LAW 18 THE BATHROOM COLLAGES

represent a very different way of collage making for me. There are at least two significant variations: #1 is of course the vertical nature of the piece and #2 is tied intimately to #1; i cannot work in my normal fashion, which is to lay out the composition pretty much in its entirety  prior to glueing everything down. These differences are at once liberating and disturbing. Liberating in that it is a faster, less deliberate way of working, in which  random coincidence plays a much more important part in the design process; disturbing for much the same reason, the process of building, watching a collage grow under my hands is for me, a very satisfying core element of the process.

As an aside, many years ago i took my first fibers class with Walt Nottingham. Walt's exceptional skill in the classroom and undeniable passion changed my life in a fundamental way. What he said in his introductory notes to that class in 1973 stays with me to this day; 'Some people are only interested in the end product, others, myself included , care far more for the process, the ritual of doing'. I am a process girl myself. Friends, colleagues and students have all remarked that i will find the slowest, most precisely obsessive way of making things. Its true. The repetitive nature of ritual making whether as a tapestry weaver, a papier mache sculptor, a book maker, or a collage artist soothes and satisfies the maker part of me. Collage, as well as satisfying the compulsive urge to make things provides an intellectual connection to history and culture. I, as do most collage artists, have a preference for a particular type of material. I use almost exclusively art books, art and culture paper media from the 50's through the 80's as well as 'how to' media from the same era. These bias' inform the work, referencing as they do the world i grew up in, as well as my passion for art. This is why, when you look at the 'Male and Female Gaze' panels the faces looking out at you may not be familiar, as they do not gaze out at you from contemporary supermarket tabloids or internet sites. Their history, the meaning of their presence, their importance is likely hidden from you, mainly by your own cultural references. If you care to look you may find them opening a window to my mind.

more later
Morgainne