I find them interesting because I can change so many things in one little move—I can reorient where the character or characters in the image are looking; I can change sizes, species…they’re very simple and basic, but I find them very fun. I tend to like the ones where people can’t quite tell—“What did you do to this one?”—over the ones which might be a bit more obvious.
I recognize some faces and backgrounds in your work, but most of them seem like they’re just on the edge of my memory…should I really be knowing more about who these people are, or what news event the background setting was pulled from? No—sometimes people identify subjects in them that I wasn’t aware of, such as the former prime minister of Australia—I didn’t realize who that was. I’m more interested in variations and repetitions—in all the things that I create: in films and music, but in these things especially so. In a lot of these pieces, I don’t know who the people are, and some of the ones I think are the best are the most abstract, when you don’t know who it is, or if it’s even a collage—for me, anyway.
That’s a relief—I was concerned that maybe I was just too dense to figure out the play you were making with some of these people.SOME COLLAGES by Jim Jarmusch, Published by ANTHOLOGY EDITIONSI have a portable collaging case—cutting tools, tweezers, backgrounds—and if I’m going on a trip I’ll take it along, and if I have a chance, I’ll make some.