spirited manner. As if reading a newspaper, someone could start reading from the middle of the pages. I perceived the reader as someone bearing the excitement of someone who has just discovered an unsystematic, accidental document. However, Collagette, isn’t that arbitrary. In that peculiar graphic cocktail, I have included material – including that of screenshots of films that interest me and are relevant to my work as well as selections of my drawings sketches and writings, strips and cut outs from my own sculptures, various scanned objects and material borrowed from books on techniques, artist monographs, as well as visual material slashed off from photographs that I’ve taken.
Each edited drawing strives to offer a prescription to the viewer, it can be read sometimes because of its semiotic sensitivity – symbolically or allegorically, and other times simply experienced because of the perpetual vibrancy of colour, composition and form.
I am fascinated by the prescriptive drawings of architects that often have to communicate their ideas to a plethora of people from different disciplines. However, Collagette, isn’t technical and prescriptive in a way that architects strive to achieve in their own work; but it is a rather first step towards the understanding of my work that consists a world depicted in a series of chapters that indicate an emotional classificatory response to the material. Collagette is a representational platform that primarily links a vast array of explored subjects, even that of emotions and dreams. It delineates similarities and contrasts of the epitomized body of the work through the objectivity of juxtaposition that collage can only offer.
I have taken care to provide the readers with an appendix that provides information and bibliography about the material I’ve used. That appendix can be found at the back of the gazette. Finally, I look forward to turn Collagette into an ongoing project, where drawing and physical collage can interact with the already existing material printed on these pages.
Before I give a little more information about the different types of collages that are hosted here in the present version. I would like to inform the readers that the unique collage works collected here, were crafted in a fashion that underlines the sculptural and three-dimensional technique applied often to my physical work, thus it is important to be aware of my previous works. (Please see. Digital portfolio of sculptural work, “A therapeutic manifesto against the malady of European melancholy” and “Ateneos blue notebook”). Thus I would like to underline the importance of the way I treat prime material for the crafting of these compositions, for as for the works that appear more visually dramatic and independent, material seem to were treated in a similar fashion (always in mind of colour and composition), with that used in my sculptural work and that is to say that working intuitively, by turning the composition upside down and at its sides, working by means of trial and error, working at all areas simultaneously – playing about with alternate versions, collage-ing on collages, using pre-existing compositions through subtraction and prosthesis, reappointing material etch, I can create visual dramaturgy and juxtaposition that I believe is highly relevant to the subject matter that I utilize in my work. That is highly related to the appropriation of various techniques and methodologies inspired by an heterotopous world of antinomies and visual, cultural contradictions, that verity betrays the visual “business” of the compositions.
Dreams – Sculpture- Architecture and spatial quality in general
The maps of dreams (pages 2 & 3) is one of the first, straight forward collages that the reader will encounter. I’d like to underline the importance of dreams in my work because through these unusual subconscious occurrences I felt for the first time the need to depict and perhaps explain space. There are dreams and dreams, but certainly there are dreams that emit a rather spatial quality, sometimes at such intensities that when the dreamer finally wakes up, feels the need or even the urge to depict these dreamed spaces and vast world. This immeasurable excitement of dreams offered through daydreaming has made me suspicious beyond my cognitive awareness, but at a personal level, of the definite connection of space with emotion, experience and diathesis thus these drawings of dreams become on their own open plans for analysis and further exploration, as they are martyrs of a central – dreamed terra firma.
Space, and construction, in various collages, see pages, 1,10,11,14 (right), 16, 18 (right), 20, the reader can experience a different kind of collage. What I’ve come to call photorealistic. In these collages, the space, which is depicted, appears more real in comparison to others, which seem more abstract and indeterminate. These photorealistic collages apart from just offering a graphic view to the parallel world of the Collagette they also work as a manuscript for the realization of psychical construction and sculpture. They work both as drawings and sketches but also as ambient realizations plunged in a word that emulates a world of real physics and human-centric spatial qualities.
Other types of collages
It is to be reminded that, Collagette on its totality is a physical depiction of an ‘imaginary space’ or its better to say a depiction of a habitat or ecology. Space is the underlined character, as with every composition one can experience natural or ambivalent space or at least access it through a composite porthole within the composition.
Now let us approach a final type of collage, a rather more prescriptive where incompatible graphic elements, experiences, pictures, micro worlds as well as macro worlds, literal and graphic depictions all class together on a page, and lines seem to be the hooks and pulling strings keeping them bonded, or otherwise underlying some elements of time transitory or friction. This is the threshold of my collage practice, as the work is still highly ambivalent. For these collages physical interaction is vial and need to be enriched and played about until they offer us their beneficial creative fruits. As with all different types of compositions, here as well, the material was treated freely and playfully. A pleasing image that endeavors the observer to get pulled inside it; this time however, by attracting the reader to literally read it, by correlating it’s meanings through the visual indications. These collages can be viewed at pages: 3, 7, 9, 12, 13.
