Joyce Saiete (Washington, USA) Listen, 2022 digital collage 15 x 15 inches I’m originally from Maputo, Mozambique, and am now based in Seattle, WA. An architect by trade, I consider myself a visual artist focusing on digital collaging. I use this medium in an effort …
Torea Frey (Oregon, USA) Can These Words Build A Bridge To You? 2022 collage, vintage dictionary and thesaurus papers in English and Punjabi, matte medium, Canson paper 12 x 9 inches Language can divide us or bring us together. And yet some nuances are still …
collage, acrylic, leaf fragments, paper
14 x 11 inches
I’m interested in the connection between humans and nature and time past and present. In the Black Square series, I collage dried leaves and combine them with painted black squares. The black square symbolizes, for me, the dark state of the world with the climate crisis, the Covid pandemic, threats to democracy, and war, among recent dark events. I find comfort in making connections between humans, nature, and art. By saving and drying plant material, I make a bridge between past and present.
Janice McDonald (Colorado, USA) What When, 2022 collage 12 x 12 inches What When was created in response to the first stanza of a poem by Samuel T. Franklin: Questions, Answers O restless midnight, what happens when the moon bends her wrists and braids silver …
Ronald Gonzalez (New York, USA) Healing, 2021 homeopathic remedies over wire 6 x 2 x 2 inches My work is a quest for innumerable creations, resurrections, and alterations in search of a realm of art between the intimate kingdoms of life and death. UY – …
collage
13 x 8 inches
I am struck by the relationship between art and science. I captured this photo during the Oregon Wildfires of 2020 in my front yard. I carefully waited to see when we would be evacuated, as the fires were only 15 minutes away. We caused this. Humans caused this to happen. I created this collage as a memory of that fearful moment; the woman representing me looking at the sky as both devastating and beautiful at the same time.
Gregory T. Wilkins (Minnesota, USA) Varanasi, India: Young Woman with Earring, 2017 photography, acrylic, ink, sewing thread, embroidery thread, yarn canvas 20 x 16 x 2 inches Fast Fashion sweatshops consume 93 billion cubic meters of water annually. As much as 7,500 liters are required …
Nathan Stromberg (Minnesota, USA) Deviation #4 with Fork, 2021 collage of a collage using period papers, an irregular shaped Birch panel 34 x 39 x 1 inches This piece is part of some experimental art I’ve been making called the Deviation series — a series …
[Rewilding series], 2022
acrylic, wood panel
12 x 12 inches
My work reflects my close attention to the biota in my natural environment, wherever I am, and the seasonal trajectory of its life cycles: budding, blooming, fruiting, seeding, dying, renewal. The natural world is our collective home, family, heritage, and future, yet humans have caused irreparable habitat, resource, and species loss. Ecologists say native plant restoration is “nature’s best hope” for recreating biodiverse ecosystems that attract and support native pollinators and fauna. In my Rewilding series, I am painting (and planting) native plants, one species at a time. Collectively, this body reflects biodiversity, as my urban garden develops into a biodiverse ecosystem. Art can spark insight, stir hearts, and stimulate freshness and hope. I want my work to inspire viewers to care for themselves and their own biomes.
Sarah Slavick (Massachusetts, USA) Pandemic 13, 2021 collage, ink, watercolor, gouache, paper, mounted, paper 18 x 18 inches Collage has always been an aspect of my art practice. The collages are made of painted square elements composed in a grid. The random drips, marks, and …