nikkal, Blue Triangle Diptych

I submitted two diptych paintings for a juried exhibition titled Duality: Glimpses of the Other Side at to the Islip Art Museum. One diptych – titled Blue Triangle Diptych (nearby) was accepted. One diptych, titled Blue and White Triangles (below) was rejected. The juror was Scott Bluedorn, an artist who lives and works in East Hampton, NY. The exhibition is June 24-September 17, 2017. The reception date is June 24th from 8-11. The Islip Art Museum is located at 50 Irish Lane, East Islip, NY 11730 on Long Island. Gallery hours are Th/F 10-4 and S/S 12-4.

 

I don’t typically submit works for juried shows but was intrigued with the theme and the wording in the prospectus. It asked artists to “seek out what’s hidden behind the veil of perception to reveal chaos in the mundane, beauty in the ordinary, and depravity in the wholesome.” I don’t see how my work is veiled, depraved or chaotic, but I suppose my approach to layering with paint and papers implies veiled perception – something below the surface. I am interested in duality. The diptych is my approach to expressing duality. I work with painted papers and collage. The media is dual. In the first diptych, one panel has painted paper collage and one panel is a painting in acrylic. Each includes triangles but the configuration is not parallel. Each panel is 24×16 inches. Together, the diptych measures 24×32 inches. I like the interplay between mixed media – collage and painting, paper and paint. The Blue Triangles Diptych was never intended as a diptych. Each panel was created to stand alone. By chance, I placed them next to each other against a wall in my studio (I was re-organizing space). I liked what I saw and I decided they belonged together – it was serendipity! I think of them as fraternal twins.

 

nikkal, Blue and White Triangle diptych

The image nearby is my 2nd diptych titled Blue and White Triangle Diptych. This work was declined. It was created as a diptych. I changed triangle shapes and added more light blue and white papers as I worked. Notice the way the triangles go from wider to thinner as they approach the center and press into each other’s space. I wonder if this work was declined because the two parts are united. What do you think? I hope you can attend the reception and/or see the exhibition if you find yourself in the area. Link here for more information and directions. The Islip Art Museum website says the IAM is a leading exhibition space for contemporary art on Long Island, and the NY Times calls the Museum the “best facility of its kind outside Manhattan.”

 

CONTEMPORARY DIPTYCHS

 

I have a skinny, 16-page paperback catalog titled Contemporary Diptychs: Divided Visions. See it nearby. It’s an old catalog from a 1987 exhibition. I found it while browsing for art books at the Strand Book Store (828 Broadway and 12th Street in NYC). I loved the cover image and the essays about diptychs inside. If you haven’t been there, you must visit the Strand. It’s a great destination for art book lovers.  The catalog cover image shows a contemporary diptych titled Slope of Repose, by the artist Edward Henderson, dated 1986. The catalog has the same title as the exhibition – Contemporary Diptychs, Divided Visions, – and includes essays written by Roni Feinstein, formerly Branch Director of the Whitney Museum of American Art, Fairfield, CT. Feinstein organized the exhibition at two Whitney Museum branch locations – one at the Equitable Center in Manhattan, 787 Seventh Ave., NYC and another at at the Whitney Museum branch in Fairfield County, Stamford, CT. Both shows were in 1987. The exhibition catalog is still available online.

 

According to Feinstein, the first diptychs were tablets consisting of two pieces of wood with writing hinged together. In the late 16th century, diptychs were used primarily for companion paintings with portraits of a husband and wife, intended as a pair, but also visually independent. The contemporary revival of diptychs in the 1960s was more about conceptual art – dealing with issues of narrative and allegory, autobiography and self-expression, social, political and cultural commentary.

 

The essay about Edward Henderson’s diptych Slope of Repose (image is seen above) says: “Things are not exactly as they seem. The left side may look like a collage with pasted newspapers and other elements, but it’s a trompe l’oeil painting. What looks like a wooden bar running down the middle is actually painted to look like it’s real, and the right side panel shows a letter N (an apartment house) but is assembled from thin strips of balsa wood. What seems to be collage on the left side is painted and what seems to be painted on the right side is collage.” The diptych makes you ask – what is real?

 

FINAL COMMENTS

 

I am pleased to be included in the exhibition Duality: Glimpses of the Other Side at the Islip Museum, and can’t wait to see the various works that were accepted in this annual show. Long Island is a lovely place for a day trip in the summer. If you are nearby, please stop by and see the exhibition. Let me know what you think. See directions to IAM here. Let me know what you think about contemporary diptychs and the idea of duality.

