Concepts of memory, dreams, inner landscapes, home, place, and spirituality are revealed from personal narrative and ritual process. As I investigate the lineage of queered and coded abstract language, new poetic motifs emerge, combining rhythmic patterns in harmony or dissonance with organic forms and textures. In my work I explore relationships; the relationship between material, shape, color, gesture and mark-making. Often incorporating chance operations, assemblages offer subtle and immediate reflections of our relationship with each other and what we claim as reality. Recently, simple bookmaking and binding techniques are refined or deconstructed to produce sculptural forms. Works often blur the line between traditional notions of collage & craft, bookmaking, sculpture, and design.
Macro- and microcosms, phosphene imagery, myth, urban decay, as well as the patchwork quilts and makeshift aesthetic of my Appalachian childhood inspire the work. Growing up in West Virginia, always nestled between mountains of tangled forests, has informed my previous work with a certain maximalism, a density. Since living in the more subtly vast, broader vistas of the midwest, I have noticed a shift to more minimal strategies. Maximalist tendencies and minimalist desires are strategically negotiated with each action. The recurring triangle casts a spell throughout my practice symbolically binding past, present, and future; mind, body, and spirit.
I think of collage and assemblage in terms beyond simply medium or technique. Collage effectively interprets the hidden or secret, remembrance, revelation, and familiar expressions of a collective deja-vu. Combining seemingly unrelated components, works exist as mementos, recordings, or totems, conceptually linked to memory. My aim is for the process of making to be evident at the surface, the repetitive action of my hand apparent. The very act of layering or folding produces mercurial snapshots that manifest a sense of time-space. Works become meditations on the tenuous relationship with the present moment. Ephemeral and continually repurposed, viewed as though in mid-process, this art is the evidence of our existence; vestiges of what was, projections of what may be.
Originally from Charleston, West Virginia, Craig Deppen Auge is a multimedia artist and designer currently based in Kansas City, Missouri. He has exhibited work in solo and group shows throughout the U.S., including The Billboard Creative Q1 Show in Los Angeles, and locally at Leedy-Voulkos Art Center. He has participated in numerous collaborative projects, including New York-based Satellite Collective’s Telephone: An International Arts Experiment. His art has been featured in several print and digital publications including Art Yellow Book #2, Gambling the Aisle, Blacklist Journal and The Hand Magazine.