Collage by Francisco Colina

Main image Criccieth, the breakers of dawn

Above, Stanage Sunset

Above, Green Cathedral

Above, Old Man of Storr, Skye

Above, Durdle Door

Above, Venetian Overture

Above, Buxton, the greens of summer

His website

Main image Dibujante de Ríos

Above, Creacionismo

Above, Can you keep a secret?

Above, No es nieve, es pintura

Above, Franjas Fluviales / Sesión de @mexicollage / + Mayel Osnaya

Above, Apagar el volcán

Above, Tránsito Vehicular

Above, HOT WHEELS

Above, Red Fields

Above, Trazos

Above, Rayos

Above, Rellenadora de Ríos

Above, Vertedor de Ríos

His website

Main image 'aptr' by philipp igumnov

'Descending Mavis - A Dream Book - 824' by Tim Lukeman

'Sheeps Nightmare' by Alex Coll

Old Collage by Alex Coll

'8' by Mariano Peccinetti

'Topographic Projection' by jesse treece

'Balasana space' by Mariano Peccinetti

'Planetary mountain' by Mariano Peccinetti

'Naive Honeymooners' by Eugenia Loli

Above by Heather Heininge

Above by holly pilot

'on your own path' by Kevin Kurecki

'tls' by philipp igumnov

'fban' by philipp igumnov

Main image, Jimmy, 2022, 11.6 x 8.2 inches

In 2018 we adopted cat called Charlie, things slowly got out of control after that....astmag

Above, Nibbles, Photo Gordon Carmichael, 2019, 8.2 x 11.6 inches

Above, Mia, 2021, 11.6 x 8.2 inches

I think cats are pretty interesting. I have known quite a few and they are usually good company. Metal Magazine

Above, Charlie 29, 2020, 11.6 x 8.2 inches

Above, Cat 2 for The New York Times, 2022, 11.6 x 16.5 inches

Above, Waffles, 2023, 16.5 x 11.6 inches

I try to make it into a new creation that somehow still reminds you of the original image. Every work takes a different amount of time....I think the time it takes is not important. How you cut the paper is more important. Vogue Portugal

Above, Atlas, 2023, 16.5 x 11.6 inches

Above, Mimsy, 2023, 11.6 x 16.5 inches

Above, Vlad, 2022, 8.2 x 11.6 inches

I want you to look at yourself in my mirror, see that everything is there and nothing is 100% what you expect or want. It is a ecosystem in flux, evolving and growing. To exist in a space between ugliness and beauty but to always be attractive to the eye, that is what I want. astmag

Above, Fluffy, 2021, 8.2 x 11.6 inches

Above, Charlie XXIII, nine legs, 2019, 11.6 x 8.2 inches

To appreciate the differences and similarities is to understand better your place in the world. Vogue Portugal

Above, Charlie 28, 2020, 11.6 x 8.2 inches

Above, Cat with the NYT, 2023, 11.8 x 11.8 inches

Eyeballs are good, if someone sees my work I am happy to inspire a smile or an independent thought astmag

Above, Hubble, 2022, 11.6 x 16.5 inches

Above, Wonton, 2020, 8.2 x 11.6 inches

Above, Moose, 2020, 8.2 x 11.6 inches

When I begin working, I have printed a few copies of something to play with, I cut the essential areas, and start moving them around on a panel, trying to find that place half way between the image in my head and the image that makes itself in front of me....Our Culture

Above, Scooter, 2023, 11.6 x 16.5 inches

Above, Misty II, 2022, 11.6 x 8.2 inches

I love strange things, surrealism in general....Vogue Portugal

Above, Marmalade, 2024, 11.6 x 16.5 inches

Above, Simo, 2018, 11.5 x 16.5 inches

Above, Mickey, 2019, 8.2 x 11.6 inches

When I was young the art prints my parents displayed around the house were a big inspiration for me. I wanted to make beautiful things that were shocking, even frightening. I used to make bizarre sculptures, and I made funny little chic monsters in my sketchbook out of collage, quickly this became my focus. Vogue Portugal

Above, CHarlie 31, 2021, 11.6 x 8.2 inches

Above, Ophelia, 2023, 16.5 x 11.6 inches

Above, Ivor, After Walter Chandoha, 2021, 11.6 x 8.2 inches

I really love the bizarre grotesque work Bosch, Arcimboldo.. Something dark, flowery and beautiful....Vogue Portugal

Above, Charlie XIX the visitor, 2019, 11.6 x 8.2 inches

Her website

Main photo- Ozzie, 2021, 8.2 x 11.6 inches

'.....I like taking something familiar and making it a subversive shadow of itself. You might view a new sight with a familiarity you can’t quite explain....'source

Above- Baxter, 2020, 8.2 x 11.6 inches

Above- Hercules II, 2022, 8.2 x 11.6 inches

'.....[She uses multiple copies of the same image] between 10 and 20. But the multiple crops and zooms on a particular detail are most important.....'source

