Suited/ Booted Photoshop Collage 2018 From laughing at salad to 'hide the pain harold'. Since the birth of the meme, the weirdness of stock style photos have always given sufficient ammunition and perfect matching to their captions. To suit a wide variety of situations, photographers and agencies creating these fake situations often include images that play off of cultural stereotypes and cliches. They have become known and memed for their crude illustrations of everyday life and unusual situations. This collage uses the comedy of office themed stock photos to portray a workplace in chaos. The gender pay gap scandal is taken into the females hands as she fights off the sleazy office dudes next to another who makes out with a colleague. A man tears apart his computer in rage while others stare idly at the viewer in confusion. The out of proportion 'big boss' looms above them all.

See: - I was somewhat inspired by this blog which is often removed. It showcases the weirdest and most surreal examples of the above.

Song credit: Hudson Mohawke - Chimes

Click on the images to cycle through. 

In order to plan out the bigger compositions Sam creates collages on photoshop: splicing and re-organising imagery, adding sections of previous paintings, text, logos and digital painting. Using a square method, the collage is scaled up onto canvas and is worked quite mechanically in oil paint. The new narratives created in the collages portray a dystopian, immediate future on earth where man is at a power balance with machine and today's current affairs have a more tightened grip on society than ever before.  

Photoshop Collages

The source material makes quite a linear, and deconstructive journey; through re-arrangement, scanning, collaging and eventually scaling up and manifesting a result in oil on canvas. Sam views his body as a kind of machine in the working process. The input to the machine is the wealth and overflow of photographic material which is typically experienced when using the internet or Instagram for example. The output is a new narrative created from different photographs.The digital collaging process provides a set of instructions for the painting, but the only difference in the 'real' finished piece is the appearance of the paint under whatever light conditions are present. Alterations, in the form of expressive brush marks and human error give it its realness. The act of smearing and blending colour by hand and working to the instructions given by the collage can sometimes feel quite remedial.

It is interesting to the artist as to why he feels compelled to realise the final works in a traditional, labour intensive way as opposed to finding the meaning in the collaging process. It is this lengthy interaction or even conflict with a fluid medium like paint that produces the remedial feeling. There is a mood of beautiful meagreness that arises from the man/machine paradigm. The human error when transcribing something screen or digitally based into paint simply gives new value to the image.

Painting directly onto print

I often use magazines as palettes. Although I haven't developed much of an abstract language in my work aside from that which derives directly from digitally created abstraction (pixelation, noise, scan smears, low quality etc) I like the resulting paintings. I find it interesting for many reasons. The palette starts off giving paint to another painting, causing ones attention to be only on the painting in question. The attention the palette receives is minimal or even unconscious, yet it still eventually turns out having at least some aesthetic value. Furthermore, it's value as an object is shifted further when it is scanned and further edited, and thrown back into the process somewhere else down the line.

For intricate sections of the paintings like logos or text, Sam uses hand cut stencils from printer images (shown above)