Archive for the ‘Artifacts’ Category

The art of legacy collage

Thursday, July 10th, 2025

“During the last two years at the Motherhouse, I made a real effort to ‘clean out,’ and organize everything. It was truly a freeing experience! However, I still had to decide what to do with what I wanted to keep. Around this time, I had attended the funeral of a friend who had commissioned three artworks to represent her life: ‘Body, Mind, and Spirit.’ I was immediately touched by this collage idea. From then until this writing, I have been working on my collages. I had planned to do only two: ‘Home and Family’ and ‘Ministry as a Dominican.’ My artist brought forth a third, and it is a perfect fit for my life.”
— Sister Mary Otho Ballard
 

Below is a triptych which represents of a type of artwork that I call “Legacy Collage.” My entry about a previous example from 2016 described the scenario of a person attempting to distinguish the difference between actual family heirlooms and other items marked for eventual disposal. Inevitably, some images and memorabilia would fall into a gray area between, and therein lies the potential for one or more collage compositions. If creatively preserved as wall-worthy artwork, they can remain meaningful into the future.

A retired Dominican Sister of Peace saw a collage triptych at the funeral of her friend. It was a grouping that I had collaboratively assembled with my late patron. Facing a terminal condition herself, Sister had been reducing her few possessions and arranged a commission for me to make a similar creation. She had lived an extraordinary life of educational and administrative service, including an extended ministry to serve the native people of Belize, but she was physically and spiritually detaching from all of it. Because Sister had taken a vow of poverty, her devoted nephew wanted to make an enduring memorial possible, and I was honored to accept the collage assignment.

Originally there were to be two panels — the first would document her life before convent, growing up as La Monda, part of a large, farm-based family in Kentucky. The second would be about her long and diverse life as a nun. When I took stock of all the designated ingredients, it became clear that this project would also need to be a triptych. The third panel would commemorate her active preparation for eternal life.

panel 1 ~ FORMATION ~ Farm and Family
panel 2 ~ VOCATION ~ Growth and Service
panel 3 ~ ASPIRATION ~ Love and Detachment

Sister and I worked together intermittently for nearly a year, bringing her vision into being. Her presence, wisdom, and peaceful soul have had a profound effect on my heart. It’s been one of the most personally rewarding experiences I’ve had as an artist. I met Sister’s nephew last year after the finished collages were delivered, and he was remarkably generous. As Christmas approached, her condition declined, My wife and I spent some time with Sister, but she struggled with clarity. She then asked her nephew to come for a visit and for me to be there to meet with them. He and I happened to arrive at her care center about the same time, only to learn that she had passed on a half hour before.
 

FORMATION  ~  VOCATION  ~  ASPIRATION
John Andrew Dixon
three legacy collage artworks on canvas
16 x 20 inches each
private collection

LexArts 50th Anniversary Auction ends tonight!

Sunday, December 11th, 2022


 

These collector bottles want a home, but most of them would settle for the humble “man cave.” Auction closes at midnight tonight. A perfect gift for that eccentric Bourbon lover and a way to support the arts in Central Kentucky with a year-end donation. Opening bids are only $350.

Or you may want to grab my #008 version while you still can!
 

 

 

The Wild Why of a “Whisky Wall of Wonder” . . .

Monday, December 5th, 2022


 
 
 
@n online auction of collectible Maker’s Mark Art Bottles takes center stage, now that the “Whisky Wall of Wonder” has made its splash (last Saturday night during the 50th anniversary celebration of LexArts and the associated Horse Mania Auction at Keeneland). When the distillery teams up with the arts institution in a milestone dollar-raising concept connected to the legendary race track, I can’t help but be a “part of the action.” However, unlike when I created my only collage on bowling pin, the participating artists don’t get a “piece of the action” this go round. No exploitation here, folks. It’s a total, eyes-wide-open donation to observe the half-century mark and benefit the arts in Central Kentucky. It’s been no secret how I view the whole subject of periodic contributions of creative labor to nonprofit groups, in case you’re interested in linking through to that archive of opinionated posts.
 

It was stimulating to delve into collage solutions that had to take into consideration multiple viewing orientations — a worthwhile assignment for someone wrapped up in his two-dimensional practice. The experience also triggered recollections and inevitable allusions to the “Mark of Great Art” pieces that were made for my 2008 collaboration. Who knows what became of them after they ended up in Europe? Who knows what will become of these peculiar bottles? May they bring joy and perhaps a bit of amusement to those who take stewardship!

