With high-impact collage, a clever marriage of improbability and style makes all the difference.
The desired effect is, most often, an incongruous soup of delight, bewilderment, awe, agitation, alarm, and/or queasiness.
British artist Ryan Dunn does just this, but he does something else as well. Much of his work plays as skilfully off the empty space as it does the space he fills. The effect is that of quietude, collages as enigmatic as the photographs in an old atlas, as a view out to sea on a foggy day.
He’s also damn funny. The louder elements of his portfolio are an equally accomplished batch of dada-esque absurdities, exactly the sort of arrangements that enthrall whilst holding firmly to the realm of the weird. So viscerally playful are these disjointed pairings that it’s almost impossible not to feel the waistband tightening around your temples, the chameleon in your mouth, the dog’s nose between your legs. Shudder.
Beyond this kind of excellent stuff, Dunn also dabbles in industrial design, creating works as devilishly ludicrous as the "Bench Chair" (in which "the individual is permitted to enjoy the functional benefits of a chair and the emotional or territorial benefits of a bench"), among various other "chair subversions".
I won't give away much more then that.
More from Ryan Dunn on his website Inane Systems, here.