Archive for the ‘Artists/Collage’ Category
Makin’ Christmas collage again!
Friday, December 23rd, 2022LexArts 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!
Our “En Plein Air” show in Danville
Monday, August 22nd, 2022“And yet, standing at his appointed place, the trunk of the tree, he does nothing other than gather and pass on what comes to him from the depths. He neither serves nor rules — he transmits. His position is humble. And the beauty at the crown is not his own. He is merely a channel.”
— Paul Klee
Another anticipated En Plein Air annual exhibition has appeared and vanished, my sixth consecutive participation since I took up the challenge of “painting in papers” with the PAACK. My sincere thanks to Art Center of the Bluegrass for continuing to support our regional group!
The two miniatures that I included in the show are featured here. Completing both of them in the studio raised some concerns that I’d be able to retain my on-site impression as I made detailed additions too delicate for outdoor work. Did I manage to do it?
East End Survivor
collage miniature by J A Dixon
6 x 7.125 inches, framed 11 x 14
available for purchase
Gardener’s Nook
collage miniature by J A Dixon
6.25 x 7.25 inches, framed 11 x 14
available for purchase
Training the trainers in Eastern Kentucky!
Tuesday, July 26th, 2022“We make a living by what we get;
we make a life by what we give.”
— Winston Curchill
I’m still feeling a satisfying vibe from one of the most personally rewarding events ever! My hands-on collage workshop was part of the “Train the Trainer“ series in Paintsville, Kentucky for the Johnson County Extension Office. Participating artists intend to share this learning throughout their community in the coming months. My thanks to a fabulous group of creative individuals who were curious about “all things collage” and inspired to “pay it forward” among fellow citizens in their beautiful area of our Commonweath.
After an opening presentation with my whirlwind tour through over 200 years of collage history, a demonstration offered cutting tips, the basics of pasting technique, an overview of translucency and transfers, plus an emphasis on maintaining the flow of improvisational layering. (See my end-result demo piece below.) Throughout the day we stressed the fundamentals of visual aesthetics, while keeping our focus on intuitive spontaneity within an experimental process. Tables cluttered with potential ingredients were the norm, as participants tackled three time-based exercises and produced a collage miniature for each. Their well-crafted, colorful solutions were the take-home product, and we managed to fit in a closing discussion full of important observations. I was impressed with the group’s talent, curiosity, and spirit of creative adventure! It was an astonishing thing for me to observe how fluently they attuned to the vocabulary of collage expression, having no prior awareness of Hannah Höch, Joseph Cornell, or the Merz of Kurt Schwitters.
It’s been a while since I accepted the role of teacher. I was surprised and concerned to discover that it was no longer within my “comfort zone.” I faced a gauntlet of self-assurance to run before I felt prepared. The delightful, encouraging Brenda Cockerham, our project leader, provided vital support. As ever, Dana was an indispensable “partner in all things.” Why must I periodically be reminded that giving back is every bit as significant as anything I get from my artistic practice? I’m a fortunate man, because cutting and pasting offers a universal experience that is effortless to share with others — if I just get out of my own way. Collage at all levels presents an ideal opportunity for individual receptivity. It’s rewarding to watch this sense of discovery, similar to what I experience myself as I explore the wide potential of art made from paper that would otherwise be cast away. This connection with others fires my enthusiasm to compile additional collage insights and to continue passing them along. There is much to gain within a shared creative environment when we take discarded stuff and create value where none existed, and find wonder, meaning, and beauty where none had been expected.
Don’t Clown Around
collage experiment by J A Dixon
created during my workshop demonstration
6.5 x 8.5 inches
Eleventh chapter — Paint old Lex in papers . . .
Saturday, July 2nd, 2022“If I could say it in words, there would be no reason to paint.”
– Edward Hopper
Here’s my collage en plein air for this summer’s annual “Paint the Town” challenge (organized by Kate Savage of Lexington’s Arts Connect). Hours never evaporate so alarmingly fast as during this event. It had to be delivered framed and ready for immediate display within the six-hour deadline. The piece looks a bit unfinished to my eye, and probably will until an image wrapped in expectations has faded from my head. My insane trackside rig (located across from the Lawrence Brewer & Son Horse Oats warehouse) drew the attention of a railroad inspector, but, thankfully, I was left uninterrupted.
Do you think I should’ve brought along the kitchen sink, too?
Oathouse
collage en plein air by J A Dixon
100% / 0% — site to studio
10 x 10 inches + handcrafted frame
available for purchase
A satisfying momentum . . .
Wednesday, June 15th, 2022I’ve been out on location, painting in papers — to build a new series of collage landscapes that I shall talk more about soon!
My Oh So Fallible Intuition
Sunday, May 15th, 2022Did you celebrate World Collage Day?
Check out this Instagram tag and be amazed.
My Oh So Fallible Intuition
collage experiment by J A Dixon
6.25 x 6.6875 inches
a salute to World Collage Day, 2022
available for purchase
PAACK kicks off 2022 season!
Thursday, April 14th, 2022
I really enjoyed PAACK’s chilly kickoff outing at the home of Mrs. Penn. As everyone began to focus on her exploding flower beds, I turned my attention in the other direction (for some odd reason). I couldn’t deny an interest in her staging nook near a teal fence (in the same way I was captivated by the back of Tillie’s garage last year). I’m completing the collage I started that day, and it will be a challenge to finish it for our summer show within the 50:50 limitation. I wouldn’t mind interpreting the gardening table, but I’ll need to omit that element to pull this off. I’d rather “move” the nearby bird feeder into my composition for a splash of complementary color, and also to find some way, within the remaining time, to “paint” the hay bales with paper ingredients.
Do I have to count the minutes I spend staring at my reference photo?
My 50:50 time constraint will necessitate simplification,
but inserting the colorful bird feeder is a given!
Happy Happy to my Partner in All Things!
Monday, April 11th, 2022
1979
collage miniature by J A Dixon
4.75 x 5.0625 inches
collection of Dana Lynn Dixon
Collage studios exposed! Endorse the CHAOS!
Friday, April 1st, 2022“It took me 1-1/2 years to tame this beast. The whole process was such an emotional rollercoaster. It’s interesting to notice how contradictory I (still) feel about the whole thing. This might sound weird, and don’t get wrong – I’m super proud of the book and this is the biggest thing I’ve ever done, but when I started the project, I was in a very bad place. The company I had founded filed a bankruptcy, and years of mistreating myself led to collapsing and struggling with very negative thoughts. After the worst waves, I felt I needed some kind of personal project, so that I could focus into something else other than my problems. And so this project was born. I’ve received overwhelming support and positive feedback, which has helped me to push forward.”
— Niko Vartiainen
One of the most dynamic guys in the collage scene is Finland’s Niko Vartiainen. His new, highly unusual book, THE CUTTING CHAOS, celebrates the diverse studios of 28 international collage artists. I’m pleased that he chose to showcase my basement workplace with an eight-page feature. It’s a real privilege!
Photos reveal my tools and chunks of the surrounding stash. One of the images highlights the “collage kit” that enables me to work in the medium en plein air. The approach relies on a re-purposed plastic dish drainer that was spared a land-fill demise. Paper resources fit into the slots for plates (protection from the breeze), and my three different adhesives are held in the flatware compartments. Next to the kit you can see an ancient, ugly hair dryer that still gets almost daily use. The 244-page hardcover publication includes an interview format. Participating artists share their answers to a set of identical questions about their workspaces. My subterranean “fortress of solitude” in our bungalow hasn’t been kept a secret, but only a few people have seen it before now. Hello, world!
