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Surreal Collage

Collage is a technique of an art production, primarily used in the visual arts, where the artwork is made from an assemblage of different forms, thus creating a new whole.

A collage may sometimes include magazine and newspaper clippings, ribbons, paint, bits of colored or handmade papers, portions of other artwork or texts, photographs and other found objects, glued to a piece of paper or canvas. The origins of collage can be traced back hundreds of years, but this technique made a dramatic reappearance in the early 20th century as an art form of novelty.

The term collage was coined by both Georges Braque and Pablo Picasso in the beginning of the 20th century when collage became a distinctive part of modern art.

- Wikipedia

With the advent of digital tools such as Photoshop, collage in contemporary surrealistic art become one of the primary techniques to create surreal artwork. Simultaneously, with the ubiquity of camera phones (everyone is a photographer) and screens (how many ads do we see a day?) we a seeing a more nostalgic style to the style of some surreal artists. This may be a reaction to conceptual art and our digital interfaces as a way to differentiate art from, well, not art. This is not just simulated with retro styled photo filters but with the choice of materials. Artists such as Eugene Loli, Trash Riot, and Felipe Posada make ample use of decades-old illustration and photography. With this choice of materials, the work separates itself from “regular” photography (a window into the world) or film and develops its own retro-futuristic or retro-psychedelic aesthetic. Other Collage artists such as Khan Nova and Wahndur use digital tools and clean, contemporary styles to create their own surrealistic visions.

Gadzooxtian

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Biography

Melbourne artist Xtian was conceived in East Germany but born in Hungary – that makes him one part Australian and two parts former communist.

He’s been actively collaging for two-plus decades – but is not adverse to making music or short animations. His works can best be described as questions, or “edge of comprehension”. He has exhibited and been published both locally and overseas – most recently by Oyster Moon Press’ Hydrolith 2: Surrealist Research & Investigations.

He is also one half of the now ten-year-old – and still growing! – exquisite corpse project The Infinite Collage (close to 80m long!), and is the creator of the longest-running surreal collage comic series The Micturating Angel.

Xtian is the founder of Melbourne Kollage Ultra, and a contributing member of a number of other collage groups.

Artist Statement

(Before you proceed: the images are an extract from a much larger work.)

“…too arty for comic book lovers, too comic booky for art lovers…”

Do you like comics? So do I. Marvel? Hell no! Okay, we’re gonna be friends then.

This is not an “artist statement” – that will come some other time. This is an introduction to “The Micturating Angel”. A spiel. A sales-pitch. But not an explanation – maybe an excuse? A necessary use of words to explain images that have already said all they can?

Do you like comics? I mean REAL comics, like Charles Burns’ stuff, or Druillet’s or Kago Shintaro or Nihei Tsutomu? Or “The Sandman” series by Neil Gaiman?

Right.

But what about weird stuff by the original Surrealists and the Dadas? Are you familiar with Max Ernst’s collage novels or Gilliam’s animations from Monty Python? What about free jazz, avant-garde music and the writings of William Burroughs? The (good) films of David Lynch? Those books from the 90s put out by V. Vale, the “REsearch” books? Are you familiar with the æsthetics of early industrial music culture or with the visuals of punk underground collages and photocopy art?

Am I laying this on too thick?

You wanted a statement, an introduction, so a schooling you’re gonna get, son.

Right. We’ve established the basics, so meet “The Micturating Angel”, the “Naked Lunch” of comic books! I unashamedly call it a comic, ‘graphic novels’ are for pretentious twats. But its a comic with a fatal flaw: too arty for comic book lovers, too comic booky for art lovers – where do you draw the line?

Why even draw it? (And why even draw a comic in the first place?)

I grew up in Eastern Europe, pre-Fall-of-Communism, so my background is a little different from yours. I read mostly French comics translated into Magyar, I read nonsense literature from Germany and local writers and science books (never became an astronaut though). Emigration was a grand adventure and high school was a ridiculous shock: all the beauty of learning coupled with everyone hammering a round peg into a square whole.

Squares man. They can be so beautiful when they’re not people.

Like the panels of a comic book. But I’m getting ahead of myself.

In high school, I invented surrealist writing – not being aware of its well-established existence. It saved my brain for greater things. Eventually, I met some actual surrealists, some actual poets, and artists and some actual interesting life.

And here we are today – and I’d like you to meet my children – The Micturating Angels (there’s more than one).

Q: What does “micturating” mean?
A: Pissing.
Q: Wut?
A: It’s all you get.

A surreal collage art-comic series seven years in the making (and counting). Somewhere between 2ooo – 3ooo collages in total, including the guest stars, the Secret Chiefs (guys in charge of this here Cosmos). Unraveling the adventures and sanity levels of young girls against their captive, oppressive world (is this a feminist comic? I don’t know…). Young girls against crappy old men and institutions, religious zealots, ignorance vs. science, freaks!

