the assemblage of Art Foundango

As I've said before, when career creatives take a step back from the traditional approach to their industry, great things happen. This is the case with Art Foundango, the blog of assemblage artist Randy Hill. I've been fascinated with his work for quite a while and had the pleasure of sending him some interview questions so that others could learn more about this talented artist and his work.



1. Before I ask you about the incredible assemblage art that you create, how did you get your start in the visual arts?

First, thank you for this interview, I really appreciate it.

Like so many other people, I was first interested in art as a child. My earliest memory of drawing took place in elementary school. I can remember studying and sketching the ear of the student sitting in front of me in class when I should have been studying. That was just the beginning of a lot of bad grades in school and my interest in art.

In my teens I did a lot of ink and charcoal drawings and pointillism. I especially loved to draw old classic cars and anything having to do with cowboys, Indians and the civil war.

I had a huge love of music growing up and I became a drummer in my early teens. In a round about way it started me on the road to designing band logos, media kits, album covers and things of that nature. It eventually grew into an over 30 year career in graphic design.

2. Could you elaborate on the following excerpt from your artist statement..."My passion for creating this kind of art reaches back into a childhood that was rich with the vision and imagination that is naturally found in my home state of Texas."

First, I consider myself very fortunate that I grew up in the great state of Texas where you are brainwashed as soon as you start first grade.

As a child you are drilled with facts and trivia on your knowledge about everything Texas. "What is the state bird? State song? State rock?" In addition, you have this vast colorful history of Texas, the battles of the Alamo and San Jacinto and the fight for independence from Mexico. Then to top it all off, Texas becomes the Republic of Texas – its own country. It's a very romantic story, full of myth, legend and a little bit of truth.

I am struck with the immensity of state pride that people who live in Texas have, especially now that I have lived in other states and countries over the years. I have yet to find a state here in the U.S. that comes close to matching the pride that Texans have. I mean, we put the Texas flag and the state shape on everything!

Probably the largest influence comes from growing up on a farm in central Texas in the middle of a melting pot of cultures; German, Mexican, Czech, French and all the foods, music and traditions that go with each of them. Combine that with the fascinating array of farm implements, tools and everyday living sorts of objects I grew up with, it had to have had an influence on the way I look at things.

3. Who are some of your influences in the assemblage art world?

Michael DeMeng is someone who really fanned the spark of assemblage creation for me. It was through finding a book that featured his works that I realized that what I had been creating all along actually had a name and was actually considered art. Since then there are others that I really admire; James Michael Starr who is another fellow Texan, Christopher Conte who produces absolutely amazing assemblages and assemblage clockmaker, Roger Wood.

4. How do you get that first spark of inspiration when starting a new piece? What is your process for creating a typical piece?

That is a very difficult question to answer. Frequently the assemblage I am working on just evolves as I start looking at the various objects that I have to pick from in my collection. It also makes a difference whether I'm just doing the piece for myself or if it is a commissioned piece.

I would say though, that my childhood and the era I grew up in had a huge influence on my artwork. I was born in 1955 and grew up during an amazing period of time. The race to the moon…the Beatles and all the amazing music that was created during the 1960s all had an influence. Movies I was exposed to as a kid like, "The Time Machine" and "20,000 Leagues Under The Sea," "First Men In The Moon" and "Journey To The Center of the Eath" fired my imagination even more.

I always joke that the Twilight Zone TV series back in the 1960s totally messed up my mind. What was lacking in any special effects we had at the time was made up for in creative writing and storytelling of which the Twilight Zone is a great example.

5. What do you find most challenging about assemblage art and how do you successfully move past that challenge?

The hardest part for me sometimes is the initial idea. Is it creative? Is it forced? I pretty much know by now when I'm forcing an idea that doesn't fit and when I'm genuinely inspired. There's nothing like that feeling of excitement when everything is clicking and the artwork is growing and changing as I work on it.

Little happy accidents are always welcome too. The guitar piece that I did titled "I Saw The Light" was one of those little accidents. My son-in-law was going to throw out his broken guitar from his childhood and I asked him if I could have it because I thought I could make something cool out of it. I made a tribute to Hank Williams with it, due in part to my love for old classic country music. It was only a couple of years later that I realized that it was the same brand (Silvertone) guitar that Hank Williams played. That was cool.

6. Have you ever considered creating assemblage portraits of people? Would you consider creating a self-portrait assemblage piece?

The closest I've come to doing an assemblage portrait is when recently a couple asked me to do an assemblage to represent their love for each other. That one will be an interesting challenge. As far as creating an assemblage self portrait? I might go crazy just trying to get started on that one. My whole life has been an assemblage.

Here are two examples of his work:

Title: "Sanctuary"

Title: "This One Wants To Be A Blues Guitar"

If you're like me, you're already interested in what he's going to create next! Having said that, check out http://artfoundango.blogspot.com for updates and new work. Thanks, Randy, for a great interview and continued inspiration!

found objects as art and fiction

How to create a path to inspiration by going around a creative block

Creative work thrives on change and variation. Whether you're a professional artist or weekend hobbyist, creativity needs an open mind in which to work and an open mind is one that allows inspiration to enter at any time. However, inspiration is unpredictable when it's allowed to show up on its own; sometimes, it needs to be "found".