 

 

Appropriation is a very useful concept in contemporary art and essential to appreciating contemporary collage art.

 

I like to make funky figure collages with papers and text cut and pasted from magazines like W, Elle. Vogue, and ArtForum. I thumb through the magazines and tear out pages when the right image strikes. Everything becomes a magazine mash-up.

 

nancy nikkal, sex celebrity, collage 2016

 

The image nearby is my collage titled Sex Celebrity. This work is part of a new series with female images done in collage with various cut and pasted papers. Some of the papers are straight out of the magazine. Some are painted with acrylic. Some papers are purchased in an arts and crafts store. I like to mix and match and create works that combine image, color, pattern and texture. Most of all, I am fascinated by celebrity culture and Pop Art. My goal is to create images that are edgy, sexy and provocative.

 

The image you see is a collage on a 12×16 inch panel showing two x two females. Everything is an image: some more, some less real. The colors in this collage are creamy white, grey-black, green and tiny touches of pale blue and red.

 

The large female image is a close-up of a face, eyes closed as if in a swoon. She seems ensconced in a reverie in a garden setting, surrounded by green. She’s a beauty. Her eyes are decorated and glittery. There’s a large, expensive diamond jewel floating near her nose. The jewel looks like a delicate flower or a garden bug. I’ve seen expensive jewels in fashion magazines. They’re highly crafted with multiple stones. A beautiful woman deserves a beautiful diamond. I embellished the image, but it’s straight out of the magazine.

The smaller female image in my collage is a figure in a couturier outfit and her breasts are exposed. You see a lot of that in the fashion magazines currently. She’s standing in front of the large face image. There’s a third image in black and white located on the lower left side. It may be a print by Pablo Picasso torn from an art magazine. I took it because it was the right size and in black and white. There’s a fourth image on the right side that’s a face and facing left. If you look carefully, you can see eyes, eyebrows and hair. The face is made with striped green paper. I like stripes. I like to combine abstraction, reality and fantasy.

 

I cut and pasted all the papers. There is no actual glitter and no jewel – just papers to simulate jewels and glitter.

 

Appropriation in Art

I recommend the book titled Steal Like an Artist by Austin Kleon. It’s a little book with a lot of big ideas. The author says: remix and reimagine to discover your true path. It sounds like collage.

Appropriation in art is defined as the act of using pre-existing objects or images with little or no transformation applied to them. The artist’s job is to decide how much image transformation is necessary. Some artists feel guilty for stealing an image. I’m not sure that’s true for everyone. There is so much to steal now. Images are everywhere. I think it’s how you use them that makes a difference.

 

nancy nikkal, flat chested, collage 2017

The image nearby is a magazine collage I created on a 14×11 inch paper substrate. I gave it the title FlatChested. I think she is. She’s high fashion and very thin. The image is inspired by the concept Exquisite Corpse where the parts don’t have to match. Each of the 3 parts comes from a different magazine page. I liked the pink background in the middle section and the model’s long, graceful hand. Her eyes were made up with glitter and that was also appealing. I liked the wild, dark hair in the top section that has a mustard yellow background. I liked the pattern where the hair is separated by a part in the middle. The width worked well with the cut-off hat in the pink section. I liked the dot patterns in the black and white bottom section. Everything worked well. I didn’t have to add glitter because the model already had glittery eye makeup. I changed her mouth and shortened her torso. Colors are gold, pink, black and white. Her skin color is caramel brown. The papers come from W magazine. There are only 4 pieces in this collage –  three horizontal rows of cut and pasted magazine papers and a mouth from a model image in black and white (from the same magazine).

 

 

My students often ask me about copyright infringement and appropriation. One student this winter had to overcome – and actually did overcome – her resistance to appropriating magazine images. I persuaded her. We talked about it all through the winter term at the Pelham Art Center where I teach contemporary collage to adults. Her career is print publishing so I understand her resistance to appropriating images. I really like her 3 portrait images. Each one is very different. See them below.

 

student portrait collage with papers & glitter

 

The image nearby is the 1st portrait collage Ilene created in class. Her papers included stamped drawing paper (dots) for the face, chevron-striped paper for the dress, decorated papers from magazines and painted paper for hair, eyes, nose and mouth. The collage is on 14″x11″ Bristol paper (substrate). Ilene spent a lot of time cutting papers for the hair, eyes and mouth. Notice one eye is light brown and the other eye is a black and white pattern. Ilene added green glitter eye makeup last. Her background is grey magazine paper with a printed gallery name as vertical text. I remember Ilene asked me if she should cut, cover or leave the vertical text. I said yes – leave it in – it’s not too prominent. Ilene’s 1st collage has a lot of directional movement with pattern and cut papers. The grey dots in the face are tilting down right. The vertical text is parallel to the right edge.