© Augustus Veinoglou 2010
p.1 “First page” Re-appropriation of a work in progress. Could be treated as a manuscript, a guide to assist further building of the work. (See portfolio for actual images)
Various elements from photographs, (Edinburgh, London, Chicago, Athens)
p.2 “Dream Maps”. A collection of drawn maps. with juxtaposed strip of an alternate collage on the left depicting a visual representation of a ‘junction between dreams’ – a passageway leading to an entirely different location. (see node connecting strip with map)
p.3 “Her skin”. A collage devoted to the realm of perception. The question rises: Is there a difference between the visceral and the external. Is there a link between the the skin and the landscape? As we are aware that the skin can record and carry information, as does a building, or even the exoskeleton and hypostasis of an entire city.
“It was during this time that Ranson became again aware of the significance of each day. Perhaps this was because he knew he would be able to stay on in Hamilton for a further two or three weeks at the most. After that what ever happened, and even if he chose to stay behind, his existence would be determined by a new set of rules, probably those of chase and pursuit. But until then a finite period remained, the unending sequence of day following day had given way to a sharply defined quantum of existence” p.43. Drought, J.G Ballard
p.4 “Expansion”. Expansion stands for “ the expansion of a city or the expansion of stuff, waste or material. Expansion stands for anarchic urban sprawl and kipple. Expansion stands for heterotopic principles, all convulsed and juxtaposed. Expansion stands for periphery and beton built remote coastal cities. Expansion stands for the withered texture of old constructions and withered styrofoam, leftover plastic bags and asbestus. Expansion stands for roadside waste and roadkill’s, high speed driving, crashes and escapes, expansion stands for polyurethane, ochre warned out walls and the sea, Expansion stands for (? – what else? )
Material used in collage: Kipple from sculpture (background image), right, photograph of a cont, Athenean adobe,technical book experts about polyurethane and other insulating material.
p.5 “Capsule room”. please watch film included in portfolio, named “The Capsule room”
Capsule Room is a free spirited composition, that delineates architectural elements from the interior of my shower room in Edinburgh. It is a space of recollection and rest. it sustains hibernating and mending qualities, although in this case it is the hot streaming water that permits immersion into a realm of deeper stored thoughts and dreams. Capsule room is a portal, a warm, pebbled like enclosed capsule that resembles a somewhat homely heart adobe. An enclosed safety zone that permits the mind to travel fast and very far away.
p.6 “Insulation”. Insulation makes reference to an array of materials I use in my sculpture, Amongst the protagonists in this collage I have re – appropriated photographs of: insulation foam-board and polyurethane as well as details from photographed sculptural works. The depictions of pasted floors show traces of an installation piece after de-installment (adobe-project space work-see portfolio). Most of the left debris is insulation, plaster, cement, polystyrene and polyurethane. By themselves they add a sense of archeology to the space. At the upper centre of the image there’s wooden construction borrowed from Mike Nelson’s book called triple bluff canyon.
p.7 “Joinery”. Western style joinery, japanese joinery, woodworking in construction, domestic construction: are fields-techniques that I am interested in. I thought that It would be interesting re-appropriating visual material which I kept as practical guides for various constructions and sculptures (handouts), consequently these are juxtaposed here with other Mike Nelson constructions, again borrowed from the Triple Bluff Canyon book. Additionally there’s a cut out from a photograph of a rickety roadside construction photographed outside Athens and a series of my own sketches on wood construction and planing. These rickety structures interest me, as by the way they are erected (bonding and joinery) they betray an aesthetic principle that could be emulated in my sculpture.
p.8 “Forget about the stairs you once knew.”
That collage, is devoted to set design and baroque architecture, (the architectural style of sets welcoming facades, exterior design and spatial illusion)
Allegorically and rhythmically constructed the clash of various sets and architectures have been juxtaposed here. The playful title comments on the abstraction and ambivalence of the space of the acting stage. This juxtapositions strives to remind us on the idea that a constructed set is sometimes a creative parallel to the real world where the physicality of laws and canons are forcefully applicable (however, alternatively given). It makes us think of the world as a miniature, a world where everything can be manipulated and experienced lively and positively.
Landscape isn’t any accidental landscape. It is the landscape of the southern periphery. Here the city has just expanded. We can already witness the physical accidents of it’s sprawl – lower part of composition. At night, oneself can explore the space more freely – sneak into these illegally build apartments and sneak peak through the windows. What will one see in there is just Kipple, an ever-growing, expanding.. body of kipple…
p.10 “Inverted passageway”
A dark and mysterious passageway. A junction between two dreams. A labyrinthine image, a porthole of many ports, an underground alleyway, a fusion of a metro gallery, something reminding us of Edinburgh closes and Venetian alleyways. Or is it the space of a bridge underpass, a space from the secular vestiges of a cathedral. It is for sure a space in between, unclear, yet, a place where one dream is forgotten and a new one is being born..
p.11 “Lonely in the night”
Lonely in the night is a collection of material from the film by Federico Fellini 8 1 2, juxtaposed with material borrowed from scanned photographs of Scamozzi’s set of the Teatro Olimpico in Vicenza, in between, a wall from the building of the London Opera connects the two scenes into a rhythmic composition. In this collage intimate and familiar space becomes the subject, as if it had just been inaugurated by the mystical slowly opening dark and heavy velvet stage curtains of the teatro. There is something sensual in that dark neoclassical corner where Marcello Mastroianni stands lighting up a cigarette. Does behind him, obscured behind these doors lies the familiar interior of a family home? and do the outside qualities of that invisible sensual force determine a sense of fear, an alien sense of immense openness and hysteria..?
p.12 “Underground Correlations”
Another one of Fellini’s movies. Roma. In that film the viewers gets submerged into an underground realm where the excavated under-strata permits the past to come once again to the surface and be witnessed by contemporary man.
