The Collage Miniaturist

“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

“If everything seems under control, you’re just not going fast enough.”
— Mario Andretti
 

One week ago, I spent a windy Saturday in frantic competition with the clock, and managed to get an outdoor collage artwork framed and delivered for Lexington’s annual Paint the Town plein air event. At the opening reception that same evening, I was stunned to get a prompt sale and 2nd-place prize. It was one of the most exhilarating twelve hours I’ve experienced in quite a while.

Oh, the dubious lengths some of us will go to chase artistic intensity — even the temporary madness of extreme deadline pressure — all in the pursuit of rapt spontaneity. Heaven help me!

It doesn’t seem so long ago when I first took my collage obsession out of doors, and this kind of open challenge was a goal too absurd to contemplate. I had scouted the location and spent a couple days in preparation. By the time I’d registered a blank canvas, raced to my site and set up, one of the precious six hours had evaporated. I began to battle the breeze (nothing new there). Nor were the other 40 artists involved my foes. It was clear that the only towering opponent I faced was a daunting imperative to speed up my process. I’ve never pasted paper so fast in my life!

The judge said this about my piece: “I was very interested in the way this artist managed to create such an evocative landscape using collaged paper — and on a windy day! Places and buildings often hold so many memories and meanings, and the use of text on the siding of the buildings — with the words appearing in reverse, so they become texture and tone — adds another level of meaning.”

It’s gratifying, and profoundly reinforcing, to have a knowledgeable evaluator find significance in aspects that have evolved gradually to become a natural part of my plein air method. I appreciate her remarks, the organizing effort of all those with Arts Connect, the camaraderie of the participating artists, the buyers (Scott and Paul), the indispensable support of my dearest partner — and you, reader, for visiting here and for reading all of this!

Onward to the next challenge!

Off Upper
plein air collage on canvas by J A Dixon
12 x 12 inches

•  Second Place Prize / S O L D

 
Paint the Town is an annual plein-air-oriented landscape exhibition in Lexington, Kentucky. The parameters of the traditional twelve-hour event are strict, and I’ve always had the notion of it as a flat-out competition — sort of a bass tournament for artists, if I may indulge a silly exaggeration.
 
 
With the current societal restrictions having caused so many art shows to be postponed or cancelled, it’s a distinct credit to ARTSconnect that a way was found to make the event happen at all in 2020. The Pam Miller Downtown Arts Center reopened to host the exhibition. Many of the more stringent guidelines (and, sadly, all the hospitality enhancements) were stripped out of this year’s version.

I’m willing to admit that the relaxed standards were enough to convince me to take part, not having participated in this kind of gig before. I was eager to gather what I’ve learned from my plein-air experience and “paint with paper” in the studio. The goal was to fuse the spontaneity of working outdoors with a more deliberate process that I’ve explored by using photo references to create a larger landscape on panel. I can’t be more pleased with the results. I continue to incorporate white tissue for desired cloud effects, and I’ve come to rely on reclaimed teabag material as a beneficial adjunct to colored papers. I work at not overdoing tinted sealants, but the added depth is worth a cautious, mixed-media enhancement (especially when I mix acrylic gel medium with a rare portion of walnut juice from Richard Taylor).

Please take a Virtual Tour of the show. My 90-second sound bite is included, or you can listen to the audio by clicking here. Of course, there’s a YouTube video of all the artwork, too. My two collage miniatures enjoy some great company, and it pleases me to point out that juror Bruce Neville designated Byway Corner with an Honorable Mention. Current gallery hours at the Pam Miller Downtown Arts Center are Wed/Thurs/Friday, noon to 5pm. The show lasts until August 3, 2020.
 
 

Byway Corner
collage landscape by J A Dixon
7 x 7.125 inches
available for purchase

•  Honorable Mention

Along Market
collage landscape by J A Dixon
7 x 7.125 inches
available for purchase

 
“And if my own children
  should come to a day,
When a new Mother comes
  and the old goes away,
I’d ask of them nothing
  that I didn’t do.
Love both of your Mothers
  as both have loved you.”
— Joann Snow Duncanson
 

Happy Happy to all the mothers on their day of honor!

The two 10x10s I posted yesterday on Instagram are my salute to World Collage Day, an international event contrived to celebrate and boost participation in the medium. The ingredients were generously sent to me by members of the Arizona Collage Collective. Using elements not personally selected was a rewarding exercise — an opportunity to better understand the distinction between my process of spontaneous composition and choosing qualities in the subject matter itself. For those who enjoy seeing my newest work, follow “thecollageminiaturist” at Instagram, too.
 
