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I wanted to put you onto a body of work I recently finished: it’s a series of collages called “Fig. 1-99”, 100 colour studies that were done at first as a way of telling a story, and then as a way of using pure abstraction to explore collage itself as an artform. Each one is constructed from a single image, or rather the counterforms from an image: I’m sourcing the paper mainly from 1960s-1980s magazines, and using the backgrounds from the covers. The interesting thing, for me, is how these backgrounds change when they’re removed from their subject: you still get bits of human form (I was usuing mostly magazines with people on the cover, so Life, Playboy, Popular Mechanics, Charm, Allure, Time, and a lot of other, more obscure magazines whose names I can’t remember—anything that prominently featured both people and text).

I use stuff from that era specifically because of how the way it’s printed ages: the paper is uncoated and so each magazine has it’s own unique texture, and because they’re forty years old are, even in the most pristine cases, damaged in some way. Which I don’t think would be the case if I were using paper that was printed now. I like how the tonal variation only really becomes evident when the original subject is removed and the colour is reconfigured into a flat block, and I like that pure flatness is dodged through the paper’s physical properties. One of the things I wanted to do was show that each one is unique not only in composition but also in tonality, and that to use the same source would still result in something different, even if I stuck to certain visual cues within it—that’s why Fig. 50 is split into two compositions and why each feature the same bits of typography. I found two copies of the same magazine and made two collages, which are manage to be quite different from one another while still being the same. If that makes sense.

I work as a graphic designer but am much happier making collages and photographs and pursuing art as a thing. I think that art betters the world just by existing, and my hope is that the work that I’ve been producing lives up to the betterment that art promises, and promises me. A selection of work from the series can be found on my website (http://a-gerace.com), but the entirety of it can be found here: http://www.flickr.com/photos/friendshipexplosion/sets/72157625516224208/

Please let me know what you think of the work, I would love to have it featured.

All the best,
Anthony