Archive for the 'Influences' Category

Another worthy collaborative alliance

Sunday, January 22nd, 2017

“Behold, how good and pleasant it is when
brothers dwell in unity!”
— Psalms 133:1
 

Collage collaboration is thriving in the Bluegrass. Robert Hugh Hunt and I began to think about a new project earlier last year, to follow our double-piece venture of 2015 (unveiled at the Kentucky Artisan Center’s It Takes Two show, featured at JUXTAPOSED, and also recognized in the state capitol rotunda as part of the 2016 Governor’s Derby Exhibit). Based on a thumbnail sketch in my journal that suggested a pair of interlocking shapes, we each took a 16×20 canvas-on-wood construction and worked independently on a solution to our “puzzle.” As we shared images online, a color scheme evolved as visual ideas echoed. Out of the gate, a found drawing of lupine eyes would demand a lower face with grinning mouth. Before long, we had exchanged a digital simulation of how the pieces would configure. Robert responded with a television element after I pasted the face of Fidel into a vintage TV set. (Strangely enough, this was a few weeks before the dictator’s demise.) When my partner, known for his mixed-media roosters, drew a chicken head, I added a corresponding game fowl to further the red-black theme. Did my fragment of a playing card spark his array of floating club symbols? His hand-drawn kissers certainly inspired my pencil and acrylic rendering of the “photo-booth” Kennedys.
   
   

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

Finishing touches were made after we had shared our final interim images. When our halves converged for the culminating “intercourse,” we thought it desirable for me to install a clamping device, so that the components might stand alone in the future. I explored possibilities and tried some ideas at my workbench, but, alas, I have never been an engineer. Fortunately, my kind collaborator was comfortable with a decision to join them permanently and declare victory.

‘Dreams Aligned’ (a collaborative collage construction by John Andrew Dixon and Robert Hugh Hunt) at the 2017 NEW YEAR NEW ART exhibition ~ Community Arts Center, Danville, KentuckyAll in all, I found our creative teamwork to be an immensely satisfying collaboration. The result was selected to be part of the local NEW YEAR NEW ART winter exhibition. Even though the interlocking feature of the artwork is probably more discernible when viewing it in person, it makes for a provocative online impression, and we were pleased that it was designated as the promotional poster for the show. the 2017 NEW YEAR NEW ART exhibition ~ Community Arts Center, Danville, KentuckyAfter I had sorted through dozens of potential titles with a lack of conviction, Robert coined the phrase that stuck. He wrote this to me when he summed up our experimental process:

“Well, this collaboration was unlike any I had done. Most art collaborations have multiple artists working one at a time on a single piece until it is finished. As the artist, you are either ‘starting’ the collaborative piece or ‘finishing’ it, and, in cases with more than two collaborators, you could be working the ‘middle’ of the piece. But with Dreams Aligned, we took a different approach — creating two pieces, which I felt should stand on their own, and merging the two into one piece that not only worked as a whole, but made a stronger piece than the two works alone. And the fact that we had worked together successfully before, and understood each other’s artistic language, and that we kept a visual dialogue ongoing, showing each other the progress on their ‘half,’ following each other’s visual cues on medium, color, composition, etc. — in this way we were able to create a collaboration with two distinct artistic halves. It wasn’t a merging as much as an alignment of our artistic styles and languages, hence the title.”
 
Dreams Aligned ~ a collaborative collage construction ~ Kentucky artists John Andrew Dixon and Robert Hugh Hunt

Dreams Aligned
a collage collaboration by J A Dixon and R H Hunt
mixed-media construction, 26.75 x 26.5 inches
(left component by Dixon, right component by Hunt)
available for purchase

Maximalism and Minimalism in Collage, part 6

Friday, August 26th, 2016

It would not be a mistake to put me in a category dedicated to “maximalism” in collage — the practice of adding more visual elements to achieve a balanced effect, in contrast to restricting a composition to a minimum of ingredients. Not that long ago I discovered the work of two maximalists when I happened upon an old blog post by fellow Kentucky collage artist Sharmon Davidson. I have never met the prolific Davidson, but it pleases me to find her concise survey of collage pioneers juxtaposed with examples of contemporary artists active in the medium. I have a high regard for collage artists who maintain a keen awareness of the history of mixed media. Her own work evokes for me the layerist tradition, and I especially like many of her miniatures. In addition to learning about Sharmon, her 2014 entry introduces me to Lance Letscher, a maximalist’s maximalist who also has been known to explore the spectrum’s opposite side with a minimalist approach. The widely exhibited Letscher is formerly a sculptor.
 