 

 

 

student collage, assorted papers & glitter, 2017

 

The image nearby is the 2nd portrait collage Ilene created in class. It’s much more abstract and the eyes, mouth, chin and hair are made with cut triangle papers. The papers come from magazine pages but do not show a model’s image. There’s a lot of dynamic energy in the way Ilene placed the cut papers. Notice some of the magazine papers are solid black, beige, yellow, blue and magenta red. Notice a few of the cut papers have stripes and crosshatched line drawing that adds texture. I love the spaces around the triangles. Ilene used a minimum number of papers but still gave us a sense of modeling the shape of a face. Notice the shading in the red papers for the lips. The way Ilene cut the papers gives a sense of volume. Notice the nose and tiny hands (each within a contrasting triangle) are actual magazine images – the only ones in this collage. Hooray for appropriation! I believe Ilene made the hands and nose small to make them less obvious as swiped magazine images. Notice the magenta-red lips are larger than either hand.

 

 

student collage, exquisite corpse portrait, 2017

 

The image nearby is the 3rd portrait collage Ilene created in class based on the concept Exquisite Corpse. I believe I made my collage FlatChested (above) during the class to demonstrate how to cut magazine papers in angled, horizontal strips, using different models for each piece. Ilene’s portrait includes a woman’s eyes, ears and hairline on top and a man’s mouth, chin and neck below. She included a black round hat for the top strip in the collage, and found decorated papers in swirly patterns and bright colors for the bottom strip. I know she loves this portrait collage. I really like the contrast of one face in color and another face in black & white, and really like that one half of the face is male and the other half is female. Ilene selected images with care so that the expressions in the eyes and mouth co-mingle.

 

 

 

EXQUISITE CORPSE at PINTEREST

See 72 pins (images) for the Exquisite Corpse at my Pinterest site. Some of the images are historic examples. My students love Exquisite corpse as a class project and I set up Pinterest boards so they can check out images online. Read more about the Exquisite corpse here.

 

FINAL THOUGHTS

Today, appropriating and remixing images and media is common practice for visual, audio, and performing artists. Appropriation is a strategy. Visual artists would not be able to create the mash-up of  images we create without all the images online and in magazines. They’re available, plentiful and we find them. Please share your thoughts. Do you swipe images and use them in collage? Do you re-mix other media? Tell me if you love the Exquisite Corpse.

Thanks for sharing – Nancy

 

COLOR – THAT’S IT

April 26, 2013

I exhibited original collage paintings at the Architectural Digest Home Design Show at Pier 94 in NYC from March 21-24, 2013.

I planned my booth (M135) and designed it to be all about bright colors – hot pinks, warm reds, greens, blues, darks and whites to make the colors ping.

Every piece of art  – every painting and collage that I hung in the booth was selected for its color in order to attract an audience. And it did.

The 2 images below are installed as a diptych – 2 works  hung together as one. They are titled Musical Notes 1 and 2.

Nancy Egol, Nikkal, Musical Notes 1 and 2, 2011

Nikkal, Musical Notes 1 and 2, 2011

The work on the left is a painting in acrylic on canvas, 24×24 inches. The work on the right is a collage with acrylic painted papers on a 24×24 inch wood panel. My studio practice is mainly collage, but I love to paint so some works are paintings and some works are painted paper collage. The image above was taken by Marcy Michaud. She wrote a blog about the show and included my image.

When I do painted paper collage, I paint papers first, and then, when the paint is dry, I play with cut paper blocks and organize them into grid patterns. I almost always work with a grid. Sometimes I change the size and shape of the papers as I make the collage. Sometimes I paint back into the papers after they are glued down. The color relationships are the most important part of each work.

The images below are 2 collages with painted papers and assorted magazine papers, framed size 13.5″x16″. The works are titled Color Game Hidden Spaces (top) and Color Game Green & Red (bottom). They were installed on a side wall in my booth.

1 and 2 installation Color Game collages

Nikkal, Color Game 1 and 2, 2012

On the opposite wall, I hung a horizontal framed collage I titled DNA. See the image below. I want people to be attracted to the power of color. It’s painted paper collage on paper, framed: 22″ x29.5″, 2012.

