Keith Wasserman
works across collage, film, and music, using collage as a way of thinking—cutting, rearranging, and recomposing fragments to see what emerges.
Every piece is hand-ripped, hand-cut, hand-placed, and hand-glued, built slowly from found materials. The work resists speed, polish, and efficiency in favor of texture, intuition, and human presence.
DEEP WINK is intentionally and entirely analog
Collage, for Wasserman, is both a visual language and a form of attention. Disparate images are allowed to collide, contradict, and converse, creating moments that feel playful, cinematic, and slightly off-kilter. Meaning isn’t imposed—it’s discovered through looking.
DEEP WINK invites viewers to slow down and stay with the work, offering a quiet, imperfect counterpoint to a world optimized for speed, automation, and scale.
papers
Paper isn’t just a surface—it’s part of the mad equation. Different weights, fibers, and finishes react in their own ways, often nudging the work to unexpected places. I use everything from heavy card stock to ultra thin rice paper. Experimentation, trial and error, and the occasional happy accident aren’t side effects—they’re the point.
process
My process beginswith a blank page and ends when there isn’t a single piece left that adds to the story. Everything in between happens at a desk scattered with disparate images, each vying for attention and a chance to get in the game. Part tao of not doing, part basement alchemist, the work unfolds through an ongoing dialogue where wild and wonderful things begin to reveal themselves.
frames
Frames do the heavy lifting of turning a poster into a finished piece of art—and they don’t need to be expensive to look good. Archival, UV-protected glass is a smart choice if the work will live in direct sunlight, but simple, well-made pre-fab frames are often the perfect companion. Clean lines and a good matte let the artwork speak without overthinking it. Below are a few frame makers that are easy to find and genuinely nice to live with.