To give you an example, it's no longer enough for me to shoot a random subject. I need to know in advance what I want to capture as well as have a reason for capturing the shot. After writing out my ideas and overall thought process, I decided to shoot found objects. Found objects, random items that are found (as they lay) in public spaces, have always fascinated me so I figured this would be a good place to start. But I wanted to spice up these shots, give them something extra beyond just being pictures on paper. Since I write on a regular basis, I thought it would be interesting to add a story to each shot; taken one step farther, I decided to let the subject of the photograph dictate the story.

That's where I came up with found objects as art and fiction. I realized that those objects somehow got to that spot, either on purpose or accidentally. Who was it that dropped that bottle cap? Did the wind blow that piece of paper into the pile of leaves? These types of questions started popping into my head and that's when I knew I was inspired.



Am I suggesting that every creatively blocked photographer start shooting pics of street litter? Not necessarily. What I want you to do is think of something random that most people don't pay much attention to. Maybe it's retail receipts, lint, lost change underneath couch cushions, or even chewing gum stuck to a sidewalk. Find something that is often overlooked and start taking pictures. Ask yourself how that item got there. Try and figure out what, or who, it belonged to before it was left there. Jot down notes on what comes to your mind. And most important, keep taking pictures! Spend an hour going through this process. When you get home or back to your studio, develop the shots and compare them to your notes. At that point, let the thought process flow naturally and see where it takes you.



Inspiration isn't easy. Sometimes it comes naturally but a lot of times, it's not there when we need it most. So go out and find it. Create your own path to inspiration and creativity; and remember, creativity isn't just a fun product, it's a fun process.

(originally posted in JPG Magazine's online community on 10-21-2008)

© 2008 joe blend. All rights reserved.

thoughts on materials - "sponges"

primary use: general ink/paint application
overall opinion: Fair

advantages: easy to find, inexpensive, they can create interesting ink/paint treatments.
disadvantages: these particular sponges can be difficult to use when applying ink/paint due to their angles and textures.







misellaneous: My experience with the above types of sponges has given me mixed feelings about their use. I haven't used them often; as a matter of fact, this is probably the least used medium for ink/paint application in my supply of art materials. However, I am willing to use them in future projects since their use can result in interesting treatments; I'm sure they have their time and place but this is one material that I will have to re-visit. I'll update this section with new comments after I've used these materials again.

more thoughts on materials:

...prismacolor markers
...Staedtler pigment liner
...carving block
...coming soon (sketch pencils, espresso)

"thoughts on materials"

This section focuses on various types of art materials (both traditional and non-traditional) and their unique characteristics.



Some specific information will include a medium's reaction to different types of paper, good and not-so-good times to use them, advantages and disadvantages to their use, etc. Some materials are my favorites while others I try to avoid; regardless, I'll cover all the ones I've used and will venture into new territory to cover new materials when possible. While I have a number of materials at my disposal, I don't always use them regularly so new listings may not be added to this article on a predictable basis. As for traditional versus alternative materials...I have no preference; each element used in art is important and its origins, although possibly non-art based, are not as important as how well it may serve a particular project.

Art is a great experience, it thrives on new ideas and experimentation. My hope with this section is that it motivates you to try something new or to look at a familiar material in a new and interesting way. Any updates in this category will be provided through Twitter...http://twitter.com/nodecafhere.


thoughts on materials:

...Staedtler pigment liner
...prismacolor markers
...carving block
...sponges
...coming soon (sketch pencils, espresso)

my journal

I don't remember how I discovered journals. When I finally decided to invest both money and time into one, it started out as a source for inspiration. I would cut out images and whole articles, gluing them onto the pages and adding my own notes. My journal process moved to drawings, then writing, and now it's a combination of everything.

For some reason, I never finished a journal. What happened is I started using it and realized after a month or even a few months that the book wasn't accomodating my needs. My journals have included the following:

a purchased leather journal - about 6"x9", with a leather tie that wrapped around the journal a few times to keep it closed...{concern}...too big and became too heavy as more collaged elements/pages developed

handmade/retail hybrid, version 1 - front/back cover and spine of a watercolor sketchbook, with thread-bound signatures of newsprint...{concern}...I did a poor job of binding and the signatures were too heavy for the paper, it was also too uncomfortable to use

handmade/retail hybrid, version 2 - front/back cover and spine of a watercolor sketchbook with a handmade accordion pocket inside with various types of paper...{concern}...it was annoying to pull out and return individual pieces of paper, cut out articles, etc using the accordion pocket

moleskine - 3"x5", too small...didn't last long

handmade - handmade paper cut into two pieces for the front and back cover, contained different types of paper, bound with binding screws...{concern}...too fragile

Well, I've finally found one that I consistently enjoy! It is, in a lot of ways, the best parts of my previous journals. I think what I like best about this one is its flexibility and simple binding.

current journal - relaxed leather for the front/back cover and spine, bound by a strip of leather tied off at both ends, contains different types of paper

details: when I purchased it, I took out most of the paper it contained and began my quest for custom paper. I cut pages out of newsprint, charcoal paper, packing paper, and white drawing paper (as well as used some of the paper it came with); I cut the sheets in a sloppy manner on purpose, inspired by the deckled edges of my old watercolor sketchbook.

