RoseGallery is pleased to present Fragmented Lucidity: The Art of Collage and Photomontage, a presentation of works by Katrien De Blauwer, Ken Graves, and Kensuke Koike. The opening of Fragmented Lucidity will also be hosted in collaboration with Luhz Press, which is debuting with The Meaning of Gravity, the first monograph of collage works by Ken Graves.

Originating in the early 20th century, modern collage and photomontage revolutionized art by reimagining traditional forms of expression. Collage, pioneered by artists like Picasso and Braque, combined diverse materials to create abstract compositions. Photomontage, an offshoot of collage popularized by Dadaists like Hannah Höch, used cut and reassembled photographs for satirical and political commentary.

These innovative styles continue to influence modern art, offering new avenues for creativity and social critique. A self-described ‘photographer without a camera’, Katrien De Blauwer constructs visual compositions utilizing recycled photographs from magazines and newspapers. She works as a neutral intermediary between the original authors of the photographs she uses and the narratives that she is communicating. Through reappropriation and recontextualization, De Blauwer rejuvenates the residual, giving to life-forgotten memories.

Ken Graves' collages reveal the wit and precision of his mind and hands. Rearranging found photographs from early to mid-twentieth-century American magazines and inserting a range of materials, Graves creates surreal images that open a world of interpretive narratives. His collages reconfigure the material of popular culture, unveiling the social undercurrent embedded in commercial imagery.

Kensuke Koike creates surrealist compositions that are aimed at challenging the possibilities of image-making. His practice centers around a ‘no more, no less’ philosophy. Koike explores ways of creating a new image from the elements of the original. While he prototypes and experiments, there is only a single chance to work with the original photograph. Kioke notes,

I began to use archival images because I wanted to try something more challenging and to delve deeper into the meaning of an image. More risk means that I have to think twice before cutting the originals, and that is important.