 

When You’re Going through Hell
collage on structured panel by J A Dixon
10 x 10 x 1.5 inches, unframed
available for purchase

When the Going Gets Tough
collage on structured panel by J A Dixon
10 x 10 x 1.5 inches, unframed
available for purchase

“Many artists struggle to make a profit each year, and although it might sound noble to give art away, sometimes it does the community of artists more harm than good. Fund raisers who ask numerous artists for outright donations devalue the worth of the art in that community. … The folks that put on these fundraisers are not malicious people. They just don’t understand how selling donated art at low prices hurts the art community.”
— Lori Woodward
 

Our local Art Center had another successful fundraiser last night, thanks to a massive number of minuscule donations from regional artists. Staff members had to rethink how the event was organized. The turnout was so insane last year that the fire marshal weighed in with concerns.

I contributed four playing card experiments a year ago, but this time around I decided to boost that to five collage miniatures that met the 6×6-inch constraint.

Much has been said and written about the expectation that artists will continuously supply the fruits of their creative labor without compensation in support of nonprofit fundraisers. My basic motto is, “Keep it small, and keep it infrequent.” I’ve gone into more detail about the issue at this blogsite more than once. I have respect for those who decline requests across the board. It’s a decision for each individual. It bugs me when people preach a universal approach. Pro-bono contributions are a time-honored activity in the professional world, but, as with nearly everything, there has to be balance. I recently took part in a fundraiser that split some of the proceeds with participating artists. Nothing wrong with a win-win like that. I hope the practice spreads to more worthy organizations.

It’s not a new idea. Maria Brophy, Lori Woodward, and others had pretty much thought this through ten years ago:

• mariabrophy.com / the problem with donating art and the solution

• fineartviews.com / fundraisers that do it right

Please share your observations with me. I shall always reply!
 

Five Tiny Donations
collage miniatures by J A Dixon
within a 6×6-inch size limit
“Tiny Art” fundraiser to benefit
Art Center of the Bluegrass

Dixon joins fellow collage artists Brandon Long and Robert Hugh Hunt
at another New Year New Art reception in Danville, Kentucky.

Well, folks, I was about to start bragging again on the January event known in the Bluegrass as New Year New Art. Having extolled the indispensable exhibition many times at this site, I’d better refrain and just let some of the artwork speak for itself. After the opening reception, I paid a return visit to view the show at my own pace and to capture a few square crops of my favorite works.

While we’re at it, here’s nine more details from the 2019 show. It’s always an honor to share the spotlight with some extraordinary regional artists, so I hope the tradition of NYNA endures a very long time!

The Holiday Market sponsored by the Art Center of the Bluegrass is open — a great way for everyone in our community to support ART LOCAL with their gift giving. I have collage miniatures, wood engravings, and note cards available (They can also be purchased online by those who aren’t anywhere near Central Kentucky!). I also made a couple of new Merz Pictures just for the season, continuing my “Market Shard” series. The opening reception is tomorrow, from 5:30 to 7:30pm. I suspect there will be a crowd, so perhaps you might bump an elbow with me.
 
 

Something Given
collage artwork by J A Dixon
9 x 11.625 inches
 
Purchase this artwork!

With Mind Serene
collage artwork by J A Dixon
8.375 x 11.375 inches
 
Purchase this artwork!

“Look, man, I’ve got certain information, all right? Certain things have come to light. And, you know, has it ever occurred to you, that, instead of, uh, you know, running around, uh, uh, blaming me, you know, given the nature of all this new shit, you know, I-I-I-I… this could be a-a-a-a lot more, uh, uh, uh, uh, uh, uh, complex, I mean, it’s not just, it might not be just such a simple… uh, you know?”
— The Dude (from The Big Lebowski)
 

I’m super pumped (in the, uh, parlance of the day), because tonight is The Big LeBOWLski Arty Party to benefit the arts in Lexington and Central Kentucky, and it’s a delight to be a part of it!

It’s Complex, Man is my contribution to the fundraising event. Ten regional creatives will have their bowling-pin art in the silent auction, and we’ll split the purchase price 50/50 with LexArts, the sponsoring organization. How many nonprofits offer that deal when artists are asked to donate their creative labor to a cause?

