The Utah-based artist Laura Hendricks creates surreal photo collages, layering her own photographs of different landscapes to form each individual artwork. Her series ‘The Stay’ is a collection of two-dimensional mixed-media works that have three-dimensional illusions.

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The work of German fine art photographer Christine Erhard unfolds from an artistic process of layering and distorting images, created in order to produce new, interesting photographs that toy with spatial perception.

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Ontario-based photographer Alex Lysakowski sets his surreal structures amongst banal industrial landscapes, creating photographs through digital manipulation that simultaneously confound and delight in his series ‘Antistructures’.

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In ‘Malaga – Paracosmic Houses’ Austrian artist Katharina Fitz has delved into an alternate universe shaped much like our own, creating composite collages of homes set in small fishing villages on Malaga’s coastline.

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Los Angeles-based multi-disciplinary artist Nadia Sarwar is reinventing the genre of collage art with her eerie and unnerving photographic collages.

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The work of French-Chinese visual artist Zhen Shi is tied to memory and identity; to things that are seen and unseen. Her abstract series ‘Kwei Yih’ is emblematic of this; it documents a path both literally and metaphorically traveled.

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For Jordanna Kalman, a photograph is more than its content—it is both subject and object: “It belongs to someone; it gets held, it has weight, value.” The New York photographer’s series ‘Little Romances’ explores this idea by creating multi-layered photographs of photographs.

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The series ‘Transition’ by French-born photographer Lauren Marsolier, depicts landscapes composed of multiple fragmented images that probe the psychological process of transition.

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London-based artist and designer Ben Branagan works across visual mediums, creating work that spans design, sculpture, and publishing. In his graphic collage series ‘Bodies’, he gives new form to a retro workout guide.

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Belgian photographer Filip Dujardin uses digital collage techniques to combine and distort photographs of real buildings in and around his home town of Ghent.

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Ethiopian photographer Girma Berta’s ‘Moving Shadows I + II’ is a project documenting the people of Addis Ababa. Berta, who is self-taught, uses a combination of street photography and graphic design to create images of passers-by with a painterly quality.

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French visual artist Rozenn Le Gall creates layered abstract collages, predominantly of the female form.

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A vested interest in color and paper means that Zinonos has applied his collage style to a wide range of editorials, book illustrations, murals, and animations. Like many works of art, Zinonos uses his medium to make subtle commentary on experiences and emotions that are universally felt. For example, the work titled ‘Weekend’ depicts with great simplicity a person sprawled flat on their back—exhausted by a long week, perhaps. ‘Holding It Together’ is both literal and metaphorical, but whether for life or oneself, the viewer can’t say. ‘Happy Place’ displays a small child chilling in a summer-time pool tube; a happy place indeed.

All images © Anthony Zinonos

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Fitacola is the retro collage art and illustration project created in 2005 by Portuguese partners in art and life, Graça and Carlos Quitério.

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In the stacks of weathered old photographs, worn albums and bundles of vintage postcards so often found at flea markets, Koike finds inspiration for a different kind of photographic practice. Using a scalpel, Koike meticulously crafts his work from these original photographs, reconstructing them by a collage process where he states, there is “nothing added” and “nothing removed.” These pieces are nostalgic for a pre-internet age when graphic work was done by hand and creation was a laborious, skillful process. As faces float from the heads they were once attached to, and people become terrifying arachnids that float off-page, you can’t help but notice the surrealist edge with which Koike crafts his pieces.

Koike began his journey into image manipulation using his own photographs but found the challenge of altering a vintage image more enticing. In an interview with LensCulture, he remarked: “I wanted to try something more challenging and 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.”

All images © Kensuke Koike

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