1) LOCATION?

Saugerties, NY (Hudson Valley) 🇺🇸

2) YEARS COLLAGING?

17

 3) WHAT DO YOU LOVE AND DISLIKE ABOUT COLLAGE??

I love the flexibility collage affords in determining content, compositional approach and technique. My practice has accommodated my interest in photography, painting and drawing without the need to focus solely on any one medium.

The tediousness of making the work is starting to take a certain toll. Tough on posture and eyes. So far so good with fine motor skills though.

 4) BIGGEST INFLUENCES?

Art history, graduate school friends (particularly within the sciences) and film. 

 5) ANALOG VS DIGITAL, PROS & CONS? 

I use photoshop as a darkroom for generating image files to print. The immediacy of digital photography, digital images and printing is incredible.

I wouldn't be able to offer a CON beyond conjecture as I've had no significant experience with it nor do I particularly gravitate to digital-based works by others. As the lines continue to blur between the perception of the two, and this is certainly true of collage, the significance will further shift to the author rather than the audience. What do we value as artists?

6) HOW DO YOU SPEND YOUR DOWNTIME? 

Garden variety activities. I am perpetually caring for my house and property and mixed terrier. Managing the trees and splitting firewood is a binding element, practically and philosophically. Oh, and New York City is one hundred miles south, which is a great downtime option containing endless options. 

7) THREE TIPS FOR SOMEONE STARTING OUT IN COLLAGE? 

Establish and maintain an emphasis on the concept in the balance of your work. The concept will encourage examination. The craft side will evolve with experience. 

Reductiveness is an important part of the composition. What you leave off is often as important to successful work as what is included. 

Consider multiple works at the same time as a means of slowing down the process and inspiring better vision within your artistic blind spots.

8) WHERE DO YOU SEE YOUR ART PRACTICE IN 5-10 YEARS TIME?

I envision a studio practice involving a percentage of smaller-scale work as an extension of my current work. I see this as a balance to pushing the work in a new direction. I plan to begin working with new materials - ceramic tile, metal, wood, and resin. This pivot is inspired by a few things - an interest in the potential to do larger scale works, working more non-figuratively, and utilizing more assistance in making the work. I hope this takes shape in the coming years. 

9) UP AND COMING SHOWS OR PROJECTS WE SHOULD KNOW ABOUT?

The pandemic has largely shifted my focus away from exhibitions to direct sales and commissions, both commercial and private. I produced a large scale portrait for a forthcoming marketing program for the Japanese company Orbis, which should launch in the early year.

With websites and Instagram (and Sydney Collage Society), there are no secrets unless you want them. I always publish the good work. Thank you.

See more 👀
Gram: @mapesstudio
Web: room62.com

Artwork Credits:

‘Dark haired Female’

2016 | 28" x 34" x 3.5"

Photographic prints, painted prints, dried paint samples, glass vials, gelatin capsules, magnifying box, cosmetic brush, dental x-ray, insect pins, pinning foam, specimen containers, specimen bags, cigarette butt, bed sheet fabric.

‘HdP 02’

2016 | 28" x 23" x 3"

Pinning foam, canvas, acrylic, photographs, plastic containers, resin, fabric, gel capsules, and beads.

‘Martha Goddard’

2022

‘Specimen Q E’

‘Specimen v 07’

2017, 18" x 18" x 2.5"

Archival prints, insect pins, glass vials, acrylic containers, capsules, insects, botanical material, resin, wax, sand, shells, clock pieces, bones, mirrors, cork, glass orb, butterfly wing.

‘Target Specimen’

2015 | 48" x 48" x 3.5"

Photographs, paintings, insect pins, pinning foam, map pins, pill capsules, glass vials, plastic containers, nail polish, doll hair.