Nikkal, DNA, 2012

Nikkal, DNA, 2012

I was asked – why did I title the collage DNA? Answer: The color blocks made me think of uncurled strands of DNA. A little bit. My approach to naming the art was very unscientific. Someone said: DNA would only show in 4 colors. My collage had more than 4. I had 3 greens, 2 blues, a red-purple, a reddish brown and several yellows.

I checked out images of DNA online and learned that the DNA molecules are paired chemicals – hydrogen bonds given the letters A,T, G and C  (A pairs with T and G pairs with C). The letters stand for adenine-thymine and guanine-cytosine. Here’s more information…

See the image below (image courtesy the Internet).  It’s an uncurled strand of DNA that does look a little like my collage.

DNA image the Internet

DNA image the Internet

I know my collage DNA included too many colors – but I love color.

I found a link to a letter from Francis Crick to his son Michael explaining how he (Crick) and Jim Watson discovered and built a model of D.N.A. It’s a lovely hand-written note from a father to a son. Read more…

VARIETY IS IMPORTANT

People want to see variety, especially at a trade show. So I included about 30 additional unframed works for all the people who visited my booth to look at and hold.

I tucked these smaller unframed collages into 11”x14” clear vinyl slipcases and placed them in an art bin freestanding on the floor. Each vinyl slipcase was numbered to match a price list with titles, image sizes and media for each work.

Many works in the bin combined printmaking, drawing and collage.

The image below is titled Random Squares in a Grid 2 (Brown & White Stripes). It’s collage with assorted papers and acrylic on paper, 11.5″ x 11.5″, 2011.

Nikkal, Random Squares in a Grid 2

Nikkal, Random Squares in a Grid 2

The image below is titled Random Squares in a Grid 7 (Azo Yellow). Its  a collage with assorted papers over painted paper, 11″ x 12″, 2011.

Nikkal, Random Squares Grid 7, 2012

Nikkal, Random Squares Grid 7, 2012

It pleased me that people took time to handle the unframed works. People like to touch. I took the works out of the slipcases so they could see and touch the surfaces.

The image below is a collage of colorful striped papers on top of a silkscreen print card (the card is a print from an original drawing).  I like to collage over hand-made cards. The paper is fine printmaking quality, folded like a card, 8″ x 7″, 2013.

Nikkal, Colors by Chance, 2013

Nikkal, Colors by Chance, 2013

The 2 images below are 2 more small collages on top of hand-made cards on printmaking paper, folded, 8″ x 7″, 2013. The cards were very popular at the show, and priced to sell.

Nikkal, Colors by Chance 4, 2013

Nikkal, Colors by Chance 4, 2013

Nikkal, Colors by Chance 3, 2013

Nikkal, Colors by Chance 3, 2013

It was a good thing that I included the variety I did. Many people loved the pinks and reds of the framed works hung on the walls. Many people were interested in the variety of different works in the art bin.

Please visit my website to see 28 images that were at the show.  Click on each image to enlarge and get a better view of the detail and collage layers.

THE WORK CONTINUES

Follow-up is so important after the trade show closes. I am still contacting designers, architects and others, sending information and image files they’ve requested.

A trade show offers incredible opportunities. The networking is amazing.

Please contact me if you want more information. I am happy to answer your questions about how to organize work for exhibit in a large show like the Architectural Digest Home Design show. My booth was located in the “MADE” section with more than 150 designers, artists and craftsmen – from lighting, fine crafted furniture, photography, sculpture and fine art paintings and collage. I think I will participate in the show again next year.

I will probably play with painted paper collage in the studio, and explore the idea of DNA paired as blocks. I am intrigued with mixing art and science. Do you think art and science work well together? Many people do. Thank you for reading and for your comments.

Small Scale Collage

January 24, 2013

Next week I will teach a workshop in paper collage at Iona Collage in New Rochelle, NY.  

I will be a substitute for their regular teacher, and I want the class project to be fun, quick and easy to do – and engage them in making a collage right there.

I will provide each student with a 6 x 9 inch exhibition postcard for them to work on.

They will use magazines for source media, and work with scissors and glue sticks to cut and paste papers. I will show sample postcards with collage that I prepare for them.

I will talk about the history of collage (and will not talk too much) while they are working on their project.

Pablo Picasso and Georges Braque are credited with the invention of modern collage (1912-1914). The English word collage comes from the French words papiers colle (glued paper), a term coined by the Cubists. People who paste paper may also paste photos, fabric and 3D materials like wood, plastic, metal etc.

Many books on contemporary art describe COLLAGE as a medium of surface planes that explore sub-surfaces. Many books also discuss collage as a medium that comments on waste and rampant consumer consumption. A lot of collage is about politics and identity. It’s always about narrative and media.