Sharmon Davidson
Her artwork emerges from the interplay of intention and intuition.

Lance Letcher
The spatial density of his designs exemplify a “maximalist” approach.

A book of knowledge, a life of imagination

Friday, August 12th, 2016

“The real voyage of discovery consists, not in seeking new landscapes, but in having new eyes.”
—Marcel Proust

Book of Knowledge endpapers, 1951
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
Here are the illustrated endpapers and dust jacket from the 1951 edition of The Book of Knowledge set — my introduction to the concept of visual montage. These absurd juxtapositions compelled my first perceptual leap beyond the literal, and, to tell the truth, I don’t think that my innate creativity has been quite the same since. How far back can one trace these kinds of images? Did they precede collage and influence its development, or did they actually derive from the collage innovations of the early 1900s? At any rate, I was captivated by this particular painting and others like it. There is no doubt in my mind that a sweet obsession with the chaotic harmony of montage imagery began with childhood influences that came from unsung illustrators — such as the artist who came up with this extraordinary vision — long before I understood the visual mastery of a Fred Otnes, Bob Peak, or Paul Melia.

 

The Surreal Face, Part Two

Friday, August 5th, 2016

“If we adopt a surrealist viewpoint, art logically must be and naturally will tend to be surrealist, and thus be justifiable only in its ability to reveal the new, the ‘never seen,’ the parallel activity of thought and chance in consciousness.”
— Alan Gullette, 1979

You may recall, dear visitor, my June jaunt at this site into the staying power that “the surreal face” maintains in contemporary collage. I shall highlight a few more examples below. Old Mask II ~ John Stezaker ~ born 1949, Worcester, United KingdomWhen a distinct sub-genre of the medium intrigues me, as this one clearly does, I often attempt to “diagram its visual pedigree” through the history of modern art. This is not an easy task for a non-academic (nor one, perhaps, for a scholar). A “collage geneologist” can run the risk of getting sidetracked into Man Ray or René Magritte, only to question whether use of the word “surreal” is relevant at all. Does it make more sense to trace a connection from Picasso to Tatlin to Hausmann’s 1920 homage to the Russian Constructivist and thereby leap-frog André Breton’s “psychic automatism” entirely? As much as I love the history of collage, all that delineation is beyond the scope of your humble Collage Miniaturist. Pulcinella’s Secret ~ John Andrew DixonAskance ~ John Andrew DixonSuffice it to say that the gongs of Dada still reverberate. Ultimately, we are more concerned with a phenomenon that is alive and well among contemporary collage artists (and that long ago shed any musty trappings of Weimar Republic protest, Trotskyite dilettantism, or hostility toward religion). Even a cursory review of recent collage output exposes an enduring thread weaving its way through students, emerging professionals, veteran practitioners, and masters of the medium. Rather than muddy ourselves grubbing 20th-century roots, let us instead ask two important questions — What is the elusive essence of “the surreal face,” and why does its enduring appeal lack any sign of a downtrend?
 

Isabel Reitemeyer
Her consummate approach convinces me that less indeed can be more.

Robert Hugh Hunt
Fresh, intuitive, culturally aware. Robbo’s art springs from individuality.

Manu Duf
There is never a timid thing about his proficient approach to collage.

Eduardo Recife
The Brazilian illustrator sets a high standard for digital collage.

Erin Case
The Michigan-based artist is rapidly making her mark as a collage pro.

Claudia Pomowski
The versatile graphic artist is a “collage experimentalist.”

Jordana Mirski Fridman
This emerging designer/artist is “exploding” onto the medium.

Julia Lillard
The self-taught Oklahoma artist has nailed “the surreal face.”

Various and Sundry — Four Years and Counting . . .

Friday, July 29th, 2016

“I write because I don’t know what I think until I read what I say.”
— Flannery O’Connor

It looks as though I’m stepping into my fifth year writing about collage at this blogsite, and I hope that you’ve been with me for part of that enjoyable ride.

