Décollage is anart style that is the opposite ofcollage; instead of an image being built up of all or parts of existing images, it is created by ripping and tearing away or otherwise removing pieces of an original image.[1] The French word "décollage" translates into English literally as "take-off" or "to become unglued" or "to become unstuck". Examples of décollage includeetrécissements andcut-up technique. A similar technique is thelacerated poster, a poster in which one has been placed over another or others, and the top poster or posters have been ripped, revealing to a greater or lesser degree the poster or posters underneath.
An important practitioner of décollage wasWolf Vostell. Wolf Vostell noticed the word "décollage" inLe Figaro on 6 September 1954, where it was used to describe the simultaneous take-off and crash of an aeroplane. He appropriated the term to signify an aesthetic philosophy, applied also to the creation of live performances, Vostell's working concept of décollage, was the Dé-coll/age and begun in 1954, is as a visual force that breaks down outworn values and replaces them with thinking as a function distanced frommedia. He also called hisHappenings Dé-coll/age-Happening.[2][3][4]
The most celebrated artists of the décollage technique in France, especially of the lacerated poster, areFrançois Dufrene,Jacques Villeglé,Mimmo Rotella andRaymond Hains.[5] Raymond Hains used the lacerated poster as an artistic intervention that sought to critique the newly emerged advertising technique of large-scale advertisements. In effect his decollage destroys theadvertisement, but leaves its remnants on view for the public to contemplate. Often these artists worked collaboratively and it was their intention to present their artworks in the city of Paris anonymously. These four artists were part of a larger group in the 1960s calledNouveau Réalisme (New realism), Paris' answer to the AmericanPop Art movement. This was a mostly Paris-based group (which includedYves Klein,Christo andBurhan Dogancay and was created with the help of criticPierre Restany), although Rotella was Italian and moved back to Italy shortly after the group was formed. Some early practitioners sought to extract the defaced poster from its original context and to take it into areas of poetry, photography, or painting.
Lacerated posters are also closely related toRichard Genovese's practice of excavations. Contemporary artists employing similar décollage techniques areMark Bradford, Michael Viviani andBrian Dettmer, who employs a novel method of decollage by removing material from books, leaving behind select images and text to form sculptural collages. Also there is Fizz Fieldgrass, an English artist, who usesdigitally enhanced photographic images, overlaid by duplication on either Japanese Conservation Grade or finePaper Mulberry, torn and rolled back to reveal other layers generating the three-dimensional image.
A cinematic example of décollage are the works ofSpanishexperimental filmmaker Antoni Pinent, each involving celluloid film strips.[6][7][8][9]
Déchirage (from the French,déchirer: 'to tear') is an artistic style that distresses paper to create a three-dimensional patchwork. It is a form of décollage, taking the original image apart physically through incision, parting and peeling away. TheAfrican American collage artistRomare Bearden (b. 1911 – d. 1988) used déchirage as an important element of hisabstract expressionist paintings.[10] The first public display of "Photographic" Déchirage (the tearing of layers of digital photographs to create a distinctive three-dimensional image) was at theArt of Giving exhibition at theSaatchi Gallery in 2010.[11]