FaTaGaGA

It is interesting how Mee has on numerous occasions, including in his mission statement on the (re)making project, referred to the work of Max Ernst, in particular his fatagaga pieces, to describe his own work. Yet, not that many critics have pursued this line of thought much more deeper than making this superficial connection between the two. What is it then about these works that make them so relevant to Mee's plays? Fratagaga has been defined as a "fabrication of paintings guaranteed to be gazometric". Indeed, they are collages composed from many outside sources. How are they distinct from the work of Robert Rauschenberg that we saw earlier on during our work on this production? Why does Mee appear to consider Ernst's fatagaga pieces to be more important in identifying his artistic vision than those of Rauschenberg?

I wasn't able to find too many websites with useful information about this type of topic, although I did come across this page featuring a fatagaga piece and an explanation of how Ernst originated these collages and assemblages. Take note of the connection with the DADA movement that this page establishes. I was also able to find one picture of a fatagaga piece by Ernst (notice the similarity it holds with the images featured on the home page of Mee's website...):