Crafting this piece was pure fun, with pleasant allusions to my Mrs. Bradshaw chair. There are ample references to the Coen Brothers picture, but it’s not only an homage. I revisit my practice of juxtaposing high literacy with the pulpy preferences that many of us harbor. If you’re weary of seeing that in collage art, “Yeah, well, you know, that’s just, like, your opinion, man.”

Rumor has it that The Dude will make an appearance. Let’s go bowling!

It does seem like a very long time ago . . .

“Two halves don’t make a whole. Two wholes make a whole.”
— Jason Mras
 

Although I was not able to insert Kolaj Fest into my summer plans, I’m commiserating with the many collage artists who had their expectations disrupted by tropical storm Barry, including “virtual friends,” Allan Bealy, Janice McDonald, and Andrea Burgay.

As I think about them and the truncated event in New Orleans, it occurs to me that I never posted images of my 2018 collaboration with Bealy, when I joyfully participated in his HALVES project.

Leave it to Allan to explore yet another type of creative joint venture with a diverse group of partners. I knew from our previous collaboration that we could use the other’s stimuli to great benefit. After I received Allan’s starts, I waited until I’d sent him mine (this one with an Abyssinian cavy, and this one with roasting pans) before I finished my half of each lively “conversation.”

Like many of you, I’m astute enough to recognize that this guy is not only one of the most prolific and fluent practitioners within our medium, but also that he has continued to help shape the meaning of contemporary collage collaboration for our generation. I hope you’ll find these particular juxtapositions intriguing, and I look ahead with anticipation to seeing what he might do with the numerous artifacts that were generated by his stimulating concept.
 

Untitled (body language)
a collage miniature collaboration by J A Dixon and A Bealy
(start by Bealy, finish by Dixon)
part of the HALVES series

Untitled (a proper apricot)
a collage miniature collaboration by J A Dixon and A Bealy
(start by Bealy, finish by Dixon)
part of the HALVES series

MELD
a collage miniature collaboration by J A Dixon and A Bealy
(start by Dixon, finish by Bealy)
part of the HALVES series

MELD2
a collage miniature collaboration by J A Dixon and A Bealy
(start by Dixon, finish by Bealy)
part of the HALVES series

“One year ago, on 24th April, Retroavangarda Gallery held its opening exhibition in the modern office building complex Jerozolimskie Business Park in Warsaw. Since that day, many great artists and guests have visited the gallery. A big thank you to all artists and visitors!”
— Anna Kłos
 

I became aware of Dr Anna Kłos almost from the time she was instrumental in opening Warsaw’s Retroavangarda Gallery in 2018, which immediately hosted its first high-profile collage exhibition. As the gallery’s director, she used her evident social networking skills to quickly develop a strong presence on the worldwide stage of contemporary collage. I wasn’t nearly as impressed with this capability as with her curatorial acumen as a design historian and modern art scholar.

It was on this basis that I was profoundly gratified with her invitation to be a part of Retroavangarda’s second International Collage Art Exhibition to mark the institution’s first anniversary. It more than made my day when I was notified that all six of the works that I sent to Poland were selected for display and acceptance into the gallery’s permanent collection. With more than 200 works by 76 artists from around the world, Kłos organized the show under the honorary patronage of the Embassy of Argentina, the Embassy of Brazil, and the Embassy of Peru. The exhibition opened on April 4th, followed by a well-attended reception that included dignitaries from the three embassies. The show closes today, and jetting to Warsaw wasn’t possible for me, although I would have been thrilled to personally experience what was obviously a landmark compilation of exceptional collage artwork. The dynamic Anna, whose PhD dissertation was on Dadaist collage, is also a fine artist, lecturer, graphic design instructor at the Warsaw School of Information Technology, and curator of their WIT gallery.

It is a distinct privilege to be among the few North Americans selected to participate in one of the largest showcases of fine art collage ever held in Central Europe. Other artists from the USA with displayed work include Allan Bealy and Nikki Soppelsa, previously featured here, in addition to Angela Holland and Claire Dinsmore, both new to me. Please visit Anna’s facebook page and the Retroavangarda site to view images from the exhibition. Everyone interested in the art of collage will want to follow her ambitious activities in Poland.
 

The six collage miniatures exhibited at Retroavangarda Gallery were:
Blind the Mocking Eye • Faded Recollections • Truth Be Told • A Dirty Family • A General Affair • Myrmidons