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Derrick

Tyson

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in my collage work, I'm essentially creating conceptual "compositions" that derive out of the fascination with dream-language, the idea of disassembling and reassembling using purposeful ideas surrounding the image, while also 'going by instinct', which generally has improvisational attachments.
Francis Bruguière once said that “what lives in pictures is very difficult to define . . . it finally becomes a thing beyond the thing portrayed . . . some sort of section of the soul of the artist that gets detached and comes out to one from the picture.” John Latta writes by saying: “The way collage itself hoists itself up by means of rhetoric, assumes its own unaccountable direction, invariably points out a way “in” for the interpreter, against its presumptuous indirection, its constellating vibrance.”
In my work, I'm not necessarily interested in randomly cutting pieces of paper and gluing them anywhere, but rather, I have an idea attached to the image which will either manifest to the viewer's perspective, or will become a totally different entity, depending on each individual. This same idea is relevant with any art form: everyone sees or finds or locates or feels something different.
There's something quite strange about the mystery of images, unscripted and wild, saavy and headless, paused positions, stuck in some ravenous void of existence like a mirror that has a built-in visual receptor that acts like a motor and becomes only evident anytime it's looked upon, when otherwise the mirror never existed. Art should have a purpose and a meaning, otherwise it's a mere decorous grunt! That's how I see it, anyhow. The collages I create mimic the atmosphere, some kind of alchemy unconstrained by any senses, pirouetting, knotted, rearranged, incalculably calculated.
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