The online auction destination accepts bids until midnight, 12/11/22.

Whether or not one is vying to secure an original artifact full of private select whisky, it’s fun to take a peek at some of the current bids!

March Ex(plosion)  |  Twelfth Collage

Friday, March 12th, 2021

 

Stolen Valor
collage artifact by J A Dixon
11 x 14 inches
available for purchase

Good Ol’ Boy Dada

Monday, January 27th, 2020

“When Schwitters made the first collage by literally picking up a piece of rubbish, a sweet wrapper, a bus ticket and a piece of wood, that was pure invention.”
— Sir Peter Blake
 

For the many who revere his art, there’s a distinct Kurt Schwitters for each of us — rebellious creator, fearless performer, relentless out-of-the-boxer, proto-beatnik, or visionary theorist. In combination with his towering individualism, he was, by reports from those who knew him, affable, witty, optimistic, entertaining, and a practical joker. This is the Kurt who would be a pleasure to “hang” with, who others in the internment camp on the Isle of Man would hear each morning, barking like a dog. In our local Bluegrass culture, there is a phrase for such a character. Around these parts, he likely would’ve been known as a “good ol’ boy.”

In response to the international call by Ric Kasini Kadour to build a Schwitters’ Army collection at MERZ Gallery, the two pieces I created pay tribute to this particular K.S. Both were fashioned from street debris and highway litter accumulated from my immediate vicinity. One of them was mailed to Sanquhar, Scotland. I haven’t decided what to do with “part 2.” Perhaps the series will continue.

In 2016, I wrote the following in my published essay on a hundred years of Dada: “Those of us who create collage art may not always describe our works as a tribute to the enduring, inclusive concepts of Merz, but that is precisely what they are, and we are indebted to that legacy.” As one who has never wearies of exploring the far-reaching innovations of K.S., I am content to describe myself unabashedly as a working “Merzologist.”

Schwitters may or may not have been the original artist to embed found detritus in collage, but certainly he was the first to fully master a modern-art version of the medium when it emerged at the close of the Great War. Embracing every conceivable source ingredient, he would codify the new visual vocabulary, give it an umbrella name, and bequeath the methodology to unborn generations. He may have sensed that the window of opportunity for him to preside over such a grand human venture was closing. He never got to take by storm the art world of 1950s New York — something eminently suited to his personality. His work and writings have had to speak for themselves.

For me, the seminal creations that launched what we know as Merz can never be separated from the man himself — the one who directed subtle, irreverent jabs toward a gang of thugs who hijacked his culture, until it was impossible to stay put, and then, after facing further persecution in Norway with his son, reckoned that an icebreaker just might evade Nazi torpedoes long enough for them to reach the coast of Scotland. Probably that dauntless, wry, “Good Ol’ Boy” side of him was satisfied to leave us with this simple thumbnail declaration:

“My name is Kurt Schwitters.
I am an artist and I nail my pictures together.”

 
 

Good Ol’ Boy Dada, part 1
collage artifact by J A Dixon
7 x 9.25 inches

 

Good Ol’ Boy Dada, part 2
collage artifact by J A Dixon
7 x 9.25 inches

Yutori ~ a personal perspective

Sunday, February 17th, 2019

“I am immensely influenced by the colors and textures of this little town. There is a softness about the buildings and landscape. Faded by the sun and rain. Mellowed by humidity.”
— Teri Dryden
 

Last year I mentioned that, if possible, I would have stowed away in Teri Dryden’s art supplies when she left for a residency at Shiro Oni Studios in Onishi. The entire notion of a small-village retreat in rural Japan seemed as far-fetched to me as actually hiding in her luggage, so the next best thing was getting to follow her “ARTventure” online. Three years ago, at about the time of the Juxtapose exhibition in which we both took part, she was deliberately shifting from collage making to another period devoted to painting. Would her experience in Asia mark a new phase?

An answer to my question was likely to come this month. My anticipation began to build when I learned Dryden was hanging a show of recent works at B Deemer Gallery in the Crescent Hill neighborhood of Louisville. Dana and I made the opening reception of Yutori a must-attend event on our calendar of winter outings. As soon as I entered the space, I felt surrounded by something I could only sense as ‘mastery,’ and it was the kind of splendid first impression that every exibitor dreams of imparting. When I spoke briefly to the artist, she expressed a conviction that the immersion in Japan had at long last enabled her to “fuse collage and painting” as a single medium.


