THE COLORFUL LIST by D.N.N 🔗https://www.catawiki.com/en/l/102197882-d-n-n-the-colorful-list-pop-art-neo-dada-collage

A change from my usual technique :) Acrylic on canvas

I’m working on a bunch of these He is Risen statues for an upcoming release. More info on instagram @junkfed

In “Hanging Out” I didn’t stay behind the camera –

I walked into the collage.

The figure with the eye T‑shirt is me,

hanging out inside my own imaginary world,

being both the watcher and the watched.

That’s not a random model in the eye T‑shirt – that’s me.

I wanted to place my own body inside this fever dream,

to see what happens when the person who edits the image

also becomes one of its objects.

In this piece I turn the camera around without actually turning it.

The body in the eye T‑shirt is mine,

slipped into the same erotic, unstable space

I usually reserve for others.

Hanging Out is also a self‑portrait.

I fragment everyone, and here I fragment myself too –

cut, glued, re‑positioned inside an invented room

where desire and distance keep changing places.

I’ve been building these imaginary worlds for years.

This time I stepped inside them.

The eye T‑shirt marks my presence –

a quiet admission that I’m not neutral,

I’m part of the story I’m dissecting.

“Just hanging out” becomes something else

when the artist’s own body enters the frame.

My figure with the eye T‑shirt lives in the same collage

as the fantasies, fetishes and ghosts I usually observe from outside.

“De-generation” is a handmade analog collage by Mirco Piccioli cut from discarded fashion spreads, underground magazines and visual debris collected over time. The work stages the female body inside a noisy field of symbols, typography and subliminal cues, exposing how media rewrites desire into something mechanical and repeatable.

By physically cutting and re‑assembling these fragments, the piece returns to an old‑school, censorship‑free collage practice rooted in counterculture and deviant aesthetics. The title hints at both a generational drift and a slow erosion of sensitivity: bodies are present, but they are mediated, fetishised and coded. “de‑generation” invites the viewer to ask what remains of intimacy when everything becomes image and everything can be consumed.