Affinity for Collage

Angelica Paez

Angelica Paez is a self-taught artist from Houston, Texas. She has been making collages for over thirty years.
She is always exploring new ways to push the medium. Her interest in collecting, often obsessive, frequently
influences and shows up in her work.
Paez has had her collages published in books, magazines and newspapers, as well as used for theater set
design. She has also done commercial work for The Economist. Her first public showing was in 2018, in The
Art of Found Objects: Enigma Variations at the Art Museum of Southeast Texas in Beaumont. Her work is in
AMSET and in private collections.

Left: Wonder Women, 2018, 12 x 12 inches, paper collage

There’s No Smoke Without Fire, 2018, 12 x 12 inches, paper collage

Cakes and Crochet, 2018, 12 x 12 inches, paper collage

Social Distancing Was Not a New Concept to Wallflowers, 2020, 8 x 6 1/2 imches, paper collage

The Great Awakening, 2020, 5 x 8 inches, paper collage

Collective Trauma, 2020, 5 3/4 x 7 1/2 inches, paper collage

All Washed Up, 2020, 4 3/4 x 7 inches, paper collage

Shutterbug, 2008, 11 x 8 1/2 inches, paper collage



Pumpkin Patch, 2014, 15 3/4 by 17 1/2 inches, fabric quilt

Nancy Pettway



Russell Prince

Through appropriation, assembly, and/or alteration of found material, I create collages, installations, and
sculpture. The use of ephemera and detritus reflects my interest in reevaluating the past through the leavings
of mankind, thus establishing fresh perspectives for living and consolations for dying.

Russell Prince was born in Fort Worth, Texas, and Houston is his current home. Studies in drawing, photography,
and graphics preceded a BA in Communications in 1985. The found object has been integrated into Prince’s
art practice since 1996. Currently represented by Devin Borden Gallery, Houston, TX.

The Silver Chair, 2012, 30 x 20 inches, collage on panel

Tu Fui Ego Eris, 2012, 30 x 15 inches, collage on panel



Howard Sherman

Painting is changing. The idea of a particular “ism” or school is reminiscent of a flat soft drink. I take
several of these historical ideologies and put them in a blender. I serve up an explosive, visual 190 proof
margarita (everclear, not tequila) that is excessive and ambitious. It is a hedonistic, long pour that might
splash everywhere. (You’re in trouble if you have a paper cut.) The goal is a reaction with every sip from the
fishbowl-sized glass.

One special ingredient in this recipe is the narrative cartoon. It is born out of the abstract gesture in a twisted,
unstable way. When the blender stops, there will be bits and pieces strewn all over the place. It is a battle of
epic proportions with a multi-pronged attack and a slight tickle.

This cocktail is extremely potent because many of its constituents contrast. They are so wrong together that
they start to seem right, combining to create a hostile and humorous expression. It is like laughing while
taking a cold shower. There are no baby-sips. You gulp it down and brace yourself for the brain-freeze.

I came to this concoction scuffling through the liquor cabinets of intuition and art history. You must know how
to pick both of these locks. Otherwise, it’s a trip to the lame-ass kitchen. A real walk of shame.

For more information: www.howardsherman.com

Left: Self-Replicating as You, 2012, 9 x 12 inches, painted paper collage, matboard



Al Souza

I use ordinary materials and common subject matter to create my work. The puzzle “paintings” are dizzying,
vibrant compositions in which I assemble and glue together thousands of layered jigsaw puzzles pieces in
loose and semi-completed chunks. The materials are salvaged from thrift stores and garage sales. Common
subjects include brightly colored plants and organic matter, buildings, and painting supplies. Common
themes include travel, sports, food, flora, and music.

Al Souza was born in Plymouth, Massachusetts, in 1944. He is a Worcester, Massachusetts, based artist who
has for decades been delighting viewers with his transformations of ordinary materials into extraordinary
visual experiences. His work is represented in the collections of numerous museums, including The Whitney
Museum of American Art, New York; J. Paul Getty Museum of Contemporary Art, California; San Diego
Museum of Contemporary Art, California; Museum of Fine Arts Houston, Texas; as well as Bibliotheque
Nationale, Paris, France; and Museum of Modern Art, Belgrade, Yugoslavia.

Left: Sweet Things, 2002, 72 x 84 inches, puzzle, glue, wood

Malted Milk, 1998, 42 x 36 inches, puzzle, glue, wood

The Good Stuff, 2004, 41 inches diameter, puzzle, glue, wood

Polaroid Collage of the Artist’s Mother, 17 x 28 1/2 inches, Polaroid photo collage, matboard

Loans by Private Collectors

Artists Unknown

Hache, 1960s, 24 x 18 inches, paper collage on Masonite

Esoteric, 1960s, 24 x 18 inches, paper collage on Masonite

Trache, 1960s, 24 x 18 inches, paper collage on Masonite

Postage Stamp Collage, Asian, 1930s-1940s, 5 1/2 x 7 1/2 inches, postage stamps on postcard

Postage Stamp Collage, Horseman, 1930s-1940s, 5 1/2 x 7 1/2 inches, , postage stamps on postcard

Postage Stamp Collage, Souvenir, 1930s-1940s, 7 1/2 x 5 1/2 inches, postage stamps on postcard

Scrapbook Collage, 11 1/4 x 9 1/4 inches, paper collage

Scrapbook Collage, 11 1/4 x 9 1/4 inches, paper collage

Scrapbook Collage, 11 1/4 x 9 1/4 inches, paper collage

Scrapbook Collage, 11 1/4 x 9 1/4 inches, paper collage

20000 Kingwood Drive
Administration and Performing Arts 114

Kingwood, TX 77339-3801
Phone 281.312.1534
LoneStar.edu/Kingwood