When I look back at my wish list for Year Four, I realize, not with any surprise, that my appetite for creating collage artwork has eclipsed a sometimes equally strong desire to delve verbally into the many interesting aspects of the medium. I would like to think that I met a few of the writing goals I set for myself last summer, and, of course, my ambitions to add to that list here in this post will be dutifully curbed. At any rate, I think that the best thing to do is to break this entry into a few parts that cover various and sundry topics on my mind.

The Social Network of Collage Artists
• For at least a couple of years I have wanted to write more about the influence of social media. Nearly every day I see a collage artist defeat the potential of a sharing platform with overexposure. Some may disagree and say, “the more, the merrier.” That is not a point I care to debate, because there may be something else to highlight more important than whether or not the quality-vs-quantity consideration can fall to the wayside — the vital role of networking among artists. I am more convinced than ever that the cross-pollination and mutual support of online networks has been of significant benefit to those of us working in the medium. Crystal Neubauer has one of the more interesting blogsites by a collage artist. She touched on the topic of creative communities so well that I direct you to her short essay at ClothPaperScissors.com. Another collage artist I admire who has recently made an impression as a strong blogger is Melinda Tidwell. I like her process-oriented posts. Although more of a mixed-media artist rather than a conventional collage practitioner, the versatile Kathleen O‘Brien maintains a steady flow of what I consider “must-read” entries at her studio blogsite. Create your own list of frequent art-blog destinations and branch out to new sharing platforms (I just learned about some new artist blogs from Caterina Giglio and opened a new account at Instagram.). As the entire evolving array of networking sites weeds out the fads, imitators and clunky interfaces (finding it difficult to tolerate LinkedIn as a user), you will settle into a community of online cohorts who reinforce your daily challenges as a creative person. When you come to know that someone else is on “the same wavelength,” reach out and make contact as an authentic being behind the profile. There are rewards to be discovered!

Cheap Collage Tricks
• Collage artist Allan Bealy seems to be everywhere, but, trust me, he is no gadfly. He recently raised a topic that struck a nerve with many. There are a lot of cheap tricks appearing in the medium, and most of them are harmless, if unimaginative, but the temptation to exploit visual ingredients readily available in our culture to “objectify women” is perhaps the most repugnant. Those of us who believe we are above that sort of thing need to think more deeply about how and why we use nudes in a collage. This suggests another potential self-assignment for my coming year — a “DON’T DO THIS” post illustrating the most prevalent cheap tricks in collage. (Not that there’s anything wrong with replacing a man’s head with a vulture to carry the banner of Dada during the art movement’s centennial year.) To be honest, I have nothing against a cliche, if it “works.” Isn’t that the reason something becomes a cliche in the first place? I say go for the cheap trick if you can score in the highest percentile (anyone who thinks it’s an easy thing to do is mistaken). I hope to post a follow-up look at the endurance of the surreal face in collage, so stay tuned. But let’s get back to Allan’s remonstrance. The woman as sex object can be traced back to long before the rise of Madison Avenue and Larry Flynt. Don’t bite the lure, folks. Everything one needs to dabble in this unworthy stunt abounds. Nevertheless, I long have been fascinated with the exemplars of erotic minimalism and their work in contemporary collage — those who transcend the cheap tricks to achieve a fine-art impression. Add another one to my wish list for Year Five of The Collage Miniaturist.

Priorities Get the Last Word
• My wife, Dana, and I managed to get two tickets to The Seer (a new documentary portrait of Kentuckian Wendell Berry, re-titled “Look & See” for Sundance Institute) before the Lexington screening sold out last night. It is a significant film that will become more widely available into next year, and it has my highest recommendation. Does it have anything to do with collage? Nothing at all, except for everything under the sun. If you haven’t discovered the poet, novelist, essayist, and farmer-philosopher, I have accomplished one meaningful thing with this site by inviting your interest. It was fitting that I got out of the studio and spent time at our farm. It was very hot work up on the shed roof, but pleasant to be away from all the noise (traffic, sirens, and incessant political jousting). Connecting with our rural place offered an opportunity, as it always does, to put priorities back into alignment. There is a place in the documentary when Laura Dunn (the filmmaker in voice-over) explains to Berry her motivation and how she looks “to places where there is still a remnant of togetherness, or unity, or community, of connection to the land, and I study those, because I don’t come from a place — I come from divorce …”
      “We all come from divorce!” her subject interrupts. “This is an age of divorce. Things that belong together have been taken apart. And you can’t put it all back together again. What you can do, is the only thing that you can do. You take two things that ought to be together and you put them together. Two things! Not all things.” It is his metaphor for the creative life, and a tremendously healing admonition to those of us with a tendency to become overwhelmed by the enormity of the world’s chaotic disintegration. Collage artists put things together to make something new, and often we are the ones who have taken apart discarded things to do it, but there is always a much larger phenomenon at work — one of discord vs harmony, wastefulness vs thrift, cynicism vs affection. When I return to the studio from a natural place that has responded to my care, I am in a better condition to ask myself, “To which side of the big equation are you making your contribution as an artist?”
 

