The Mechanics of Art Assemblage

This is a voyage into the world of Assemblage Art that you may find useful in the sorting through materials that may be used in three dimensional ‘Junk or Found Art’. In the world of ‘Common Objects’ and elements, we find that they can be transformed into a representational art form. There are certain modes of construction and cohesion in the relational paths that bring you to a finished piece of work.

What may look like a series of broken pieces in front of you will ultimately grow to become an ‘Assemblage’. As with much art there is a series of readjustments, while at other times there may be simultaneous harmony where everything comes into play quite rapidly. Usually though, it is through time, making your own methods along the way, or by using adaptations that are already in use by a host of related influences. Also it is through time and through some patience, trial and error that you find a unified coherence of composition. Oftentimes mistakes in the joining of objects that are different can lead you on a new path creating a ‘happy’ mistake. This is the adventure in the evolution of the making of assemblage art, like a poetic development.

The way the process begins is through inspiration of found/ discarded objects and by continually moving them around and abstracting them into what ultimately may be a unified body. No assemblage is started with a clear view of what the finished piece will look like. After much fussing and labor, common objects begin to form the dynamic of a certain cohesion with a new life for these discards. In order to enhance the identity of a found object the item is often deconstructed and taken to it’s various parts.

Also, it should be said, whole object forms may be used unaltered when good placement may be achieved. By deconstructing you possibly lose all vision as to what the item had been, now being a component of your assemblage art. Conversely the whole object may be used when it may be a critical focus piece within your structure. Putting yourself in the role of a spectator can help the visualization process leading from randomness of dispersed objects to the discovery of a cohesion of a newly created ensemble.

These altered variations are filled with color, depth, texture and reflections. They also can convey a meaningful dialog.

Possibly the viewer sees familiar objects (perhaps now unrecognizable) that have been altered with a new take where these objects have transformed the bounds of their original use, thus taking the viewer to another place in consciousness with the ability to enrich our lives. Michael Wilson