El Anatsui: inspiration and exhibition in Denver

I've been inspired by El Anatsui since I first glimpsed his huge recycled tapestry-like work at the Indianapolis Museum of Art in 2008... I even wrote a blog post about it way back then!

So I've been looking forward to his retrospective show at the Denver Art Museum, "When I Last Wrote to You about Africa."

He gave a talk, more like an interview, in advance of the opening last week, as part of the Logan Lecture series. I was particularly interested in his discussion of using humble elements, brought together in a monumental way, to create a meaningful work of art. Beauty, he feels, is just a by-product of his work. (Detail of one of the works on view in Denver at left)

He said working with what your environment produces has always been a guiding thought in his artistic practice. As a collagist, I could totally relate to his sensibilities. 

In working with found objects, he acknowledges that the media comes with its own history/meaning. He believes that because the objects have been touched by a person, there is a "psychic charge" within the artwork that ultimately helps other people relate to the piece.

He also spoke about the flexibility of the hanging pieces and the importance of involving other people in his work to determine how they should be hung/placed -- so it is different in every installation. He said art is like a reflection of life, always in a state of flux, and he embraces that philosophy throughout his practice.

When I arrived at the exhibition on Saturday, I was surprised that he was in the galleries responding to questions about the work. It was great to meet him and be able to tell him how much I've enjoyed his work. What a creative spirit and what a wonderful exhibition.

It runs through December 30th, 2012. Be sure to visit if you are in the area. I know I'll be going back a few times in an attempt to take it all in! (Even the shadows the works cast on the walls are gorgeous.) 

Here's some video that gives you the sense of being in the same space with these wall hangings. It is not from the Denver show but was the best footage I could find to show the details of his work, from a recent show at the Akron Art Museum. Enjoy! 

Seeing possibilities... collecting collage ingredients

I'm often asked where the bits and pieces of my collages come from... I have a habit of looking at the negative spaces, the spaces BETWEEN and AROUND the featured items in a photograph. It's often there that I see the patterns, color gradations, and subtle imagery that I find most intriguing and useable.

The large photo above shows a recent photograph from the newspaper that had ingredient potential. (Caveat: It's very dangerous not to finish the paper before I get to it, if you want to be assured of reading the complete story!)

At left is a detail of the photo where I've indicated, with green outlines, the areas that I will rip out for future use.

I was recently explaining how I gather materials during a demonstration to a local art guild. Afterwards one fellow said, "You sure see things differently..." Yep, and I took that statement as a huge compliment!

Junk Mail Journal collage circa 3.10.12

Another in my ongoing series of collage studies with ingredients supplied by the daily mail. (It begins to dawn on me that the proposed postal delivery cutbacks may eventually compromise this creative practice... hmm.)

"Junk Mail Journal 3.10.12," contemporary paper collage, in sketchbook, 9 x 6."
© 2012, Janice McDonald.

Collage in progress, 3.6.12 (and a nod to surprises)

This photo was taken yesterday after two work sessions on the latest collage. I use a wet process so there is plenty of drying time to consider my next additions. I don't plan the composition in advance but begin with something I like and build from there. Some of the elements that appear now may be covered up with others before it's over.

At left is an example of one of the surprises inherent in working this way... once the selected paper is damp with glue, images on the reverse side may show through. Sometimes remnants of imagery remain after the piece has dried, sometimes not. In this case the woman's face and high heel went away almost completely. I enjoy discovering how much will remain. It adds another "unknown" to respond to as I work. (You can see the dried blue area in the upper right portion of the larger collage image.)

More updates soon.