The cutter goes through the ancient Roman wall – it is the cutter of the huge metro drill, then, as soon as the cutter is through the wall, fresh air (note: the air coming from the outside world.. ) fills the ancient chamber which had remained sealed for hundreds of years. Whilst the fresh – outside air fills the room the murals on the walls gradually get destroyed, turn into dust. the excavation team, followed by some archeologists witness this extraordinary phenomenon. Everything turns into dust and we must assume that there was a destructive or pollutive property in that air that flooded the chambers.. At least that’s what I thought..
This story recapitulated my concerns about the problematics of the contemporary pace of existence. Again a question to be answered later. A quotation of the most important kind, it is to be kept at a safe place and I will return to it very soon.
p.13 “Kipple page”
Protagonist of this page is Robert Deniro becoming Kipple from the Terry Gilliam film , Brazil (central inverted image). On the upper section of the collage snapshots from Blade-runner depict what I considered the best examples of Kipple represented in the film (could be similar to the idea of waste here). Pris ( Daryl Hanna) hides in that pile which is mostly paper waste, cables, cardboard, waiting for Sebastian to return home. These screenshots offer a remarkable detail of the waste that was crafted specially for the scene. I think it is time to provide the readers with a terminology of kipple:
Kipple is useless objects, like junk mail or match folders after you use the last match or gum wrappers or yesterday’s homeopape. When nobody’s around, kipple reproduces itself. For instance, if you to go bed leaving any kipple around your apartment, when you wake up there is twice as much of it. It always gets more and more.
No one can win against kipple, except temporarily and maybe in one spot. From: http://www.technovelgy.com/ct/content.asp?Bnum=128
Why such an interest in kipple: A stroll in the busiest streets of Athens or Naples will give you the answers. It is obvious that I keep an interest for these areas, since I consider them parts of the Mediterranean eastern, European peripheries, where antinomies and antitheses are prominent offering an interesting interplay of cultural and material infusion.
p.14“Spirit of the night” The spirit of the night is comprised by a juxtaposition of night-scapes, the left photograph was taken in Athens and the right one in London earlier on this year. Objects are juxtaposed on top of the photographs offering an anatomy of a microword depiction or that of some obscure detail which is impossible to be explored. That technique unveils the details of a microscopic world. The right collage is a view to one of the areas Ateneo described in his notebook during his extensive travels (see. Ateneo’s Red Notebook, text on symmetrical divinities).
p.15“Mechanics”, A playful title to remind myself that everything depends on the way we use mechanics. The mechanics behind utilization and the use of objects and appliances. The facilitation of various techniques and approaches, methodologies.. Methodologies on working, methodologies on eating, even “mechanical” methodologies applied upon relationships. It all depends on mechanics, It’s all reduced to mechanics and it’s sub-classifications..
p.16 “The big black beast”. A rather comical name. That is a name that refers to a building in Chicago. That is the Hancock centre, (see top photograph with nightly, blue sky). As the example of a tall building it gave me novel ideas on how to dress and inspire already existing constructions. The top scaffolding bit of the edifice, has been borrowed from the set ( the set of the spaceship) from Fellini’s 8 1 2. A fusion of different material including a view to Teatro Olimpicos stage and a sub-collage of photographs taken in central London.
p.17 “Kipple Rose”. Structural re-appropriations of the capsule room, using cut outs from other interior spaces here in Edinburgh. Kipple rose is a rather allegorical title. A spatial context where kipple flourishes underneath, slightly obscured and sheltered. Kipple will remain growing, spread beyond the confinement of each page.
p.18 “Waiting for you”. A series of photographs of an athenian terrace fragmented and recomposed into the form of an imaginary – kipple creature which I initially named ‘the dragon’ (look right). The kipple dragon, dives itself into the landscape, filling up the page, where that lonesome unfinished construction is sited. The dragon represents the abrupt and aggressive urban sprawl or the hand of god that will set order back to nature. Note, Illegal construction is a very common urban phenomenon of the southern periphery, the building depicted here represents that system.
0.19 “The texture of the periphery”. Two photographs are juxtaposed here splitting the picture in two. On the upper side, the landscape of a city is visible as if viewed from a terrace window. between the two images a cracked surface placed as a background connects the texture of the periphery, a detail taken from the “adobe – model”. A sculpture which you can find attached in my portfolio.
p.20 “Ending page”. Re-appropriation of a work in progress. Could be treated as a manuscript, a guide to assist further building of the work. (See portfolio for actual images)Various elements from photographs, (Edinburgh, London, Athens)
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- September 5, 2010 / 2:49 pm