In further explorations and experimentations with the female form, I combined this lady, whom I named Mindy, with a mosaic collage I’d drawn called Intraluminal Autoclaves. As you can see, the background collage is composed of textual material from old books and printouts of engine diagrams. I’m currently rather annoyed by the current rage of collage art. It’s a current trend with American arts and craft, scrapbooking hobby pursuits. I used to find it interesting, but because it has become mainstream and mundane, I’ve become bored of it.
Too many hobby artists today think they are being original with their collage scrap-booking art. They don’t even know who inspired them to begin with. They think they’ve come up with their ideas all on their own—like they just woke up one day, and started making collage art. I know that collage art, as I’ve learned from art history, comes from 20th century European art. Artists, such as Max Ernst and Kurt Schwitters, come to mind as a couple of original representatives of collage art.
Early collage art, dadaist, surrealist artists inspire me. They broke the mold of what art was supposed to be in their times and introduced a whole new way of making art. At this point in the 21st century, since collage art seems to have run its course of possibilities, I feel the commonness in this type of art now, though, paradoxically, I’m habituated with using it as a style in the development of my own art.
There are times when I am inspired by collage type art, but it has to be unusual, novel, and hybridized. Some artists pull it off really well. They have a great sense of streamlining unrelated biological and mechanical parts by putting them together to create new entities of expression.
I’m working out conflicts in my own creativity with respect to traditional art-making vs. the internet age and digital art; in regards to arts and crafts type art vs. unusual novel art; and of relating to my past freedom in making oversized mixed media oil paintings vs. the little detailed pen drawings I’m limited to creating now. I realize that Gary Bolyer, an online art marketing teacher, advises artists to not talk about themselves too much in their art blogging, but my developments are what I find most interesting in discussing. I suppose tensions such as these will always be there for me as an artist, and it’s probably good that they are. Dissatisfaction can be a good core driving motive for creating more artwork.
I titled this piece Mindy’s Blending Machine because it looks like a woman is walking in front of and through an industrial factory building. You can see cords, fans, and machinery behind her as she walks from the right of the image to the left. I altered the colors of her skin to dark and light pinks. This helps to blend her with the pink mosaic pieces behind her. An oversized shadow is also cast upon the wall below and behind her as if light were shining on her from her upper left anterior side.
The pink makes Mindy blend in with the background as if she where a chameleon. This is another idea of mine of a woman merging herself with her surroundings in order to extend her spirit out and create greater degrees of harmony. Maybe the pink beads coming from her mouth are utterances, like prayers, to the heavens beyond the machinery of materialism to fill her with love in order to share with the rest of the world.
The title, Mindy’s Blending Machines, has allusions to blenders that make smoothies. After drinking a strawberry smoothie, she feels the sweet satisfaction coating her inner sensations. I used the name Mindy because it has rhyming characteristics with the word blending. In art, it’s an advised practice to help blend and unify a picture by putting a certain color in foreground, as well as background, objects. This practice helps a picture harmonize better, even if the intent is to emphasize contrasting colors and boldness.