Melbourne, Florida based artist Derek Gores relates creating collage art to a dreamy, abstract search, digging through representational images to find beauty. Previously featured here on our blog, Gores has said that his primary motivation as an artist is to combine elements and make something new, a fundamental principle of collage. His colorful collages borrow clippings from recycled magazines, maps, and labels, reassembled into bright images of figures that pull both contemporary and vintage design styles.
French artist Renaud Delorme’s portraits lie somewhere between Pop Art, computer graphics and recycling. His mosaic-like images are made using an array of unconventional materials and found objects that he collects; everything from fabric, bottle caps, shampoo bottles, computer chips, film reels, and even tennis balls are all clustered together to recreate the intricacies of his subjects’ likeness. In the tradition of Pop artists like Andy Warhol, Delorme’s favorite subjects are classic and modern day celebrities from Marylin Monroe to supermodel Kate Moss, though it’s not their fame that concerns him the most.
In today’s advertising world, it’s almost impossible the avoid visual landscape of company brand names and logos. We endulge in a pop culture that is virtually paid for and made possible by “product placement”, creating often unwelcome interruptions. This Saturday, CHG Circa gallery’s artists have chosen to interrupt their own imagery in “Product Displacement”. Consumerism is a necessary evil to a healthy economy that has intrigued artists for decades. Perhaps the most famous example is Andy Warhol, whose works like the Campbell soup cans forced us to reckon with big business’ presence in our lives. Artists such as Eric Joyner, Buff Monster, Shag, Brandi Milne, Richard J. Oliver, Andrew Brandou, Ron English, and Sylvia Ji take a cue from artists like Warhol to publicize their own experiences with advertising.
In 1979, Andy Warhol conceived “Shadows” with a goal that would not be realized. Vibrant with the high energy of a 70s disco, the 102-piece painting was designed to wrap around Studio 54, but it never did. Yes, painting, singular. Although in multiple parts, Warhol’s design is a visual décor meant to be shown as a whole. It has not been displayed in it’s entirety quite like this until today, now on view at the MOCA Los Angeles.