I probably have the timeline scrambled. As usual. Everything turns into part of a collage eventually—the great cosmic recycling bin of existence . . .
Anyway, I’ve been without a printer/scanner since about the time Covid grabbed the world by the throat. Who knows? Maybe the virus killed the chingadera. You can never be sure about these things.
This had me and my wife following my dictum about how when the going gets tough, the tough get creative, learning that taping a strip of paper to a contract on a computer screen and emailing a JPEG of it does the legal hoodoo just as well an actual scrawl on a sheet of dead tree.
(I’m wondering if technology will soon make the written signature obsolete, but I digress.)
About that time, Emily (my wife for those of you who have better things to do than to memorize the details of my life) rushed out of the garage with an overstuffed, tattered manila envelope. It was full of a bunch of pieces of cardboard with pieces of paper glued to them. Collages.
They were something I did back in the late Seventies/early Eighties. This was a rough time for me. I was struggling to hack out a niche for myself in a world that didn’t seem to have a place for me. I had an unhealthy and unnatural compulsion to create.
These mishmoshes of surrealism and sci-fi were inspired by the collages
of Max Ernst and by the fact that I had a lot of old magazines moldering under my
bed. Playboy, Life, Science Digest, and others whose names I can’t remember.
I had a lot of fun making them, and they were seen by practically nobody. I had no outlet for them. I put some in my portfolio, and people were disturbed by them.
Seeing them again makes me glad to once again have a printer/scanner. They are delicate and will probably fall apart. I also look forward to posting them online (thank Xochiquetzal for the interwebs). Maybe more people will be disturbed.
I can always use them for illustrations.
And maybe they’ll snag me some money.
Yeah, I’m a hopeless case.
The ones shown here are only a few. Watch out for more.