Basically, I want to say that there is so much potential collage media out there to recycle into art.  I think the idea of recycling and consumer consumption will appeal to this age demographic.

Nancy Egol Nikkal, collage on a card 1, 6x4, 2013

Nancy Egol Nikkal, collage on a card 1, 6×4, 2013

How about creating cards with collage?

I think we all have too much paper in our lives. But, I also think every piece of junk mail is a potential substrate (base) for collage, or can serve as paper to cut and paste onto something else.

Do you get postcard announcements for consumer goods in the mail? Do you get glossy multi-page home goods and fashion catalogs in the mail? It’s all potential collage media.

In my collage classes, I talk about 3Rs – reuse, repurpose and recycle.

Nancy Egol Nikkal, card with collage 2, 4x5, 2013

Nancy Egol Nikkal, collage on a card 2, 4×5, 2013

What about the holiday cards you received this year? Don’t throw them out. Recycle the castaways and use collage to create your own work of art. Cover the base with a little collage or cover it with a lot (but leave a little of the original card peeking through) to show the juxtaposition of the old with the new media.

Free Paper Bonanza

Last year I was gallery hopping in Chelsea (NYC). It was the closing day for the exhibition at one gallery, and I noticed a pile of really good, heavy weight exhibition announcement cards sitting on top of the counter where the gallery people sit.  The cards were an elegant graphic (text) printed on lovely white stock.

As soon as I found out it was the last day for the exhibition, I asked if I could have the cards. They said yes.

Nancy Egol Nikkal, collage on a card 3, 4x6, 2013

Nancy Egol Nikkal, collage on a card 3, 4×6, 2013

Theme and Variation

I like the idea of theme and variation. I start with the same base image. It can be an exhibition postcard (from my exhibitions) or a greeting card I’ve reproduced from my collage paintings.

Do you make your own cards? Do you reproduce your images into cards? Use the cards as a base for multiple collages. The new little collages can become the inspiration for new large works.

All the images included in this post are my tiny collages made with magazine papers on top of my printed 2013 New Years card. The card is a reproduction of a large painted paper collage I did last year. The card is small, about 4×6 inches. I added up to 10 collage pieces (very tiny pieces) per card. The imagery on the original was very geometric, so I planned to use rounded shapes and circular lines as a counter-balance to the straight edges. I did about 20 collage on cards and sent the cards to people who send me hand-made cards.

Nancy Egol Nikkal, collage on card 4, 4"x6", 2013

Nancy Egol Nikkal, collage on card 4, 4×6, 2013

I found a very interesting interview online titled “What’s New With Collage?” by Hrag Vartanian who interviewed Charles Wilkin at Hyperallergic.com (Oct. 25, 2011)

Wilkin curated an exhibition in Williamsburg, Brooklyn (NY) titled All That Remains, at the Picture Farm Gallery.

Vartanian asked: “What do you think is unique about collage today, if anything?”

Wilkin said: “One of the exciting things about collage is its primary use of discarded paper media which ultimately keeps it in motion, constantly changing like a chameleon. A quick look at the diversity of styles, concepts and technique found in contemporary collage proves it’s moved well beyond simply cut paper and glue.

He added: “I suspect many artists find it alluring for not only its immediacy but its unique and inherent nature to reinvent the familiar into something mysteriously new.”

Read more…

Thanks for reading. Please let me know how you recycle papers into art with collage.

Making art is a habit you cultivate. It’s a good habit and very important for artists.

But you need a proper space that’s dedicated and a place that makes you feel inclined to work.

I’ve had studios in my home and outside my home. Sometimes it’s more convenient to work from your home. Sometimes it’s better to separate yourself from home and work in a space dedicated to just making art.

My current studio is a dedicated space with worktables, sink, bookshelves, storage cabinets, my easel, printing press and flat files in one room with overhead fluorescent lights, and an east-facing window. I’ve been in the studio, located in New Rochelle, NY at Media Loft for 5 years and I’ve improved my studio space over the years. Media Loft is a great space for artists. We organize open studio events and have a first floor lobby gallery.

Nikkal studio worktable view

Nikkal studio worktable view

The image above is my worktable covered with papers, paints and tools. When I’m working it gets messy.

Notice the paint jars in the center of the table. I bought the jars in a retail stores that sells everything you need for storage. I needed to store paints that I custom mixed. Notice the painted canvas sitting in front. It was a clean piece of canvas and I’m using it as a blotter for excess paint from my palette knife. I swipe the paint onto the canvas and I think this work surface will become a collage element in a future work.

