Combining the printed element of collage with the three dimensionality of assemblage, Kroll’s inventive layering of imagery culled from a wide array of antique books is an entirely new approach to found imagery.
Assemblage is one of the “bridging concepts” that connect various artistic disciplines while retaining their specificity. While Kroll’s source material is gleaned from a multiplicity of texts, including old encyclopedias, medical texts, children’s books, popular science, technical manuals, paper dolls and old photographs, the careful juxtaposition of imagery transforms the presupposed chaos of subjects into cohesive compositions that re-imagine patterns in nature and investigate the neurotic processes of humankind.
Beyond the diverse assortment of inspirations, Kroll’s complex works focus on the source material itself and the history of those objects. Deconstructed and then reconstructed, individually cut imagery each possesses its own unique history, having passed through many hands before being re-contextualized by Kroll. Serving as the canvas for these intricately cut-out assemblages, aged blank paper found in old books lends a natural patina and muted hue to the works.
Because of the high quality of the color plates and lithography selected, Kroll maintains the integrity of the original found materials while considering their imagery in an entirely new context. In many cases, elements of the work are lifted off the flat surface to create visual drama to these mis en scene while adding dimensionality and showcasing the highly meticulous nature of her cuttings.
Wendy Marvel and Mark Arnon Rosen bring a sense of nostalgia for the industrial era of the early 19th century and find inspiration in early photography’s technological processes. Drawing on Eadweard Muybridge’s early stop motion experiments, their meticulously crafted flipbooks recall the bygone era of creating motion through a sequencing of images. Using altered Muybridge motion studies as well as original photography, film, and in some instances hand-painted details, the artists synthesize antique and contemporary imagery.
Since the 1860s, inventors like John Barnes, Max Skladanowsky and Herman Casler have developed rotating cylinders that animated a linear sequence of images. Rosen and Marvel source their materials from aerospace junkyards and obsolete equipment to create the custom encasements and mechanisms for each flipbook. Drawing on past advancements while including current video and film capabilities, the artists merge art and science as they investigate the nuances of technology and kinetic imagery. With each custom fabrication, they capture the ingenuous fascination of old-fashioned moving pictures while expressing an innovative personal sentimentality for photographic imagery.
Hope received her M.F.A from the San Francisco Art Institute and has exhibited extensively in California as well as New York. Featured in publications such as Hi Fructose and White Hot Magazine. She currently lives and works in Paso Robles, CA.
Kinetic artists Mark Arnon Rosen and Wendy Marvel have widely exhibited their series of original motorized flipbooks, which are based on the motion studies of Edweard Muybridge. They have are featured exhibitors at the San Mateo and NYC Maker Faires since 2011, and their original series is also showcased every year at the Kinetica Art Faire in London.