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collage precedent Teddy<br />
Teddy Cruz<br />
Cruz focuses his works<br />
on the social, cultural, political,<br />
and economic forces at work<br />
in the US-Mexico border. Cruz<br />
uses the method of collage as a<br />
representational tool, in addition to<br />
what he deems “mini-manifestoes”<br />
for his architectural works.<br />
Cruz uses collage and architecture<br />
to explore and represent the<br />
land between the San Diego and<br />
Tijuana. Cruz’s collages of this<br />
territory represent the tension<br />
between denisty and urban sprawl,<br />
as well as the tension of the wealth<br />
of San Diego and poverty of<br />
Tijuana.<br />
Through the layering process,<br />
Cruz’s collages represent the debris<br />
of the “wasted” landscape as a<br />
tool to call out the transference<br />
of waste across this territory. In<br />
addition, Cruz’s intention with<br />
collage and architecture is to make<br />
people aware of the political,<br />
soical, and economic issues at hand<br />
in this wasted landscape.<br />
“While these pieces ultimately express<br />
a kind of poetic image, they also serve<br />
as political tools and material for<br />
the architect. That, I think, is the most<br />
important aspect.”<br />
--Teddy Cruz<br />
ashley lenentine & shannon white<br />
Enclave<br />
Maquiladora Proposal<br />
Tijuana River<br />
Border Postcard
collage precedent<br />
Teddy Cruz<br />
ashley lenentine & shannon white<br />
Untitled<br />
Surplus Piece<br />
Maquiladora Proposal<br />
Casa Familiar
Pit As<br />
collage precedent Architect’s Iskra Johnson Name<br />
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ashley lenentine & shannon white<br />
Tacoma Suite<br />
The Manganese Day<br />
Tacomoa Suite
collage precedent<br />
Iskra Johnson<br />
ashley lenentine & shannon white<br />
Werkspace<br />
The Promise of LIght Lake Light 1
collage precedent Kurt<br />
Kurt Schwitters<br />
Schwitters is an artist and<br />
architect who used collage as<br />
a method for representation<br />
to convey the inner tension that<br />
derives from sensitive juxtaposition<br />
of abstraction and realism,<br />
aesthetics and rubbish, art and life,<br />
and their innate dynamism.<br />
‘Merzbild Rosfett’ is a collage that<br />
masters color and is a delicate<br />
balance between content and<br />
form with a juxtaposition between<br />
coarse and delicacy.<br />
‘Revolving’ uses the barest of<br />
materials and portrays mysterious<br />
shadowy rotating cosmos extending<br />
far beyond bounds of the frame.<br />
‘Construction for Noble Ladies’ is<br />
a collage that has a precarious<br />
equilibrium of disparate elements.<br />
Kurt Schwitters was part of the<br />
Dada/ Surrealism movement in the<br />
beginning of his artistic career and<br />
later he aligned with avant-garde<br />
and then last followed methods of<br />
the constructivists. He was a master<br />
of subtle color and transitions into<br />
collages with geometrical forms<br />
and primary colors.<br />
ashley lenentine & shannon white<br />
Construction for Noble Ladies<br />
Merzbild Rossfett<br />
Revolving<br />
The Cherry Picture
collage precedent<br />
Kurt Schwitters<br />
ashley lenentine & shannon white<br />
Merz Picture with Rainbow<br />
Mountain Graveyard<br />
Colored Squares<br />
Merz Picture 31
Pit Christian<br />
collage precedent<br />
Architect’s Christian Hellmich Name<br />
landre Hellmich dolutpatet is an lan artist eu facipit who<br />
aut explores ex et, architectural quat, commod compositions min hendre<br />
depicting mod eliquam, exterior core and interior tate te<br />
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emphasizing dunt nibh form, essent texture, vel dunt and inisi.<br />
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culture, dipsusc literature, illutat, advertisement,<br />
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ashley lenentine & shannon white<br />
Untitled 3<br />
Pavilion<br />
Bauzaun
Pit<br />
collage precedent<br />
Architect’s Christian Hellmich Name<br />
landre dolutpatet lan eu facipit<br />
aut ex et, quat, commod min hendre<br />
mod eliquam, core tate te<br />
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augait nim doluptat. Ut niamconullan<br />
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ashley lenentine & shannon white<br />
Station<br />
Untitled 3<br />
Untitled 4<br />
Untitled 6
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