My table gets cluttered with painted papers as I work, and then I clean it up and organize the materials to make room to continue or start over on a new project. When people visit for open studio events, the space gets cleaned up totally, and people think I work that way. You can see that I don’t.

See the painting and collages on the wall behind the worktable. I just had a hanging art system installed in the studio and hung my art as if my studio is a gallery. It looks good when people visit. I also want to look at the painting and collages on the walls. The hanging art is there to inspire me to continue to work on the Metro Series. I am exploring color and want to see the colors I’ve used in front of me.  The Metro Series is about geometry. It’s constructed abstraction. Geometry is my reality.

Every artist needs a dedicated space – no matter how small.

It’s easy to get to work when you have a dedicated space where ongoing projects can be left in progress. It means you can leave at the end of the day and return the next day and everything is set out ready for work as soon as you arrive.

But, many artists work in improvised spaces. They make the space work for them.

In a recent class I teach at the Pelham Art Center, a gifted student who’s an artist brought up the subject of her studio space problem.

She is trying to decide the best place to work.  She can set up a workspace in her home basement or in her kitchen. The basement is bigger, but is also a shared space for family and TV.

The kitchen would be a happier place – she said it felt right even though it was the kitchen.

I asked if she could find a way to store all her art materials, glue and collage tools in the kitchen.

Antique Wood Flat Files

Antique Wood Flat Files

I don’t know whether the kitchen is vintage or modern, but, no matter what the style, there are new or vintage pieces that could be used for storage (or maybe there is a piece of furniture somewhere in the house that could move into the kitchen).

I found the above image online. I asked for images of  antique wood flat file cabinets. I got a huge number of images, including old metal flat files (probably less expensive than new).

Similar pieces can be found at ebay or etsy.com or go scout at a neighborhood antique shop, a tag sale or country auction. Maybe you already own something like this. It’s a beautiful piece to store your beautiful papers.

metal storage boxes

Metal Storage Boxes

The image above is suitable for an office or contemporary styled room. It’s readily available if you look for metal storage files or boxes.

If there isn’t floor space, is there a place to set a portable writing desk or stack storage boxes on top?

Vintage Storage Bin

Vintage Storage Bin

The image above appeals to me. It’s vintage and could hold postcards and small booklets for projects in progress. I would leave it on top of a cabinet or counter in the kitchen as a constant reminder of your creative time.

I’ve seen portable desks (writing desks) with storage compartments. Everything is tucked away and safe.

Storage Boxes

Storage Boxes

The image above shows 2 storage boxes to store collage papers, scissors, pencils, pens, etc. The boxes come in so many sizes and range in prices and are available online and in retail stores. They look fine stacked and could be stashed in a cupboard, on top of a cabinet or counter. I would keep glue in an upright position inside a cabinet.

Taking Out and Putting Back Can be a Good Thing

There’s a benefit to taking out materials every time you begin to work on a project because you handle all the media and see things anew. When you return the materials to the storage container, you organize again, preparing for the next time you will work. You can write notes on what your next steps will be so you are ready to begin when you return.

I suggested to my student that she could organize her materials (papers) and place them into extra-large plastic zipper bags, sorted by project. Depending on how the kitchen is organized, the bags could be placed in a kitchen drawer, or into a freestanding stack of drawers on wheels, or into a crate.

I have stored papers in plastic page separators organized into 3-ring binders. I sorted the papers by color, texture, pattern and image.  I place the binders on a shelf with art books (for reference) next to my stack of magazines that are a resource for more collage papers. My favorite magazines are ArtForum and Art News.

Check out ebay or etsy.com (storage and organization) for vintage storage pieces if that’s your taste. Or go online and locate sources for new types of storage – boxes, containers, flat files, storage drawers, etc.

It seems like everyone is into storage solutions today.

What solutions have you created? Please share how you’ve organized your personal art project space. Thanks for sharing.

Planning

I planned to post a blog about my 5-day trip to Art Basel Miami Beach (Dec. 5-9, 2012). It was an amazing opportunity to see contemporary art.

I couldn’t write about the wonderful art in Miami, because I am upset about the tragic events that took place at Sandy Hook Elementary School in Newtown, CT last week.

Because blogs need to be posted regularly, I found another way to get past my writer’s block –  by going to my studio and making a sample collage for a workshop I will lead in April at the Newark Museum. It was something to do, and after I did it, I knew I could write about it.

Making art makes me feel happy (happier).