Drawing on source materials ranging from hardware catalogues to religious imagery to medical illustrations, alchemical instructions, furniture assembly instructions, “dirty” comics, mangas, giallos, and cannibalistic self-re-absorptions, the “Necronomicon” (containing not all but most of the sigils of the “Fifty Sacred Names of Marduk”), engineer’s manuals and mathematical formulæ

– do you still like comic books?

Then you’ll love this one! Playing with the conventions of comics to create striking visuals, adventures revealed through non-linear story-telling and complete non-sense dialogue – yes, the words are a red herring – “The Micturating Angel” is a unique comic that will never be understood by anyone – and that makes it an enduring mystery, I hope. (Aren’t questions better than answers? No, they’re not. But Bigfoot is more interesting when you DON’T know that it’s just mountain-lion footprints.)

And there it is. My seven-year Grand Opus, unlike its predecessors (all the other books I’ve made), and a never to be repeated exercise by me. And I WANT you to enjoy it! I really do, I want you to look beyond the confusion, I want you to stop trying to make sense of it and revel in what it actually IS: an ever-shifting series of nightmares laid out like the storyboard of a Hollywood blockbuster that will never be made.

Welcome aboard. I hope you like THIS comic.

– Xtian, 2019

“I LOVE your collage work! It is VERY surreal… your comics are great! … Good luck with your project!”
– Rev. Ivan Stang, Church of the Subgenius

“… a very original comic…”
– Surrealismo Internacional

Books: lulu.com/spotlight/gadzooxtian
Prints: redbubble.com/people/Gadzooxtian
Facebook: facebook.com/The-Micturating-Angel-1609957469288457
Site: gadzooxtian.com

Albane Simon

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About Albane Simon

Imagine a world where linear time has lost all relevance. A place where past memories and future visions dance in a familiar present gone awry, this is where nightmares collide with lucid clarity. Touching on topics diverse as ecology, science, architecture, and spirituality.

instagram.com/albanesurrealcollagist/

Toshiko Okanoue

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Born in 1928, in Kochi, Japan, Toshiko Okanoue grew up in Tokyo. She began to make photo collages while she was studying fashion design and drawing in Bunka Gakuin in the early 1950s. When she first began working, she had very little art historical knowledge, and knew nothing of the Surrealist movement.

In post-war Japan, a shortage of goods and materials meant the country was flooded with commodities from foreign countries. Okanoue used fragments from Western fashion magazines such as Life, Harper’s Bazaar and Vogue, to create radical compositions combining body parts, animals and inanimate objects in dynamic arrangements. Although the component parts of her collages originated from Western sources, Okanoue herself regarded her technique of image making as deeply rooted in Japanese tradition. She thought of her works as a form of hari-e (‘hari’ meaning pasting and ‘e’ meaning a picture in Japanese), a traditional Japanese technique of making pictures by pasting small pieces of coloured paper onto pasteboard.

It was only in 1952, upon meeting the poet and artist Shuzo Takiguchi, that Okanoue found her own place in art history. Takiguchi was a leading figure of the Surrealist movement in Japan, and introduced Okanoue to the works of the famous Surrealist, Max Ernst, whose style had a decisive influence on her. During the subsequent six years, Okanoue produced over 100 works. Her collages remained idiosyncratic and dreamlike in their juxtaposition of contradictory imagery. In 1953 and 1956, she held solo exhibitions at Takemiya Gallery, Tokyo. However, as with many Japanese women of this era, her marriage in 1957 ended her artistic career.

Okanoue returned to her hometown of Kochi, where she now lives. She is married to the painter Fujino Kazutomo. Her work faded into obscurity and was overlooked for almost 40 years. However, it was rediscovered by the curator of the Tokyo Metropolitan Museum of Photography in the mid 1990s, and has since gained recognition for its contribution to the Japanese avant-garde. In 1996 her works was shown in Meguro Museum of Art, and has subsequently been collected by the Museum of Fine Arts, Houston, and the Museum of Modern Art, New York.

– via huxleyparlour.com/toshiko-okanoue-a-surrealist-in-japan/

Evan Lawrence

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Evan Lawrence creates strange and contemporary surreal art. Self-taught, Lawrence uses ambiguous symbolism to explore his transcendent visions. He is inspired by “the delusion of the beautiful things until the weird moments; represented by the emotional feeling of himself”.

Lawrence’s work is part reminiscence and part artifact of his own inner meditations. Reflecting on past experiences and encounters, the work raises questions of identity, meaning, and representation. Lawrence hopes his work ultimately contributes to a better world by acting as a mirror the viewers’ subconscious.

Artist Statement

“I see art personally as the bridge between conscious and subconscious, between what is real and not real. I express and balance my ego with it. Surrealism is like an escape room for me, a self-investigation of identity. I always try to infuse each piece of my work with my feelings, desires, moods, and dreams of the moment, using art as a basic language; transliterate the noetic perceptions into explicit views.”

https://www.instagram.com/vanlawrenc.art/
https://www.facebook.com/vanlawrenc.art

Buy Prints:

Open Edition: INPRNT – Evan Lawrence
Limited Prints: SPASIUM – Evan Lawrence
Signature Edition: CURIOOS – Evan Lawrence