 
 
 
 
 
 
 
 
 
 
 
 
 

I was struck by the overall impression of the show, a mood that was independent of the typical urban hubbub of mingling visitors. A serene dynamism emanated from every piece. Each one invited the observer to penetrate its harmony of constrained color, spatial activity, and fluent mark-making.

The blog entries that Teri posted during her residency had captured the spirit and distinctive flavors of an energetic cultural adventure, but her process in the studio would remain unspoken. Now — moving from wall to wall, composition to composition — I could finally share a small measure of something that must have been nearly impossible to describe. It is simply embedded in the work itself. I won’t soon forget how pleasing and rewarding it was to experience firsthand her evolving integration of not only collage and painting, but the metaphysical sense of place within an artifact crafted by hand. What is truly on display at Yutori is how a creative individual’s personal receptivity and high level of spontaneity can artfully harness such a fusion.

If you are anywhere near Kentucky, I urge you to see this show.
 

   
 

   
 

   
 
 
 

An extraordinary fusion
of collage, painting,
and sense of place
is on display at
 
Yutori: New Works
by Teri Dryden

 
 
 

 

Sayonara 1
collage on paper by T Dryden
15 x 11 inches
from her residency at Shiro Oni Studios, 2018

Her Wordless Desolation

Saturday, September 22nd, 2018

 

Her Wordless Desolation
collage miniature on book cover by J A Dixon
5.125 x 8.125 inches
 
Purchase this artwork.

Governor’s Derby Exhibit, 2018

Thursday, May 17th, 2018

My 3D collage from last summer, Star of Commonwealth, is currently on display as part of the Governor’s Derby Exhibit titled Reflections of the Commonwealth. It is an honor to have my artwork chosen and, reportedly, positioned near the door to the Governor’s offices. Yes, it’s a cool thing, if I do say so myself. The Kentucky-themed piece was created as part of the 225th birthday celebration for our Bluegrass State. I have yet to replenish my stash (hint, hint, wink, wink) that would enable me to do another similar artwork. The annual initiative coordinated by the Kentucky Arts Council is on view in Frankfort at the Capitol Rotunda through June 4th.
 
detail from ‘Star of Commonwealth’ ~ collage construction by John Andrew Dixon, Danville, Kentucky

Star of Commonwealth (detail)
mixed-media collage construction by J A Dixon
22 x 21 x 6 inches
available for purchase

The “Collagesmith” as Artisan

Saturday, March 24th, 2018

“Even in the absence of inspiration and talent, I think that through sheer craft you can actually create extremely good work, all the time, reliably. Great work is something else. I think for great work you also need a lot of luck. You can only aspire to really good work. The great work either happens or it doesn’t.”
— Christoph Niemann
 

Sloppy collage artwork has never held much appeal for me. Individuals might define “sloppy” differently, so I’ll rephrase that. I have always found well-crafted collage artwork to be the most appealing. In practice, I have aspired to the highest level of artisanship to which I am capable. According to my peculiar notions, the very nature of collage as a “mash-up” of visual ingredients suggests that one resist all the inherent temptations to condone careless techniques. To do anything less is a disservice to the medium, and strikes me as being a bit lazy.

I have been at this long enough to contrast current activity with a study of my “early” work. I perceive it now as more crisp and aligned with my long stint as a designer and illustrator. I remain proud of craftsmanship that continues to challenge my present hand skills. Like everyone who sticks around, I have moved relentlessly toward a period of life when manual dexterity and vision are unlikely to improve. At any rate, clean, precise work is more about attitude and personal commitment than it is about facility. Lately, on the other hand, I have sought a more organic, less contrived look — the impression that a piece is naturally the way it should be, rather than appear too obviously composed and belabored. As I work, I try not to permit the goal of a somewhat softer and cohesive whole to suggest a relaxation of craft. In fact, I have gradually introduced steps in the process that demand extra time and attention: sanding the reverse side of ingredients for adhesive-saturated compression and eliminating white edges on printed scrap to enhance a seamless effect. I combine that with ample burnishing and some hair-dryer prep before curing time under weight, followed by multiple light-touch coats of matte sealant. I would rather be thinking about practical methodology or a musical playlist than what is literally evolving on the surface before me, allowing that to be as intuitive as possible.

And perhaps (just maybe), Lady Luck will smile.
 
