As I was searching my mind for new post ideas, I came across a personal „artistic production” from 1998. After 10 years I look at it intrigued and fascinated by how natural postmodern art came to me and Lori (a wandered off best friend). As I’m tardily reading Stanley Grenz’s „A primer to postmodernism”, being reminded of this movement? condition?’s preference for collage, heterogeneity, plurality, de-centeredness, I think it’s rather remarkable how two youngsters in 1998 were unknowingly producing pure postmodern art, having read no Derrida („the ‘Aristotle’ of montage”), Foucault, Rorty, Lyotard or the like. And if you read the caption or collage title („Portrait oph our soulz”) you see both the naiveté and the straightforward admission that the collage is an accurate and vivid description of the postmodern soul.
Background information on the postmodern collage (taken and adapted from Stanley J. Grenz, A primer on postmodernism, Wm. B. Eerdmans, Grand Rapids, Michigan, 1996, pp. 25-26):
The collage is one of the favorite forms of artistic composition in postmodernism. Jacque Derrida considers the collage to be the primary form of postmodern discourse, by its intrinsic emphasis on heterogeneity, plurality of styles-textures-themes, multivalence etc, by its inherent invitation to the viewer to produce rather than discern meaning in an ongoing, open-ended dialogical interpretation. Its inherent heterogeneity ensures that the meaning it elicits is neither univocal nor stable. Juxtaposition is an open meaning producing technique that, pressed to its limits, becomes what is sometimes termed pastiche. The goal of this tactic (juxtaposition) is to barrage the viewer with incongruous, even clashing images that call into question any sense of objective meaning. Now, the disjointed, disharmonious design of pastiche with its gaudy color schemes, discordant typography, and the like, has moved beyond the world of avant-garde art into the everyday realm of book jackets, magazine covers, and mass advertising.
The way I see it, the 1998 collage is still very much a „portrait” of today’s postmodern disjointed and muddled soul.