Crystal Neubauer
Her blogging often touches on the complexity of a creative life.

Melinda Tidwell
Perhaps you will admire her solid abstractions as much as I do.

Kathleen O’Brien
Her art always nudges one toward a deeper sense of balance and wholeness.

Robert Hugh Hunt
Stay tuned for a continuation of my review of “the surreal face.”

Bene Rohlmann
Look ahead to my first discussion of erotic minimalism in collage.

March Exercise  |  Experiment Fifteen

Tuesday, March 15th, 2016

“Habit seems to be a much stronger force than either willpower or inspiration. Consequently there must be some little quality of fierceness until the habit pattern of a certain number of words is established. There is no possibility, in me at least, of saying, ‘I’ll do it if I feel like it.’ One never feels like awaking day after day. In fact, given the smallest excuse, one will not work at all. The rest is nonsense. Perhaps there are people who can work that way, but I cannot. I must get my words down every day whether they are any good or not.”
– John Steinbeck

Great writers are not the only artists who know how to show up for work, but much can be learned from their sense of discipline. As I come to the halfway point of my 31-day exercise, I must keep compelling myself to “conduct an experiment” each day, instead of resorting to a proven approach. I find it periodically necessary to disrupt that part of my creative mind which seeks comfort in “marketability.” If I prime the pump of imagination, spontaneity, and intuition with this kind of authentic ritual, and also maintain a habit of work, surely everything else in the studio will take care of itself.

Untitled (...en win je tienduizend!) ~ John Andrew Dixon, collage artist, blogger on all things collage

Untitled (…en win je tienduizend!)
collage experiment on paper by J A Dixon
4 x 5 inches
 
Purchase this experiment.

Much more about JUXTAPOSE . . .

Monday, February 29th, 2016

Friend and fellow collage artist Kathleen O’Brien is in the midst of her countdown to a big solo show in April. She asked me to do a favor and share a guest review as part of her final promotions for JUXTAPOSE before Drawn to the Earth requires her full concentration. As excited as I am about the group exhibition in Danville, it was a tougher post to write than I first anticipated. Collage is not the easiest art form on which to expound, perhaps because it relies on the “logic” of irrational choices.

At any rate, my dedicating a blogsite to that very topic was nobody else’s idea, so I best not complain to those of you kind enough to visit here. Would I rather be making art? Of course. Even so, I cannot constrain my enthusiasm for all things collage. Here’s my take on a great show. Be forewarned: If you’re looking for some criticism, you won’t find it!

 

I’ll admit it. I can’t get enough of JUXTAPOSE. The current exhibition of collage and assemblage is at the Community Arts Center until April 2nd. That’s not exactly the most humble thing to say, considering it features a dozen works by yours truly, so I won’t pretend that I can offer an unbiased review. Program director Brandon Long has organized a finely curated, must-see destination that brings together over a thousand examples of the two associated mediums (literally, but I’ll explain that in a moment). This is an unprecedented group show for the Bluegrass-based artists involved, and I am thrilled to be exhibiting side-by-side with Kathleen O’Brien, Teri Dryden, Robert Hugh Hunt, Meg Higgins, Connie Beale, Cynthia Carr, and many others. No doubt my enthusiasm has something to do with its location less than a city block from my studio, which bestows the luxury of repeated immersions, and there is over a month left in the duration!

There are more participants than I can profile individually, and far too many artworks to highlight. The best example of this is a room devoted to three complete year-long series of collage-a-day works by O’Brien, Long, and Nan Martindale. Combined with almost one hundred seventy of Robert Hugh Hunt’s provocative collage collaborations, the magnitude of miniature artworks presented in a single space could be overwhelming. As an exhibition designer, Long uses geometric grids, browsing boxes, and two flat-screen displays to make the huge collection comprehensible for viewers. O’Brien’s sensitive, meticulously layered collection of daily two-sided postcards is a journey to which I surrender with pleasure each time I visit, but only after a jolting romp through Hunt’s rarely exhibited Hillbilly Voodoo series with T R Flowers.