Above- Po D'Arroz, 2019, 11.6 x 8.2 inches

Above- Dora, 2018, 16.5 x 11.5 inches

'....I am really interested in the limits of beauty, even the definition of beauty. I think there is something to be said for symmetry but beauty and attraction blur this definition...'source

Above- Whiskey, 2018, 8.27 x 11.69 inches

Above- Cece, 2018, 8.2 x 11.6 inches

'.......I find an image that inspires me, and I cut the hell out of it. I try to make it into a new creation that somehow still reminds you of the original image....'source

Above- Tobby, 2019, 8.2 x 11.6 inches

Above- Nova, 2020, 8.2 x 11.6 inches

'....I work on a large empty table, with my tools. laptop, wooden boards, paper, glue, scissors and brushes. I like minimal tidy clean spaces with good views....'source

Above- Work in progress source

Above- Beans, 2018, 8.2 x 11.6 inches

Above- Logan, 2018, 8.2 x 11.6 inches

Above- Clandestino, 2023, 11.5 x 16.5 inches

'.....I love the Dada aesthetic because of the quick and shocking juxtaposition of images. The accessibility. The practical relevance of it.....'source

Above- Odie, 2020, 8.2 x 11.6 inches

Above- Hercules, 2022, 11.6 x 8.2 inches

Above- Odie, 2021, 8.2 x 11.6 inches

Above- Keith, 2020, 16.5 x 11.5 inches

'.....Eyeballs are good, if someone sees my work I am happy to inspire a smile or an independent thought....'source

Above- Cleo, 2021, 8.2 x 11.6 inches

Above- Ben, 2019, 8.2 x 11.6 inches

Above- Penny, 2019, 11.5 x 16.5 inches

'.....I try to remain free from patterns, but we do what we do and inevitably form habits and rituals. When I work, I try to leave all directions open, and I never say ‘no’ to an idea.....'source

Above- Summit, 2019, 8.2 x 11.6 inches

Above- Molly, 2018, 16.5 x 11.6 inches

'......I love strange things, surrealism in general...'source

All work by Lola Dupre

Main photo from 'Medusa series 2008-10' Caravaggio meets Betty Page

NSFW Javier Piñón post here

Javier Piñón is a New York collage artist, who grew up in Texas. His work fuses together ancient and modern mythologies, transforming soft porn girly pics into Gorgons, Sirens and Sibyls......

'Medusa, 2009'

Kiss of the Siren, 2014

'Daphne, 2009'

Icarus is re-imagined as a rodeo star, propelled skywards, or falling to his doom....

'The Wild Blue Yonder'

'Icarus'

'The Fall of Icarus'

.... while others ride, and are bucked by unstable towers of chairs, and chandeliers....

'Untitled'

'Untitled'

'Swing 16'

...and Don Quixote is a cowboy, tilting at Texas water wind mills...

'Don Quixote 4, 2007'

His website

edit- added link for NSFW post and Javier Piñóns website

'iron maiden' by jshortart

5x7" handmade collage.

argyleplaids.com

argyleplaids.tumblr.com

instagram.com/argyleplaids

“There Is No Through Road To Diabeg”, paper collage. Stephen Cranston, 2023

Paper collage. Stephen Cranston 2023

'Camera Colors' by Sammy Slabbinck

Print available at :

artistic.ly/sammy-slabbinck/camera

'Great Escape' by Sammy Slabbinck

collage on paper

'grey harps' by A Yen for Phantoms

'Collage April 13' by Gareth Halliday

Ocean by Monzle Monzel

www.monzle.tumblr.com

'PEACH' by Ruben Martinho

'Topographic Projection' by jesse treece

http://www.society6.com/artist/collageartbyjesse

http://www.collageartbyjesse.tumblr.com/

http://www.facebook.com/collageartbyjesse

http://www.twitter.com/jessetreece

Gareth Halliday

LOOKING FOR NOTHING

Collage piece By Danilo Cicero

....[His] collages combine physical cut-and-paste techniques with digital editing. The artist describes his work as “Data-ism,” a pun on the avant-garde Dada movement that wielded montage and collage as a form of political critique...source

...[He] combines traditional cut-and-paste collage techniques with digital editing, digital animation, and even sound design to create a body of work that blurs the borders between illustration, graphic design and art installation...source

...'To make images became more and more essential to me, and I can’t stop making them since. Collage as a way of life. Cut and paste. To use samples in music, to mix different periods of time in films, colours and forms in painting, to use my own identity and personal influences as material to work with, to search for new ways....'source

....'A photo from the past carries more emotions than a contemporary one. It’s not just the person or scene portrayed but all the landscape that arises from it...'source

....'I like to watch every picture as the point of departure for a story. Various durations, gathered in one. to evoke a fake history or inspire nostalgia for a period in time that never truly existed. Sometimes further to a decision. Mostly random...'source

Images from here, here, here, and here

More here

Found on tumblr

Found on flickr

His website

'Ego’ (2015)

a. An exaggerated sense of self-importance; conceit. b. Appropriate pride in oneself; self-esteem.

William Orpen – Portrait of Clara Hughes (1902) revisited

Found here

Her website