Stargazing, Collage and You

I  painted papers and collected magazine papers in bright colors and geometric patterns for the sample collage. I wanted to create a palette of painted papers in green-blacks, reds, and red-blacks and coordinated magazine paper in red and black stripes.

The Newark Museum workshop is titled Stargazing, Collage and You. It’s scheduled for Saturday, April 27, 2013 from 10-4, and is offered in conjunction with the Museum exhibition African Cosmos: Stellar Arts (February 27-August 11, 2013).

The African Cosmos exhibition is currently at the Smithsonian National Museum of African Arts in Washington DC and will travel to the Newark Museum.

See the Smithsonian website for images and wonderful text about the exhibition.

The website introductory page shows an image of a painting by the artist Gavin Jantjes (b. 1948, South Africa). It’s acrylic on canvas and was purchased by the Museum with funds provided by the Smithsonian Collections Acquisition Program (see image below, image courtesy: the Smithsonian National Museum of African Arts).

Gavin Jantjes, Untitled, Acrylic

Gavin Jantjes, Untitled, Acrylic

The artist rendered dancing figures in a style similar to ancient rock paintings from southern Africa.

The Smithsonian website includes many images, including the image below – the stars of the Pleiades cluster, also know as the Seven Sisters (seen from the Cassini spacecraft. Image: NASA). Only a few of the stars seen here are visible to the naked eye on earth.

Pleiades Seven Sisters, NASA

Pleiades Seven Sisters, NASA

The Smithsonian website also includes links to information about celestial deities in the time of the Pharaohs, cosmic models, celestial guidance, and more. You will also see African sculpture.

Sample Images: Pieces for a Collage

The image below is a sample collage I prepared with magazine and painted papers, titled Dancing With the Stars. The papers are glued onto 14×11 inch Bristol paper (the substrate).

Nancy Egol Nikkal, Dancing With the Stars, Collage, 2012

Dancing With the Stars, Collage, 2012

Following are sample collage papers.

I plan to demonstrate different ways to organize, paint and embellish papers at the workshop. We will use ordinary materials that are inexpensive and easy to find. The image below is green construction paper painted with a mix of green and black acrylic paint applied with a palette knife.

I will bring additional samples to the workshop and demonstrate the process so that participants can create their own palette of papers for collage. Notice the texture in the painted papers,  and makes the final collage much more interesting.  We save a lot of money when we create our own papers. We also  make our work more personal.

Green Painted Paper

Green Painted Paper

Black Painted Paper

Black Painted Paper

On the red image below, I made scribbled marks with 3 crayons (held together in my hand) on plain red  construction paper and painted over the scribbles with acrylic. It’s a crayon resist process.

Red Painted Paper

Red Painted Paper

The image below is red construction paper painted with red acrylic paint and overpainted with a second coat of black acrylic paint that was scratched into while the black paint was still wet.

Red Painted Paper with Crosshatch Pattern

Red Painted Paper with Crosshatch Pattern

I will encourage people to bring their own magazines to the workshop, especially if they want to use specific imagery in their collage. I will discuss how to play with images, textures and patterns.  Collage is about juxtaposition. Many times, people don’t see the potential of images until the images are cropped. I will demonstrate how to cut, tear and assemble the papers into new images.

I think the photo of food (below) came from Real Simple magazine.  I’ve included it here to demonstrate that all images have possibilities.

food for collage

food for collage

The image below includes small pieces from several different magazines, including ArtForum and W. I planned to combine the triangles into points on a star to collage into the background. The funny face is assembled with about 5 pieces of paper and is only 2 inches high. It was going to be the head of the figure stargazing at the Pleiades Constellation.

Magazine Papers

Magazine Papers

The magazine images below are backgrounds papers cut form fashion photos from W magazine. I wanted stripes in reds and blacks. The fashion magazines now show a lot of geometric patterns.

Assorted Striped Magazine Papers

Assorted Striped Magazine Papers

The striped papers became the body, arms and legs of the figure in the collage. The black paper on the bottom of the image (above) was cut up into the small stars for the constellation.

In addition, I drew 5-pointed stars freehand and cut them out, cut out a crescent moon, and glued them around the figure onto the collage. It was a challenge to glue down the tiny white stars.

HOW TO:

Drawing as Plan

Drawing as Plan

I planned the collage in advance and did 2 simple drawings to determine the size and shape of the figure, the placement and direction of the of the arms and legs. I wanted  to know in advance how tall the figure would be in relation to the background paper, and the size of the sky in relation to the size of the figure. See the drawing above.