An opportunity to view works by six outstanding Louisville-based artists is worth the trip to Danville. Several major works by Meg Higgins captured my first impression. Two enormous pieces composed with transparent elements sandwiched between Plexiglas are suspended between the vestibule and grand gallery. I was equally impressed by a smaller collage on wood panel, Japanese Peony Goes to Italy, with its exquisite East-West flavor. Brad Devlin’s solid but clever exploitation of found objects yields bold abstractions that simultaneously maintain a strong environmental essence. His Open Sunday is also physically more complex than it first appears, and this allows the artisanship of his assemblage to become a secondary experience deserving of scrutiny. Masters of juxtaposition who reinforce the theme of the exhibition as well as anyone taking part, Patrick Donley, Lisa Austin and Brandon Bass each define a distinctive individual style. Approach to composition, color considerations, and a playful choice of ingredients form undercurrents that tie their pieces together, and Long knows how to modulate the walls in a way that makes groupings of their work satisfying to study. Although she has recently gained attention for her paintings, there are at least seven panels by Teri Dryden from a handsome body of work created from discarded books. Her Monteith’s Marrakesh exemplifies how her investigation successfully transcended the source material. Personally, I hope she rotates to collage again for another dynamic round of re-purposing cast-off items.

detail from Reliquia ~ collage on framed panel by John A. DixonIn addition to displaying a pair of shadow boxes, my only surrealist assemblage, and six favorite collage miniatures, JUXTAPOSE provides an opportunity to exhibit Bull’s-eye Nosegay for the first time, which I created for the Target Practice Project initiated by L T Holmes. Also, I did two larger collage artworks especially for this show. Each makes more than a fleeting nod to artists who I admire. What is it about Cherry Balm that causes me to think I just might be “tipping my beret” to the inimitable Matthew Rose? Reliquia is my tribute to the late Fred Otnes, a giant within the medium who has been a force in my consciousness since adolescence. Pearallelograms was held over from the previous exhibition at the institution, but the crowning delight for me may well be the presence of Kentucky Madonna, last year’s “finish” by Robert Hugh Hunt to my “start.” The collaborative piece is a companion to one currently hanging with the IT TAKES TWO exhibition of collaborations at the Kentucky Artisan Center in Berea. Robert and I can’t ask for more than to know that both are now available for public observation (unless someone wants to give them a good home).

I am no art historian, but I can’t help but be mindful of the pioneering artists who laid a hundred-year foundation for the sweeping diversity of this exhibition. The creative innovations of Picasso, Braque, Duchamp, Schwitters, Höch, Cornell, Johnson, and Kolář reverberate throughout the building. In many respects, all contemporary collage/assemblage is a tacit homage to these seminal influences, but that is never the only thing at work nor the only phenomena to be perceived when one indulges an exhibition of this scope. Most artists are striving for a personal means of expression informed by those who have made their enduring mark on a medium. I am convinced, more than ever, that what distinguishes contemporary collage/assemblage artists is their keen connection to the mundane “stuff” of culture and the inner need to bring a measure of order and harmony from the sheer volume of material produced by our throw-away society, with its chaotic effect on our sensibilities — to create value where none exists, or to find wonder, meaning, significance, and beauty where none can be expected.
 

Japanese Peony Goes to Italy ~ Meg Higgins, Louisville, Kentucky

Japanese Peony Goes to Italy
Meg Higgins
collage on wood panel

Open Sunday ~ B Devlin

Open Sunday
Brad Devlin
assemblage, found objects

Strength ~ P Donley

Strength
Patrick Donley
mixed-media on wood

Bird’s Eye View ~ L Austin

Bird’s Eye View
Lisa Austin
collage

Monteith’s Marrakesh ~ T Dryden

Monteith’s Marrakesh
Teri Dryden
collage from discarded books on panel

Cherry Balm ~ John Andrew Dixon, collage artist, Danville, Kentucky

Cherry Balm
John Andrew Dixon
collage on canvas
available for purchase

Reliquia ~ John Andrew Dixon, collage artist, Danville, Kentucky

Reliquia
John Andrew Dixon
collage on framed panel
available for purchase

Spot Checker

Monday, February 22nd, 2016

“I force myself to contradict myself in order to avoid conforming to my own taste.”
— Marcel Duchamp

