Abstract
Collage painting technique over the years has been one of the most remarkable and significant style of painting in art. However, various artists have explored fabric and paper collage in many productive ways. The project therefore experimented on fabric and paper collage beyond the formal and symbolic essence. Furthermore, this project explored different ways the principles and elements of design inherent in the materiality of fabric and paper, in terms of texture, colour, variety, flexibility, pliability and tactile quality could provide seamless artistic possibilities and artistically exploited to overcome design challenge, since there is no limit to creative ideologies. Chapter one covers the background of the research while chapter two reviewed various literature and art works that are relevant to paper and fabric collage. Chapter three embodied pre-studio research and studio processes while chapter four explains the mediumistic analysis and hermeneutical discussion where the works of art were discussed in details in terms of texture, pattern, variety, form and content. Chapter five concludes the report.
CHAPTER ONE
Background of the Research
In the early years, while artists have been laying images and incorporating autonomous elements into their works since the advent of paper, collage truly emerged as a medium in its own right in the early years of the 20th century with the cubist experiments (cubism is an early 20th-century style and movement in art, especially painting, in which perspective with a single viewpoint was abandoned and use was made of simple geometric shapes, interlocking planes, and, later, collage) of Pablo Picasso and Georges Braque. The term collage was coined by both George Braque and Pablo Picasso in the beginning of the 20th century when collage became a distinctive part of modern art . The word collage can be defined as a technique of composing a work of art by painting on a single surface of various materials not normally associated with one another, such as newspaper clippings, parts of photographs, theatre tickets and fragments of an envelope A collage in simple terms means a visual representation made from an assembly of different forms, materials and sources creating a new whole. It may include newspaper clippings, ribbons, bits of coloured or hand-made papers, potion of other art work, photographs and such, glued to solid
support or canvas
Techniques of collage were first used at the time of invention of paper in China, around 200BC. Inspired by Cubist experiments, artists associated with Dada, an art movement practiced in Europe in the 20th century. Hannah Hoch, Richard Huelsenbeck, John Heartfield, and others pioneered the technique of photomontage, using pre-existing photographs, often drawn from mass-media sources, to create composite images that sharply critiqued German society and culture in the aftermath of World War I. Drawing on the foundations of Dada, neo-avant-garde artists of the
1950s like Robert Rauschenberg and Jasper Johns created assemblages that brought collage techniques into three dimensions—laying the groundwork for much contemporary sculpture—as well as works on paper that incorporated found elements
drawn from the mass media and everyday life. Likewise, the incorporation of materials and images culled from mass culture and consumer goods was a signature of Pop art, exemplified by collage-based works like British artist Richard
Hamilton’s Just What Is It That Makes Today’s Homes So Different, So Appealing? (1956), which ironically parodied the lifestyles peddled in advertising through the direct inclusion of its imagery. Contemporary artists continue to use the medium of collage in new and innovative ways, experimenting both formally and conceptually. Artists like Lorna Simpson and Nina Yuen have used collage techniques as a means of addressing topics like race, class, and politics. The use of collage however, was not used by many people until the 10th century in Japan, when calligraphers began to apply glued paper, using texts on surfaces, when writing their poems. The technique of collage continued unfolding through 13th century to 20th century being applied by artists in their works. Appearing on Gold Leaf Panels used by artists like Mary Delany in the 18th century; used amongst the Memorabilia in 19th Century (applied to photo albums) and books (e.g. Hans Christian Andersen, Carl Spitzweg), collage evolved into a great art technique as we see it today. Although many institutions have attributed the beginning of the practice of collage to Picasso and Braque in 1912, early Victorian photo-collage suggest collage was practiced in early 1860s. According to the Guggenheim Museum’s online article about collage, Braque took up the concept of collage itself before Picasso applied it to charcoal drawings. “It was Braque who purchased a roll of simulated ark-grain wall paper and began cutting out pieces of paper and attaching them to his charcoal drawings” (Willete, Modern Aesthetics (2011)).
Artist diverse application of collage techniques gave rise to different types of collage and it includes Wood collage, Decoupage (craft), Photomontage (photographs), Digital collage (using computer tools), three dimensional collage (3D), Mosaic and eCollage (electronic collage). Collage can also be used in other contexts like architectures, music (sound collage), illustration (mostly used on children’s book), artistic books, literature, fashion, film and post-production (computer generated imagery). (Wikipedia, the free encyclopaedia)
In Africa, different contemporary artists found collage fascinating and adopted it. Wangechi Mutu (1972, Kenya) practiced collage painting using her large, lush creations feature everything from plants to pacing tapes and magazine photographs (photomontage).