I planned to make the background in two sections and cut a piece of magazine paper for the top portion. It’s a section of an abstract painting reproduced in ArtForum magazine. The bottom section is painted paper. I created the figure from painted and magazine papers cut into circles, triangles and angled rectangles. The figure was placed in sections (arms first) and glued on top of the background papers. After the figure was in place, I added a crescent moon and 5 pointed stars onto the background around the figure. The tiny cutout shapes that became the Pleiades constellation were added last.

See the finished sample collage above.

I hope you check out and are inspired by the images at the National Museum of African Arts website or see the exhibition at the Newark Museum in NJ. It will be amazing. If you want to take this workshop, please contact the Newark Museum

Printmaking for Collage

September 13, 2012

When I started making collage more than 25 years ago, I liked to use cut-outs from magazines.

I never had enough papers with the right images and it took a really long time to collect the papers I wanted.

I always needed more papers. So I added handmade and decorated imported papers to the magazine cut-out papers.

Handmade papers can be very expensive. I didn’t want to use junk papers. I love saturated color and texture and pattern, and that usually costs more.

I started to paint magazine papers with acrylic paints. The bigger and fatter the magazine, the better. Heavy body acrylics are the kind I like. I also work with “open” acrylic paints  because they stay wet longer.

Recently I created printed papers for collage and used the open acrylics. It was an experiment. It didn’t work.

Open acrylics work so well for painted papers, but I don’t like the way the paints transfer image and color when it’s a print. It’s not as rich as printmaking with oil and water-based inks. The acrylic colors are flat and dull when the paint is transferred to the paper.

Exploring Printmaking with Intaglio Inks and Oil Paints

I tried printmaking with Akua intaglio inks. I like the way the inks transfer pattern and color. I love the mellow surface.

The image below is a sample of the papers created with the Akua Intaglio inks. I will use these papers for collage.

printed papers made with Akua intaglio inks

I was able to get transparencies and also texture.

Read more about how to work with the Akua intaglio inks.

Oil Paints for a Collagraph Print Collage

The image below is a sample of the papers I created with oil paints. This was a lot of fun. I used a palette knife to apply oil paint directly onto brown supermarket bags cut into small pieces. I laid the painted papers face up onto a Plexiglas plate and placed a dry piece of printmaking paper on top and ran the print through the press.

What you see below is not the print. These are the papers that were inked with oil paint and used to make the print.

printed papers made with oil paint

I said the printmaking process was “collagraph.”  In this process, I ink the papers with oil paint and place them onto the print plate and transfer the paint from the loose papers.

Typically, when you make a collagraph, you build up the surface of the plate with texture by brushing on acrylic mediums, or gluing down textured papers, silk fabric, or even painting with glue. After the media is dry, you ink and wipe the plate, place the printmaking paper on top and run it through the press.

The Print Parts Became a Whole Collage

I didn ‘t like my collagraph at all. The painted papers  didn’t transfer the the paint the way I wanted them to, probably because the painted papers were in two layers. The transferred image was too light.

But, I loved the way the papers looked, and decided to use them for collage.

I had to let them dry for 2 days.

I made 3 collages. See them below. 2 are glued to wood panels that are about 1 inch thick. One is glued to paper.

I will donate these to the Silvermine Arts Center for their benefit Signed Sealed & Delivered on Sunday, October 28, 2012. At Signed Sealed & Delivered, all of the works are 4×6 inches. Some of the works are 3D. All are for sale.

Read more about the benefit event at Silvermine Arts Center. See how the works are installed for the public to view and select. The works are by Silvermine Guild artists, faculty and well-known friends. The event will benefit Silvermine’s public programs.

The images below looks layered. Actually, the semi-transparent areas are where I removed a layer of paper.

collage, oil painted papers on paper, 4×6 inches

The image above is collage on paper.

The image below is collage on wood panel. Notice the strip of paper that looks orange and blue located near the bottom. That is actually the reverse side of the painted paper. It’s the supermarket bag side. I like the texture and mottled effect.

collage, oil paint papers on wood panel, 4×6 inches

collage, oil paint papers on wood panel, 4×6 inches

Paper is a huge category. Handmade papers can be very expensive.

There are many choices for paper collage that are not too expensive. You can use construction paper, sandpaper, copier paper, tissue paper, wrapping paper, wallpaper, paper bags, junk mail, papers you collect (letters, postcards, receipts), photographs, and more.

You can use books and book covers.

Don’t throw anything away!

I often recycle papers, and use my own drawings, paintings and prints. Best, for me, is to create my own papers for collage.