The generous invitation to create new works for JUXTAPOSE had me thinking about constructing my first surrealist assemblage, but I had no specific concept in mind. I had some ruined wood frames, ornate in style, and started cutting them with a mitre saw to form a Swiss cross. To be honest, I didn’t want to use that symbol, so it was easy to “cancel” the idea by rotating it 45 degrees, and now I had an X to “mark the spot.” Dead end? There had to be more to it than that. I shifted my attention to completing a collage, and I must have unwittingly assigned the problem to my subconscious, because I awoke after a night’s sleep with the total solution in my head. How can one explain something like that (or Dada, for that matter)?

A few words of caution, however: Don’t actually plug it in.
 
Dixon_SpotChecker

Spot Checker
assemblage by J A Dixon
30 x 30 inches (+ “tail”)
available for purchase

New Year New Art, 2016

Sunday, January 10th, 2016

“The pitch is fairly simple – we invite a bunch of our favorite local and regional artists to show us their latest work – made since August of this year. The artists have a ton of energy and momentum for this show because they know that people will see their work, they know that the other artists are putting together something amazing, so there is a lot of positive peer pressure to make some outstanding work.”
— Brandon Long
 

One of my most anticipated exhibitions of the year is the annual New Year New Art show at our local Community Arts Center. For the fourth year running, the invitational has been organized by Brandon Long. The current installment is the biggest ever. A versatile artist and designer in his own right, Long is a confidante, motivator, and energetic ambassador for the arts in Central Kentucky. He has both the artist’s and the institution’s best interests at heart, and that is not an easy balancing act to pull off. Whatever else may transpire in the year to follow, it is gratifying to display new work of my own choosing among friends and fellow collage artists such as Kathleen O’Brien and Connie Beale. If you are in the area and weather cooperates, be sure to check out this outstanding January show.

Knowing that whatever I create will have a public unveiling, surrounded by selections from some of the finest regional artists, has challenged me to transcend self-imposed perceptions about the medium of collage. It also has spurred me to lift my artisanship up another notch for the upcoming year. Two ideas converged to spark Pearallelograms — more details about the piece in my next entry.
 

Pearallelograms ~ J A Dixon

Pearallelograms
collage construction by J A Dixon
22 x 22 inches
available for purchase

Posting too much, too often.

Wednesday, October 14th, 2015

Oftentimes on the internet, it’s more a culture of ‘Look at me! Look at me! My thing! My thing!’ and it’s competitive.”
— Joseph Gordon-Levitt

“There is no design without discipline.”
— Massimo Vignelli
 

Perhaps it is disingenuous for a blogger to bring up the subject of routine self-exposure, but I cannot help myself today. The level of unbridled disclosure on the Web is out of hand, and there is no sign of moderation on the horizon. Out of respect for your time and consideration, it would make sense for me to stay on the subject of collage. You have your reasons for visiting this site, and I doubt that they have anything to do with my general opinion of social media.

Let me be blunt: Too many people who create collage are posting too much, too often. This viewpoint is coming from someone who is a big fan of the positive influence and cross-pollination in our medium. I can see no benefit from working in a vacuum. On the other hand, there is something to be said for a bit of restraint, and we all have a need for greater discernment before deciding whether or not our most recent composition is worthy of public display.

So, now I have to come up with a suitable image (or unsuitable, depending on one’s perspective) to illustrate this rant. Here we go:
 

rejected collage
(for educational purposes only)

a birthday salute . . .

Wednesday, October 7th, 2015

“In 1998, Ma founded Silkroad, a nonprofit outfit that connects diverse cultures and musicians not only through Ma’s Silk Road Ensemble (for which more than 80 pieces have been commissioned), but also by supporting education and cross-cultural business and artistic partnerships.”
– NPR.org
 

Today is the 60th birthday of Yo-Yo Ma, among the world’s most impressive creative individuals. When he brought his Silk Road Ensemble to my hometown in 2013, I was inspired to begin a series of collage poems dedicated to East-West understanding. I can think of no living artist with a greater curiosity for diverse influences, or a wider versatility, fusing cultural traditions with innovative experimentation.
 

Silk Road Details
digital compilation by J A Dixon
a birthday salute to Yo-Yo Ma