WEIRD SHOW

TWS is an art platform dedicated to the showcase and exploration of contemporary collage through exhibitions, publishing and workshops & sessions.

The whole thing is co-curated by Rubén B and Max-o-matic

06/08/2026

James Bourbon is a Brisbane-based artist whose practice moves between two mediums without abandoning either.

He starts with research — archaeology, he calls it, digging for lost treasure in the archive. What he finds feeds the photocopier. He cuts, glues and arranges, building collages in the stark black and white aesthetic that defines his work. Then he scales them up with paint and brush, carrying the image to a size paper could never hold.

The distance between a xerox machine and a wall-sized canvas is where his practice lives. Collage is the thinking that makes it possible.
"We're building our memory and identity from the fragments of our experience, in many ways that mirror the collage process."

Read the full interview — link in bio.

06/06/2026

"There is always a tension between happy accidents, randomness, composition and intentional creation."

Vicenzi doesn't plan his collages. He builds backgrounds, cuts hundreds of images, makes what he calls pseudo-graffitis on magazine pages — then waits until something speaks to him. The tension he names isn't a problem to solve. It's the engine. Collage, for him, only works when neither the accident nor the intention is fully in charge.

Source: theweirdshow.info/2023/07/07/raphael-vicenzi-the-tension-between-happy-accidents-randomness-and-intention/

06/04/2026

Daniel Firman works with an unlikely material: time held in a body that has nothing left to give.

His practice is built on exhaustion. He holds his models in position until the body gives out. His figures have no faces, no identifying features — just bodies caught in configurations that physics shouldn't allow: an elephant suspended from the wall by its trunk, figures frozen mid-collapse under impossible weights.
He strips identity to isolate the question: what does a body do with time, and how long can a moment hold?

"I demand much effort of my models in order that they remain immobile until they are exhausted, and it is with this approach to time that I create sculpture."

More at .

06/01/2026

We've got to admit it, we've been obsessed with this artist for quite some time. Raphaël Vicenzi (aka My Dead Pony) works in Brussels with a clear set of contradictions: high fashion photography as source material, punk and graffiti as the aesthetic filter, a daily practice built on cutting images before inspiration arrives rather than waiting for it.

The fashion imagery is deliberate. It comes loaded with aspiration and cultural meaning. His process dismantles it — distressing, layering, fragmenting — until what's left looks like it came from the opposite end of the cultural spectrum. "Bubbles of beauty in a sea of urban decay," he calls it.

His definition of collage: "Cut. Glue. Repeat. Keep it raw. Keep it dirty."
Read the full interview — link in bio.

05/31/2026

"Effect without cause, moments of apparent stasis. I like the idea of taking the comic book format and working against its intended usefulness."

Cobalt is a Chicago-based artist who came to collage through the visual language of punk and indie music — photocopied flyers, zines, album covers made on Xerox machines. His source material is vintage children's books and comics. He strips out the narrative logic those formats depend on: no story, no dialogue, no cause and effect. Just an image in a moment with no interest in explaining where it came from.

Source: theweirdshow.info/2025/10/30/childhood-mysteries-an-intro-to-forestter-cobalt/

05/28/2026

Every collection is a self-portrait. The objects just aren't always the obvious part.
Over the past months we've been asking artists and curators in the TWS community what they collect and why.

Max-o-matic collects relationships — every object tied to someone who shaped his work. Eduardo Recife builds a mental archive alongside the physical one, carrying images in his head years before understanding why he kept them. Adam Brierley developed an eye through fifteen years of hunting vintage clothing and applies the same instinct to finding collage material. Cless searched through more than 35 links a day during his mother's illness — not always to buy, because the searching itself was the point. Sònia López collects cameras, movie posters and British stamps: three different philosophies of seeing that she sums up in one line — "I collect ways of seeing."

Five people. Five completely different answers to the same question. None of them about owning things.

We want to hear from you now. What do you collect, and what does it tell you about yourself? Leave it in the comments.

All five full texts at the link in bio.

05/25/2026

Mary Didoardo works on wood panels with masking tape, a blade, and a line she draws before she knows where it's going. The first cut is improvisational. Everything after it is the painting trying to become coherent.
When that process works, it happens in four or five layers. When it doesn't, she switches modes entirely — cutting paper shapes, pinning them to the surface, using collage to solve what instinct left unresolved.
The paintings look effortless. The surfaces tell a different story: scraped, layered, physically worked. She trained as a sculptor and it shows. Paint as mass, not just color.

"Just trying these things out — it's pleasure and desperation."

Studio visit by@andreaburgay
Read the full interview — link in bio.

Story Line opened May 21 at Kathryn Markel Fine Arts, New York.
On view through June 26.

05/24/2026

"Collage is contrast — the meeting between absence and presence."

Al-Ghadban is a Kuwaiti-born artist and designer based in New York who trained at the School of Visual Arts. She came to collage from a digital practice — coding her own websites as a child — and moved toward working with her hands as a way of thinking the screen couldn't replicate. The "absence" in her work is literal: what was cut out, the negative space left by the blade. What's not there shapes the image as much as what remains.

Source: theweirdshow.info/2020/04/20/najeebah-al-ghadban-collage-as-the-subtle-meeting-of-absence-and-presence

05/21/2026

The female body has always been a political statement. Three artists spent a century making sure it got to say something different.

Hannah Höch was the only woman officially recognised in Berlin Dada — and nearly kept out of its first major exhibition by her male colleagues. She responded with photomontages built from the same newspapers that told German women who they were supposed to be. In 1976, Linder discovered Höch's work at Manchester Polytechnic and turned the same logic on her own epoch: the women's magazines, po*******hy and domestic catalogues of 1970s consumer Britain. Wangechi Mutu's early collages — made on transparent Mylar — pushed the method further, assembling hybrid female figures from fashion magazines, medical diagrams and ethnographic photographs to interrogate the colonial gaze imposed on Black women's bodies.

Three artists, three political moments, one consistent recognition: the images that circulate about women's bodies are never neutral, and the scissors are a legitimate answer. Each generation inherited the method and found new material that needed cutting.

Collage is particularly suited to this work because the act itself makes the argument. Höch wrote: "I wish to blur the firm boundaries which we tend to delineate around all we can achieve." That sentence still holds.

05/18/2026

The hardest part of making something isn't finding material. It's knowing what to throw away.

Julián Galay rarely faces a blank page. He faces the opposite: years of accumulated notebooks, recordings, found objects and stolen quotes demanding to become something. Everything goes in. Then comes the part most creative people don't talk about.

"Making a piece usually involves subtracting — climbing that mountain of material to see if there's something worth keeping." He describes composing as "an act of distillation. Of filtering. Of removing, removing, removing."

He's an Argentine composer, filmmaker, writer and performer based in Berlin, working across concerts, books, radio operas, films and performative lectures. He made the collage connection himself: "My practice is closely related to collage, even if I never called it that. I'll pick up a card from the trash, record a bird's call, jot down a friend's dream, lift a quote from Vila-Matas — I gather, and then I compose — shaping it into something."
The removal is what keeps it honest.

Full interview with Julián Galay — link in bio.

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