In order to create we need tools and a place to create be that a sketchbook or a studio it doesn’t matter, because the tools and the place are symbols. Symbols for means and tradition. We may seek out tools to mark, cut and spread, find pigments in tubes, bottles or nature, but our means whilst diverse are traditional. Similarly, an artist inhabits a creative tradition of being an artist, but no artist can singlehandedly create that tradition. Even if an artist sets out to invent a new aesthetic, he or she can only react against what’s already there, none of us work in a bubble. We are continually informed by what we see other artists do, or have done in the past.
We are also informed by what we have done, our knowledge builds with experience, ways of working become hard wired neurologically. Intuition is not innate, it is learned behaviour. It refers to a subconscious knowing, the result of processing a range of experiences and past knowledge. Whilst we may be in flow state¹ when creating we also bring all of our past experiences to the studio. I have been an artist for a long time… that is a lot of experiences!
I love learning processes and becoming masterful in them. Whether its paint, collage or print, each informs the other. In an interview with Tara Axford last year I mentioned how the cross pollination from printmaking to paint has enabled me to satisfy my curiosity, fed my restlessness and build a huge body of knowledge. But I have learnt a lot about myself this year. I have learnt that my distractibility and chaotic mind give me an edge when it comes to creative, original thinking. I have the ability to think of many ideas from a single starting point, a critical part of creative thinking. But whilst this has been a positive aspect of my practice, I have felt the need to pull things together, to be more decisive about which processes I use and why. I needed to find a way of working that enabled me to work freely, but resulted in more cohesive outcomes. Working with Cheryl Taves on her The Artists Mindset has really helped me find a focus. To be the conductor of my own orchestra.
Much of the first half of this year was taken up putting together a trilogy of self paced courses, the last one being Collage Creations. Until I created work for that, and looked back on my past catalogue for ideas, I genuinely hadn’t realised how much collage has always been a significant part of my practice. I use papers in printmaking as chine colle, embed papers in cold wax medium, start paintings using collage as a base as well as creating collages in their own right on canvas and paper. Gerald Brommer³ calls this blatant collage where nothing else is added, the papers are used alone, not integrated with more media.
Last year I created a series of large collages from paintings on canvas I brought back from Spain. I was inspired by reading how in 1974, Lee Krasner⁴ found an old folder of drawings she had made when she was studying at Hans Hofmann’s school and decided to use them as the raw material for a new series of collages. I decided the paintings I brought back represented a past life, they had spent lockdown in storage. So I took them off their stretchers and brought them back rolled up in large suitcases. These are three of the large collage paintings that were shown last year at Salthouse.
It became clear that collage has enabled me to utilise the ever growing mountain of printed papers. To reuse and recycle my back catalogue. But not just as fodder, these are papers that have been created by me at a specific point in my life. Papers that have meaning and history. Some collage papers I am newly creating are made specifically for this series of paintings, exploring particular ideas or colours. They sit alongside older papers and when I stand back I feel I am not looking at a piece I have made this month, this year or even this decade. At this point in my life that is where the meaning lies.
Thank you for writing this piece Sally and the inclusion of photos to illustrate your journey. I will return to it and read it again…a few times I expect as it is full of gems. And thank you for putting together the courses…..I have learned more from them than anything else I have studied in the last couple of years. Your generosity in sharing techniques, materials and processes and your unquenchable enthusiasm has provided a rich learning ground for your students.
Thank you so much Pam, it’s been my pleasure…. 🥰
Interesting article, thank you. I find I feel a sense of irresponsibility when I collage that is lacking and less free feeling in my painting practice. Maybe I feel some of the choices have been made by others in collage and I am on my own with paint. Ah, the psychology of the artist and the methods we develop to keep ourselves interested, engaged, in a state of development. Transitions are unnerving so I appreciate your perspective.
Thanks Carmen. We are constantly dancing around! What feels right, what doesn’t. I like how creating collage papers takes me a long way on the journey the only commitment comes when gluing down.
Great article Sally. I found, through your online courses, the pure joy of creating collage papers for no other reason than “because I can”. The freedom this in turn gives me to create collage is liberating because I can always create more papers. I have started to find a path over the last couple of years that I am happy to continue following for the foreseeable future, and feel “comfortable” with this medium more than anything I have used before. Thank you.
Thanks Eileen,.. yes I feel the same! liberated but with a focus? Onwards! 🥰
Love this article – I am suffering a serious block/lack of faith in my ability and this article is encouraging to me. Thank you Maggie
I’m so pleased ! Creating collage papers is a great way to feel active without pressure..
Really interesting post, Sally, and so much I can relate to here. I too am highly distractible. That can present practical problems in my very small studio, because finding focus is both a necessity and a challenge. But I’ve come to recognise this trait is an essential part of my creativity. Getting the balance right is hard!
Incorporating collage in my work, as well as making ‘pure’ collage, has been hugely helpful – and really addictive.😉 One can try out so many possibilities before making a commitment. For me though, an initial collage layer in a mixed media piece seems to bring the process to a halt in my brain. I still don’t understand why this is, but noticing it has helped me reorganise my process, allowing ideas to flow.
Thanks for the reading list too. I have Brommer’s book, which is excellent! 👍😊
Ah, yes I had to get past that too! I do a rough sketch out of shapes with black white and grey paint, then find or make papers to fit those values. Invariably the initial layout changes and papers get lost but they must not be precious or I find I dance around them? Once I’m in the flow the brakes are off 😂
Thank you for this fabulous blog which I thoroughly enjoyed reading. I’ve been feeling very unmotivated recently but your enthusiasm for ‘all things arty’ is addictive and I’m inspired to get my paints, paper and glue out.
So glad it helped!?😊😊
Sally, this was a wonderful way of describing the rigorous way to work, and then a calm sense of achievement. Wow, I think it should really be published/
Thanks Margaret, yes the collage stage is definately less frantic and more reflective ☺