Plate1: Wangechi Mutu, ‘The End of Eating Everything’, 2013, animated video, 8 min 10 sec, edition of 6.
Image courtesy the artist, Gladstone Gallery New York and Dak’Art 2014.
In 1983, the Cote d’Ivoire artist Aboudia, created collage elements using photographs, street graphics, comic strips, news paper cut-outs and advertising leaflets to adorn his canvases.
The works of Nigerian contemporary collage artists like Chike Obeagu who first experimeted with photo collage technique as an undergraduate in University of Nigeria Nsukka in 1998/99. The practice started when he was forced to fimd an economically viable way to express his art. Chike Obeagu is known for the geometric and colourful compositions of his collage, inspite of the ways in which collage appears to flatten form, Obeagu creates depth in his work by playing with size and perception. (DAK’ ART 2014)
Plate 2: Chike Obeagu 2014 “Protection”, 115cm x 90cm
Obinna Makata focuses on the fading aspects of traditional African culture and values in contemporary society using fabric as a metaphor for cultural identity and evolving social values. His works create narrative associations that deal with quotidien issues in contemporary Nigerian Society, inluding visa queues, abortions, and crowded work environment. Makata combines scraps of ankara fabric to form the bodies and backgrounds of his figure. (Art Base Africa, 2017)
Plate 3: Obinna Makata “Untitled” 101cm x 113cm
Other artists include Njideka Akunyili Crosby who works on paper combine collage, drawings, painting, print making and phototransfer as well as Rom Isichei, Tony Nsofor, Moyo Okediji and Faustin Adediran are part of the reason why the artist developed a strong interest in collage painting technique. The artists spent most of his free periods as an undergraduate of University of Nigeria Nsukka studing and admiring the works of Chike Obeagu who was a post graduate student of the university. The artist was so facinated and inspired by Chike’s works. He also found beauty in unused/rejected fabrics which had beautiful patterns and had since then experimented on them to make art. Although at first they did not turn out as expected but gradually, due to hardwork and pesistence, exploration excersises started producing promising results. All these processes inspired the artist to ideolise collage as his area of specialization in painting.
Statement of Problem
Over the years, artists form different cultural backgrounds have continues to explore and experiment courageously ways of creating and improving their artistic abilities concerning works of art. Giving rise to new ideas and significant
modifications on how to step-up, upgrade and meet up with societal demands. Collage has gained recognition all over inclusing Africa and Nigeria with renouned artists exploring on collage techniques. To produce a work of art is increasingly becoming expensive with art materials constantly on the high price in the market. Therefore, the researcher has decided to apply the unconventional way of painting through the use of found object such as newpaper, magazines, fabric, saw dust, wood and metal. The artist has most interest in the exploration of used call cards to make his work unique, although he might not be the fist artist to make use of it. This makes the production of art work cheaper and more affordable. This process have proven that all these collected materials can be turned to art. This means that not all discarded material are totally waste to the artist.
Scope of the Report
The scope of this report is restricted to the use of found materials like news paper, magazine, saw dust, sand, wood, metal and fabric to make art. It covers the exploration of fabric and paper collage mostly the application of used call cards as the
researcher’s unique way of art.
Limitation
The artist encountered several challenges in the sourcing of literature writeups in the aspect of collage. Its historical aspect is not clearly documented in the area of African collage.
Significance of the study
Due to the continued rise in the price of art materials in the market today, unconventional ways of painting have positively encouraged the methodology of this project which is the exploration and experimentation of paper and fabric as an idiolect in painting. Experimenting with discarded magazines, newspaper, fabrics of different colours and patterns and used recharge cards has provided a platform that suggests that art can actually be created out of unwanted or discarded materials around us, not necessarily relying on conventional ways of production for instance, Njideka Akunyili Crosby negotiates the cultural terrain between her adopted home in America and her
native Nigerian home, exposing the challenges of occupying these two worlds through creating collage and photo transfer paintings thereby using available and easily accessed materials to express her views; turning waste to art and actually making profit out of it.
However this project intends to extend our knowledge of painting further as a process whereby exploration of paper and fabric collage could be individualized and domesticated, that is, putting the technique under control and making it a brand of approach. Totally, the artist moves away from his normal way of exploration to a whole new zone where the visual aspect of representation has resulted to new arrivals of formal strategies and configurations in exploring the creative dynamics associated with appropriating paper and fabric collage as can be seen in the works of Chike Obeagu and Obinna Makata as well as other collage artists that have explored the use of fabric and paper collage to create works of art.
This material content is developed to serve as a GUIDE for students to conduct academic research
EXPLORATION OF FABRIC AND PAPER COLLAGE AS AN IDIOLECT IN PAINTING
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