Once i punched holes in all the pages, I re-bound the journal. Now I had a custom journal with a variety of papers. And once I fill this journal, I can re-bind it with new papers and re-use the leather cover/spine as many times as I want.

Here are a few shots of some of my favorite pages...

cover




first page




random writing



random drawings



For those of you that don't use journals, I recommend you start. You don't have to be an artist, designer, writer, etc to use a journal. If you enjoy traveling, going to antique stores, or enjoy keeping track of various activities, a journal can be a fun and personal way to accomplish that; it's also interactive so more than one person could use the same journal.

Although there are a number of places to purchase a journal, it all depends on what you want. Here are some helpful links to get you started:

Handbound.com

My Handbound Books

Barnes and Noble

Borders

Etsy

Cavallini & Co.

journal content © 2008 joe blend. All rights reserved.

"I'm asking for the extra espresso shot because there's a lot to do and I just woke up."

Several months ago, I realized I didn't know what I was trying to accomplish as an artist.

Over the past several months, picking up a pen to draw or planning a few hours to shoot a hundred photos seemed like old habits that were on their way out. My writing continued. And I was reading...a lot; my home library became more interesting to me than my sketchbook and that's a hard thing to accept as a visual artist.

As I said, I'd increased my reading. Publications like "The New Yorker" and the "A Series of Unfortunate Events" series by Lemony Snicket fascinated me and I started to realize I wanted my work to have more function, more utility. Although I didn't mind creating fine art, I wanted there to be an aspect of my work that provided an experience. I revisited my journal writing, the stuff I'd scribbled and scratched out over the last several months that pertained to my future in the arts. And this is when things started to click into place. Among my scribblings were comments on Kramer Books and Afterwords Cafe (a really cool local bookstore/cafe in Washington DC) and notes on various sketchbooks of very talented illustrators, along with references to art journals. That's when it hit me. I needed to make a change.

So I've decided that I'm taking my work and blog in a fresh direction...handmade books and art, and more of a bookstore/cafe approach to my blog. I guess it's not so much a new direction as a reallocation of my skills and creative focus.

Some sample work:

A table of contents page from a small writing zine

A sample spread



I'll post more images as projects near completion but look for writing and drawing previews as well!

above images and content © 2008 joe blend. All rights reserved.

ink snacks

Zine name: "ink snacks"
Concept: bite-sized creativity
Content: prose, poetry, and small format artwork...along with a few surprises in each issue
Dimensions: 4"x4", unfolding to 14"x17"

cover



open zine



ink snacks (tm) content and design © joe blend. All rights reserved.

photography

All of the pieces are sold as individual prints (no frame or matte) and each are part of their own limited editions (unless otherwise noted). Once an edition is sold out, no further prints will be made. Each photograph is printed on Epson photo paper and signed on the back, along with its number in the edition. All work includes a certificate of authenticity with purchase.

Please visit http://abstractlatte.etsy.com for purchase information.

subject: wall imagery

location: Harpers Ferry, WV

subject: found objects
location: Occoquan, VA

subject: street gutter trash
location: Washington, DC

all work © 2007-2009 Joe Blend. All rights reserved.

kramerbooks and afterwords cafe

subject: Kramer Books and Afterwords Cafe
materials: pen, pencil, gouache, found items, and torn paper on newsprint



[return to main "journal art" page]

coffee and seattle

subject: coffee and Seattle, WA
materials: pen, pencil, and espresso on paper



[return to main "journal art" page]

journal art

Simply put, I am inspired by the ability to record a subject or event on paper, in a book, with as much interpretation as humanly possible. But each time my journal is opened, my pen does not begin with an interpretation of form or a study in gesture; it all starts with writing, with words, simple typographic forms, and builds from there. My journal art: an extension of writing that includes more visually expressive elements.

So what qualifies as “journal art”? I use three criteria to make that decision:

-it must be done in a “spread” format; that is to say, there must be some reference to binding and facing pages.
-it must use at least two artistic disciplines, one of which must be writing.
-it must be made by hand (the only exceptions being the inclusion of found objects or photography)

(note: one piece that I’ve included, “Kramer Books”, does not meet the first criteria; I’ve still included the piece since it retains a lot of qualities that I enjoy about journals; just until I finish new work.)

Although fine art, these ideas and treatments are just another form of writing, in my mind. But being a trained visual artist, I cannot resist the temptation to draw or paint in some way; I figure, why not merge my interests in a way that makes sense.

{I'd also like to "draw" prose and poetry; no major illustrative elements, just hand-drawn letters, sentences, etc that convey the subject in a manner other than printed or digital type. I may also look into letters through photography, which has a whole other set of possibilities associated with it.}

So enjoy my off-the-cuff handmade narratives; new work will be posted soon!"

the "journal pages":

-coffee and Seattle
-kramer books

...more work coming soon...