April 3, 2024
April 4, 2024
Sort Mænd - Monstered V, 2023
Extracted images from fashion magazines, 297 x 420 mm

Phil Scott’s collages are a study in contrasts and narratives. In one, a hand graces over sharp architectural angles, while in another, it veils a face, hinting at concealed stories. The stark monochrome palette intensifies the visual interplay of textures and lines, like the clash of animal prints against the rigid geometry of clothing. His pieces merge human forms with abstract shapes, creating a striking visual language that challenges the everyday, reflecting his conceptual exploration of destruction and creation.

Sort Mænd - Monstered II, 2023
Extracted images from fashion magazines, 297 x 420 mm

"There is a responsibility in what I do with my collages. The images are always taken from an authentic source, so the first cut or rip is often momentous. I feel that when I started, the process was surgical, but as I have developed alternative methods have emerged, all carrying the same weight of importance. Justifying and understanding the why is always key. In some way I am destroying to create.The transformation and the new narrative I am creating demonstrate the power within the medium, and this is why I keep returning to the media."  

Sort Mænd - Monstered I, 2023
Extracted images from fashion magazines, 297 x 420 mm

"I gravitated towards collage when I was teaching Art in central London. The lack of space and studio meant that I had to be resourceful around that time and I became inspired by Hannah Höch’s Kitchen table collages such as German Girl (1930). The medium was so accessible, but at the same time incredibly powerful. No matter how small, you can make an impact or statement. I try to keep this in mind every time I slice, rip or score an image."

Sort Mænd - Monstered VII, 2023
Extracted images from fashion magazines, 297 x 420 mm
Sort Mænd - Monstered III, 2023
Extracted images from fashion magazines, 297 x 420 mm

"My work transcends between themes, but this is often dictated by the source material I am working with. I find my work recently has started relating more to the subject of masculinity and what this means in the 21st century. A lot of the resources and material that we have grown up with represents a 20th century toxicity, and ultimately this can be found in a number of the images I have used to create my work. I am also highly interested in the material that is discarded when making a collage. It’s almost like the painter exhibiting the palette. This is a concept that I feel has room to grow and creates some unpredictable outcomes which are developing my process daily."

Sort Mænd - Monstered VI, 2023
Extracted images from fashion magazines, 297 x 420 mm

"I feel that over the years I have refined my understanding of composition, and this comes from two areas; Daily practice is important and keeping a sketchbook helps record concepts and thoughts, especially when away from the studio. This also enables the required experimentation that allows you to challenge conventional ways of working. I also believe seeking inspiration from exhibitions and books has to happen in order for artists to challenge conventional styles. If you don’t know what has come before you, how can you make something that can progress the medium and aesthetic? And ultimately this is why I need to keep making."

Sort Mænd - Monstered VIII, 2023
Extracted images from fashion magazines, 297 x 420 mm
Sort Mænd - Monstered IV, 2023
Extracted images from fashion magazines, 297 x 420 mm

Phil Scott was born in England and is currently based in Denmark.

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For Your Viewing Pleasure

An additional selection of works by artists we have our eyes on.

Gonzalo de Miguel, an artist trained in sculpture, now primarily works in collage, blending paper, painting, and photography influenced by Dadaism and Surrealism. His art, rooted in material reuse and intuitive creation, critiques contemporary image consumption through a disciplined, daily practice.

Drawing on his immediate urban environment, certain pockets of art history, and Post-Fordist philosophy, Edgar Ramirez is an atypical painter. Appropriating the look and language of these predatory signs, he paints them in a multitude of colors on cardboard and then subjects them to a process of aggressive subtraction which seems to exist somewhere between classical décollage and urban decay.

Vónbjørt Vang (1974) was born and raised in the northern town of Klaksvík in the Faroe Islands. She earned her MA in Comparative Literature and Contemporary Cultural Studies from the University of Copenhagen. Vang is an accomplished photographer who also works as a librarian, editor and freelance critic.

Since 2011, Eduardo Vargas Rico has developed a body of work that, understood in a geological sense, investigates the concept of the archive and the physical nature of the document through a variety of media, supports, objects, and materials with which he pursues the status of processual logic in the approach to different topics of social, political, cultural and economic interest.

Imin Yeh was born in 1983, and currently lives and resides in San Francisco, California. She received a Art History with Asian Option from the University of Wisconsin-Madison, and an M.F.A. from California College of the Arts.

Out and About

How and where to engage with collage in the world around us.
What to watch, read, and experience, as curated by the Collé team.


Naomieh Jovin’s Photo Collages of Haitian American Life

Merging family archives with her own images, the photographer tells a story about immigration with the lives of women at the center. Article by Edwidge Danticat for Aperture.


Roni Horn – New York

On 4 April, Hauser & Wirth will open an exhibition of new works by Roni Horn at the gallery’s Wooster Street location in New York City. Renowned for a practice that combines conceptual rigor with an exquisite visual sensuality, Horn will present her latest series of works on paper and never before exhibited cast-glass sculptures.


Ciao Ciao Marigold – We Don't Deserve Dogs

Ciao Ciao Marigold has released albums such as We Don't Deserve Dogs (2023) and Beets Vol. I (2022), along with the EP Fouquieria Splendens (2024). The project's sound, characterized by its lo-fi aesthetic, jazzy undertones, and psychedelic influences, remains intriguingly elusive on the Internet.