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Digital Collage 2010

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Comment by Bradley Miller on October 11, 2013 at 10:06pm

You are right, that you have to consider how a work looks on the screen, in the camera, how it prints and even the choice of paper and printer you use. Today, with the advances in photography, in the cameras and software, and even the printers that are now available- I think you can really create a finished work that truly represents your intended thought.

This said.. I like the risk of trying too. I print mostly in house- and I have learned what printers work, what papers work. I've researched and toiled to make the highest quality possible print for where I am at professionally. But its probably not an exact clone. I guess there is a print making side to my art too, where the print is the piece. I think for me, working with digital collage, if the intent and application are honest, then its a happy result. I love working with silk screens and intaglio for the same reasons- its freeing to see the image off the screen and out in the world.

Comment by Resident Curator on October 11, 2013 at 9:31am

I'm happy you liked my observations.  This is beautiful intricate work, and I'm certain I would see more if viewing the work in person.  Even when looking at digitially created works, I think the object presence is stronger when printed.  I'm wondering if you feel the same way, or if the light from the monitor actually illuminates the imagery in a way you intended?

Comment by Bradley Miller on October 10, 2013 at 10:50pm

Thank you!

Chophouse is definitely an urban weaving. The piece is a photo collage of three photos I took, walking around downtown Omaha on a February morning. Interestingly, the cool and warm interplay you mention was also something environmental, with the bright blue sky and snow still clinging to the avenue of trees. The contrast of brick and glass, circle and line were all out there on that cold morning- and the collage just came together naturally, one photo layered on each other.

Valve too is a collage of three photographs. The main shape is taken of a suspension bridge piling, contrasted by a the use of two negatives of a building and flower photograph. Its a work of contrasts, of organic and fabricated repeating shapes, energies and tones. I like your mention of static in the line of the work. I really wanted to show the push and pull of the line against that orange field of glass.

I really appreciate your time and consideration of my work. I found your insights thoughtful and well said.

Thank you!

Comment by Resident Curator on October 10, 2013 at 1:33pm

Curator’s Comments:  


I find your layered semi-translucent digital collages elegantly mesmerizing, while also feeling as though I lose my place/footing in the larger expanses of color. The piece entitled “Chophouse” figuratively grounds me to the picture plane, as the elements of text anchor me to the center column in the composition.  I enjoy the intertwined warm and cool hues, and the way the lines and small blue orbs on the right hand side echo the dominant circular font.  It reads as an urban weaving of sorts.  Valve also exhibits a strongly explosive directionality, crackling with frenzied energy.  The crossing wave patterns of white lines are reminiscent of electronic static- furthering the magnetic metaphor.  The division of the repetitive warm sections makes for a nicely proportioned distribution of (analogous) visual weight.  The partitions balance each other and contain the subtly vibrating design.  Despite the comparatively simpler configuration of the piece, the image appears more chaotic than the works with repetitive vertical bars.

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Ms Kristen T. Woodward critiques of members art.


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