The no-scissor zone

You’ve probably noticed that the papers used in my collages are torn, instead of cut out. Any straight lines in my work are the included edge of a piece of paper or a graphic element within the image I've selected. Because I work most often with non-identifiable, somewhat nebulous, imagery (color, textures, blurred backgrounds), cropping those elements to produce a rough edge usually seems more appropriate to me.

Tearing has become a creative gesture akin to drawing. The process creates the lines that define areas in the collages. Over time I’ve even taught myself how to rip pretty decent circles out of paper — and it’s actually become a kind of meditative moment.

An example of directional tearing.

My work process is not as random as it might seem at first glance. Every aspect is intentional. I try to use the torn edges to my advantage. If you rip a magazine photo, you typically end up with a white edge on one side of the tear. On the other side, the ink usually extends to the paper's edge. I often use “directional tearing” to create a white edge as a highlight or a bridge to another element. If I want the edges to blend in to a compositions, I will make the tear in the other direction.

I love the feathery character of the paper fibers that are exposed when tearing. The torn edges help to meld and blend adjacent paper fragments together. I have the impression that those little fiber fingers around the edges help keep papers adhered better (maybe?)!

I love the portability of collage! This one includes some torn circles and other elements culled from a magazine while in flight.

Tearing allows me to crop the paper elements that I want to use in the same way that scissors would, but the result has a softer, more organic feel. I also can gather materials while traveling, and in almost any situation, with ease — and no worries about what scissors are acceptable to carry through security to board an airplane. (I have to admit that I miss the pre-pandemic airline magazines from which I would harvest ingredients for collage projects, while my bemused fellow passengers looked on!)

I adore oh-so-many collage works that incorporate cut elements, yet somehow the ripped edges resonate most with me for my own work.

Caveat: In occasional situations (such as my ThroughLines series), I rip papers against the edge of a ruler as a compromise to achieve a roughly straight edge. I’ve cut a few images in the case of a specific commission where it was appropriate. And somewhere out in the ether are a few early collages with straight edges — made before I discovered the aptness of a rip/tear approach!

Action over time: collage in progress

During work on a recent composed landscape collage, I documented the progress with my iPhone. The images are now formatted as a video for your viewing pleasure. Next time I'll use a tripod but truly there was no room to set one up in my studio!

I often had to walk into the next room to get as much distance as I could to evaluate the collage, knowing that it would ultimately be viewed both from long distances and up close. It's very rare for me to work on a piece from the top down (roughly) but I'm generally not working from a sketch either. In this case, it just seemed to develop that way. The final collage, titled "Colorado," is 60 x 40" and is installed in the offices of the Adolph Coors Foundation in Denver, Colorado.

"Rubbish" report... collage demo

                      The "Art of Rubbish" was planned as an outdoor event but, due to recent flooding in Colorado and high water in Aurora's City Center Park, it was moved into the adjacent library's community room. Art in Public Places provided the set-up (grid walls, easels, tables) which was great -- I've never shown in a festival-type format and don't own the gear associated with outdoor art exhibitions.Traffic might've been stronger had we been outside, but the people who did seek us out seemed genuinely interested in the art and how all three participating artists were re-using found materials. Along with the artists' displays, there was a large work area filled with materials for people to experiment with.Meanwhile, I was able to demonstrate the wet working technique that I use most often in my collage-making. I had several 5 x 7" wood panels coated with black gesso that I was using to make small collage compositions. In the photo it's easy to see, by the streaks, where I have painted the matte medium that I use as my glue. By the time these are completed, all the black areas will be coated with a matte finish and look the same. As I worked, I kept thinking about how challenging it would have been to demonstrate outside... my little scraps would've been tossed about like confetti! (If I ever do outdoor demos, I'll need to think through how to incorporate lots of paperweights into my table setup or block the breeze in some manner.)It was a fun day -- thanks to all who came by -- and to the Aurora Art in Public Places commission who were so incredibly helpful and kindly provided stipends to the artists. I really enjoyed discussing my work and the larger issues of re-use and recycling with everyone. Hopefully this will be the first of many such events.

Collage finished and approved... hooray!

The triptych collage was recently approved by the art consultant and interior designer. At left is a view of the finished original collage. Each panel measures one foot by one foot.Here's a link to the last photo taken while it was underway, in the kitchen — where I'd moved everything so I could walk around three sides to mull over the collage under strong light, and add the finishing touches.Lately I've been posting more process photos to my Facebook page so if that's a good way for you to view my work, I'd love it if you'd "like" me there too. Click here to go there! I appreciate your interest.