It was a scrap book project in my middle school civics class that I was introduced to the creative process which allowed me to tell a story by simply collecting, cutting, pasting and using word calligraphy on a page I designed. This scrap book activity informed the collage methods and experience I use in my current journal books as well as art works which are often filled with numerous clippings and objects from my travels and life adventures.
Iconography, as a branch of art history, interests me as I study various types of traditional icon images, African symbols and Asian calligraphy to determine their use for my own personal interpretations of content and subjects. For Birds of a Feather… I apply both calligraphy and symbol drawings as a base foundation creating juxtaposed layering of pencil and marker mingled with a large cutout image of a 1908 Print selected from my personal collection titled “Black Birds” displaying black children sitting in a tree. Additional round, geometric-shaped images of eggs, birds and people surround and balance this tree of children. Stamps trail and dart over the entire canvas to help introduce and support a theme. The overall color of the canvas is determined by the images that are collaged.
One of the most significant aspects of my collage processes is the longevity or archival breadth of each art work which is anchored in a patient application of adhesive techniques to achieve a flat surface. Because I approach my work much similar to constructing and completing a puzzle, I am comfortable with the beginning and assemblage of my collage art work. However, the final question is when do I know to end or simply stop working on this art piece?
This is an answer and approach I relied on as I meandered though my concept and dialogue that I used to create Birds of the Feather… I finished this collage like eating a bowl of pot licker with a chunk of cornbread. I sopped the juice until the bread was gone then I stopped and drank the remaining juice.
– Scinthya Edwards
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