Collage: Over Head Compression

Over Head Compression is another one of those fun collages that I've been working on. Using more block geometric forms that have an architectural resonance with an overlay of movement. I really like this piece because of the simplicity of its composition coupled with the dynamic stratification of the paper.

Collage: Torque

Torque is the first of a new set of more square and rectangular shaped panels. In these new panels I am working to separate the visual information from the multipanel collages. My feeling is that the multipanel collages have there own dialogue for the viewer. The sense of fragmented movement is there intent. Here in Torque and the following posts the images are more explosive in composition.

Move Over, I'll Drive: New Collage

Speed is of the essence. Move over, I'll Drive is the name of the collage. By me driving you will be able to press your face against the window and see all that you would miss if you had to drive. In addition it allows me to stomp the accelerator and reach speeds that will set off all the photo radar cameras we pass adding to the light show. One other thing: having you distracted by the flashing lights from the cameras, you won't see me ducking so as not to have my picture taken by them. Safety is not relevant in a collage. Or in art.

There are some close ups of this piece and It should give you an idea of why it took some time to complete.

A Hundred Miles From Anywhere: Almost There.

"Quality is Quantity. The quality of an art object is directly proportional to the quantity of something that it gives to someone who belongs to some constituency of interest" to quote Dave Hickey. This is a thought that has been rolling around in my dome while I work on this piece. I have found that as these collages progress there has been a determination on my part to place as much visual information in them as to capture the act of smashing the side of your face against the window of a car moving at speeds that would be considered reckless. A lifetime of driving in one moment. The result should be a visual that is revisited because you are always seeing something new that you missed at a previous viewing. This is what Peter Frank said about these collages in his review of my show in Venice, California at Gebert Gallery "They seem more immediately connected than ever, both to the experience of seeing things zip by and to the hyper-distortion that results from trying to record such experience through a lens". Here are some shots from last week. This piece is almost finished.

Tony Pace's School of Driving and Life: Where does art start.

The guy holding my sisters hand in this picture from 1961 is partially responsible for the work I do. He never taught art. He sold cars. My maternal grandfather, Tony. I spent more time driving with him than anybody else before I learned to drive. As you would expect cars were the deal, driving to get cars, going to see cars, being in car lots, sitting in the car waiting, and going to Jerome Ave in the Bronx NY where the greatest concentration of wholesale car dealers in the Northeast was located. These days spent with Tony were an eye opener for a kid.

Some examples of the entertainment were opening the glove box to find a handgun, that by the way only shot blanks according to my grandfather. Watching guys with rolling tool boxes whose profession it was to help diminish the mileage on some of the cars being bought. Other fellas who were handy with a hot iron used to re-burn tread in a tire that had very little (not recommended).

Other activities might include reading the NY Daily News race track results to find out what numbers came up. Going to visit the local bookie to place your bets. That could be going to the corner grocery type store. I was always amazed that they had some of the most unexpected products, toasters, blenders and vacuum's for example. Little did I know these products arrived at these establishments because they had been scammed by guys (those guys) who committed credit card fraud at department stores. In those days credit card purchases were only checked by phone if they were over a certain amount. These purchases did not warrant a phone check.
Time with my grandfather was like being part of scenes from Goodfellas that were not violent. I know there weren't many non-violent scenes in the movie, but there were some.

.
Cars fast and big was a good thing as you can see from the image. How many people today roll in gear like he is wearing. A caddy was nice.

Showing up at my home with a Dodge Super Bee (basically a Road Runner hemi) making sure we

knew he, my grandmother, and aunt arrived by some engine revving and tire squealing. Once parked he would inquire who wanted to go for a drive. This drive was not sanctioned for adult consumption. The neighborhood kids were invited. When we would leave the street it was accompanied by burning some rubber, to the delight of the passengers and dismay of adult onlookers.

These memories are part of why I make art about moving, driving and remembering.

There is more to how this influences the way I make my collages. The Tony story to be continued in another post.