Reshaping "Shape Shifting"

Shape Shifting: BEFORE

A few days ago, I wrote about reworking pieces that had begun to bore me. Well, here's another one. The original(top)  was on wrapped canvas with the collage extending onto the sides. I liked it ... that is until a friend gave me a pile of Italian papers that she'd been using as gift wrap. One remnant had colorful, hot air balloons that were far more fanciful than the antique engraving on the collage. A glance at the balloons, then, at the collage and - ta da! - a new balloon was flying into the picture.

I also decided to take it off the stretchers to crop it. I did that by holding different-sized mats over the image. It had more graphic power at a smaller size - the original was 12"x12" - so, I trimmed the left side. Ouch. It was painful to lose a section of the beautiful antique Guyot map and so many of the tiny corsets that I had scoured 19th century magazines for, but still worthwhile.

In the end, I decided to add the collage to The Grand Tour series, so it's been retitled to reflect that. Oh, one more thing: though the background colors appear different, they haven't changed. The top image is a photo; the bottom image is a scan - and it's that scan that's true to life.

© The Grand Tour: Shape Shifting (2012)
mixed-media collage: antique magazine ads, antique map,
watercolor & acrylic paint, colored pencil, ink.
 7.5" x 11.5" on canvas. Framed with conservation glass.
Price: $185. [SOLD] 

Out On A Limb: 15

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© Out On A Limb: 15 (2012)
mixed-media collage: antique engraving (Chatterbox),
vintage illustration (National Geographic Florida map),
recycled greeting card, ink, watercolor, colored pencil,
 acrylic sealer, acrylic varnish. 6"x6" on wood panel.
 Price: $85 (contact 5th Street Gallery).  

About half the people I know are in Florida at the moment, so this new collage in the Out On A Limb series seemed apt. I haven't sealed it - yet - so I'm still debating whether to remove some of the golden grass or add more. The color birds, leaves and grass are one piece. Cutting the grass proved the most challenging; lots of it was trimmed back, some of it accidentally. I just happen to have two more copies of the map, which was a used bookstore find. Hmmm ...

Strange cupids

We have a tradition in our family of odd Valentine gifts. Think along the lines of Charles Addams and Edward Gorey, and you'll get the picture. So, when I started collecting antique holiday postcards about eight years ago, I found myself drawn to offbeat Valentine images.

Over time, my burgeoning collection of "strange cupids" became something of a family joke. I scoured flea markets, shops and sales for the creepiest cupids. When I returned home, I'd share them with my husband and daughter. Finding postcards that would make them cringe became my goal.

But the latest addition to the collection isn't a postcard, it's the Gibson Girl above. She's from Vol. 2 of The Gibson Book, a 1906 anthology of drawings by Charles Dana Gibson that contains the contents of 11 of his books. She starts "Everyday People." That alone, got laughs. What creeped them out wasn't so much the cupid being served up on the platter, as the steam rising from him.

Other things that bug them: cupids playing with hearts - tossing, rolling & hitting them; the cupid just below who is feeding a "warm" heart to the moon; the cupid below him who is braising hearts over a fire. I, of course, think they are wonderful.

Sugar High

© Sugar High: It Was For His Own Safety
That Humphrey Was Tethered (2012)
mixed-media collage: vintage illustration,
embroidery thread & Russian print,
Monet exhibition catalog,  Italian wrapping paper
& publisher's catalog; ink; watercolor; acrylic sealer;
5.5" x 11.5" on archival mat board. Matted & framed.
Price: $150 (SOLD)

In my mind, Humphrey - whose name has changed three or four times already - was destined to float. At first, I tried to squeeze him into the 5" x 5" format I was using for pieces that will be in The Art of Food exhibit. I liked the idea of him being cramped - but part of him would've been chopped and there wasn't enough air surrounding him to show that he was up in the air.

Looking around the studio, my eyes landed on an oblong mat. Once Humphrey was placed inside it, I knew I was going larger. That, in turn, led to a second series of six collages for the show using the same long, narrow format.

Dream on ...

© Maria And Osgood Aspired To Be Among The 1% (2012)
mixed-media collage: vintage illustration and cookbooklet
cover;  recycled paint chip sample, greeting card text and
champagne ad; watercolor; ink; acrylic sealer.
5" x 5" on archival mat board. Matted & framed. (SOLD)

People wonder where my ideas come from. Generally, the best ones are not over thought; they POP into my head while I'm looking through my stash. The illustration of the couple here is a good example. The moment I saw it, I hit on the idea of a collage about aspirations.

I knew color champagne bottles were somewhere in the "drinking" bin - yes, my stash is that organized. Then, in the "cooking booklets" bin, I found the caviar cook-booklet, a 1984 leftover from my food writing days. I was already using the paint chip samples for the entire series -  I love the names of paint colors and was waiting and waiting to use the growing pile of samples - and found one with "Champagne Ice."

Most of my pieces are about empowering women and the working title for this was "Maria Felt It was Time to Introduce Osgood to The Finer Things In Life." At that point, it didn't have the text bubble. Then, a funny thing happened: I got into a political discussion with my studio neighbor, painter Frank Satogata. Afterward, I saw the collage with new eyes and a new title POPPED into my head.

That change spurred a search for words, which I thought would bolster the commentary - and add movement to a somewhat static piece. I still can't believe I found just-the-right text bubble. It's from an early 1980s set of satirical British postcards called "Life in the Fast Lane."

As to whether this is a Republican or Democratic statement, well, that depends on the point of view of the person looking at it, doesn't it?