Cosmic Crucifixion ~ J A Dixon

Cosmic Crucifixion
mixed-media collage by J A Dixon
2006, 16 x 16 inches
available for purchase

Creating collage artwork on a book cover

Saturday, August 19th, 2017

“A cold start is a hard start.”
— Stephen King
 

There must be a lot of ruined publications out there, because the “collage on book cover” has become a staple of the medium in recent years. I happen to live across the street from a public library, and I’ve been known to peek into their recycling bins from time to time. If the decisions of libraries are any indication, cast-off books will supply the needs of artists for quite a while, and I’m not talking about just covers. Perhaps the societal move from print to digital has in some measure fueled the explosion of collage worldwide. Much could be said about that alone, but let’s stay focused on the book cover.

As a substrate, it has all the aspects for which a collage artist is looking — strength, durability, unusual textures, and it often provides other desirable features, such as embossing, foil stamping, plus interesting typography that need not be superimposed. I will generally wrap my collage ingredients around the dimensions of the working surface, and this adds an “artifact” quality to the creation, because it takes on the perceptual properties of an actual object. Book covers can lend themselves to this effect.

For me, the book cover also triggers its own unique intuitive responses — unconscious associations that will “jump-start” the process in a more experimental way than the typical “blank canvas,” which invites more initial calculation. Any component of a publication has the vestiges of an anonymous designer’s preexisting sensibility. There is already a context, perhaps a pictorial or narrative allusion, but, at minimum, a tactile or color stimulus. It is not a cold origin.

There are times when a collage at the scale of a book cover will capture a microcosm of “the moment,” whether or not we can interpret all the elements at a rational level, whether or not we can ascribe “meaning” to it. I see many collage artworks that communicate little beyond “disorganization” or “chaos.” But there are others that probe deeper to the heart of something more significant, and are the result of an artistic intent at some level of mindfulness, even if it has not derived from a series of choices that involve an outer, deliberative awareness. Then again, it is dangerous for me to generalize about anything. Each creative process is distinctive. Discover yours!
 
Threshold Of Control ~ J A Dixon

Threshold Of Control
collage miniature on book cover by J A Dixon
7 x 10 inches
 
Purchase this artwork!

This Side of Recklessness ~ J A Dixon

This Side of Recklessness
collage miniature on book cover by J A Dixon
7 x 10 inches
 
Purchase this artwork!

Star of Commonwealth ~ through the glass

Saturday, August 12th, 2017

“Impossible is just a big word thrown around by small men who find it easier to live in the world they’ve been given than to explore the power they have to change it. Impossible is not a fact. It’s an opinion. Impossible is not a declaration. It’s a dare. Impossible is potential. Impossible is temporary. Impossible is nothing.”
— Muhammad Ali
 

Let us take “our telescope” and look more closely at the Star. My strong appreciation of fine-art collage is second to none, but there is something equally as satisfying when one is called upon to create an “artifact” that pays tribute to a unique historical or personal legacy. I think that I managed to compile enough ingredients to do justice to the theme of the current exhibition — Kentucky’s 225th birthday celebration.

If anyone asks, “Where is he or she? Why did you not include this or that?” the answer might be as simple as an absence of “stuff.” The reason for that is my firm reluctance to use anything but original source material that would otherwise be destined for the recycling bin or landfill. I cannot bring myself to go online to search for, print, and use digital imagery, even though nearly anything can be “acquired” in that format these days. For me, art is always about constraint. Or, as the late Martin Landau put it, “It’s not about comfort, it’s about discovery.”

Please click on the images below to zoom in on Star of Commonwealth.
 

detail from ‘Star of Commonwealth’ by John Andrew Dixon, Danville, Kentucky

How can a collage artist go wrong, relying on images of
Kentucky’s two most widely recognized and revered native sons?
For me, Frederick Douglass is the figure who links them best.

detail from ‘Star of Commonwealth’ by John Andrew Dixon, Danville, Kentucky

One of my organizing factors was to confine the more intense colors to the
‘floating’ star and to use the plank surfaces to carry a more historical tone.

detail from ‘Star of Commonwealth’ by John Andrew Dixon, Danville, Kentucky

Kentucky has one of the greatest multitude of counties for any state in the union.
Woefully inefficient, or one of the better examples of self-government close to
the people? You can decide. I just like how colorful it makes an antique map.
At any rate, the frontier’s exploding population pushed Dan’l toward the sunset.

detail from ‘Star of Commonwealth’ by John Andrew Dixon, Danville, Kentucky

One of my favorite zones involves a visual juxtaposition of worship, whiskey,
constitution, thoroughbreds, coal mining, confederate leader, battle flag, and a
reference to human slavery. Only the history of Kentucky could contain all that.