Archive for the ‘Ingredients’ Category

our living landscape . . .

Friday, January 31st, 2025

“The landscapes that I choose to paint are tied by a common thread, a sense of nostalgia, a setting that at once is current, but also captures a sense of the (Sacramento) valley that hasn’t changed for many years. I believe that landscapes live in us.”
— Phil Gross
 

While away from the studio, with limited collage ingredients, I made a miniature copy of a splendid oil painting by Phil Gross. I’ll probably add a few finishing touches and then decide if it’s appropriate to sign it. This turned out to be a very different kind of exercise than any other paper landscape that I’ve done. My thanks to Rowland William Breidenbach for the opportunity.

 

California Theme (after Phil Gross)
unfinished collage landscape by J A Dixon
10 x 8 inches

Double or nothing . . .

Friday, August 23rd, 2024

 

Dixon appears again at Art Space Versailles, hopeful that a buyer might be interested in the collage artwork called Renewal.

I scheduled a double event this week and it was a fine way to saddle up and ride a momentum. I was eager to point out that Renewal was on consignment at Art Space Versailles.

The studio piece began with my musing on the cyclic life of trees, which makes sense because I’m endlessly fascinated by them and since I work primarily in papers after all. Most collage artists are scroungers at heart, so I had turned to my stash, searching for potential ingredients. I found more than enough for a 12×12-inch canvas and intuitively assembled a “ground” of these found images. I think that toward the end of the process it had became as much an abstract composition as an interpretation of my thematic idea. I didn’t want it to appear too abstract or purposely surreal, so, at the closing stage, I crafted a literal seedling from individual paper components, more in the representational manner that I use for collage en plein air. I guess one could say that the culminating element pictured the birth of a tree, but, as with all life cycles, who can say when the beginning or ending actually occurs. The art itself is re-purposed paper, a clear ending for a tree, at least until inevitable decomposition takes place, and then another cycle of renewal carries on.

In contrast, the exercise in spontaneity featured below had no preconceived intent and originated as a demo miniature during my exhibition-related workshop at Paul Sawyier Public Library in Frankfort on Tuesday. I refined and completed it last night during the appearance in Versailles as a guest artist. The unfinished piece had been immediately titled by a workshop participant after the primary ingredients were juxtaposed, and I just couldn’t top her suggestion!

It joins countless other artworks that tip the Pop-ist hat to Andy Warhol (Campbell’s Soup) or Ray Johnson (Lucky Strike). But the grandfather of Pop Art was Kurt Schwitters. So much of contemporary collage is, in essence, an homage to the German innovator, and I never tire of working in the Merz tradition that he pioneered a hundred years ago.
 
 

Kick the Can
collage experiment by J A Dixon
7 x 8.5 inches

Twelfth chapter — finding the crest . . .

Tuesday, July 16th, 2024

“The spirit laughs at man’s concern with the form of Art, with new expression because the old is outworn! It is man’s own poverty of vision yielding him nothing, so that to save himself he must trick out in new garb the old, old commonplaces, or exalt to be material for art the hitherto discarded trivialities of the mind.”
— Rockwell Kent
 

I guess it was only a matter of time before I represented in papers the Kentucky icon of our vanishing small farm economy. It took me longer than usual to pick a spot to sit and paste papers during my visit to Daycrest Farm. With the help of Jason, one of the hospitable owners, I found a scene at the back of the acreage. I didn’t know what I was looking for, and I had to shake off the impulse to make another try at summer blossoms in the commercial flower gardens near the highway. I listened to myself thinking, “Haven’t you done this kind of view before? What do you expect to discover?”
 
 

The PAACK “Art Out” turned out to be beneficial for me because I approached what appeared to be an “already done that” rural setting with everything I’ve learned about “painting in papers.” After an insane timetable during the recent plein air challenge in Lexington, it was nice to tear and glue at my typical snail’s pace. Amusingly, the tobacco barn seems to levitate in my first interim image. Although content with the day’s work, there were too many spots that needed attention, so I couldn’t declare the collage finished when back in the studio. Minute subtleties like barn ventilators, fence posts, and complex foliage details are difficult ingredients to manage outdoors with even the mildest of breezes (which are most welcome when highs are in the mid 90s).

My love for books prohibits me from destroying useful ones for art. I only cannibalize ruined ones. I typically ignore the literal language and include it for pattern and texture, but in this piece I became a bit attached to what the fragments of sentences actually said. It’s interesting to probe the effect of linguistic connotations, whether or not the meaning can be discerned. My inclusion of “manipulated” verbal content has become so complicated that it’s hard to explain, even in a workshop context. At any rate, I like to remind viewers that it is, after all, a collage.

I am rather pleased with this landscape, and I hope it lands with a person who wants to live with it!
 
 

Tobacco Crest
collage en plein air by J A Dixon
12 x 9 inches + wood frame, crafted by the artist

•  S O L D

For the record . . .

Sunday, July 14th, 2024

I am comfortable with art containing visual ingredients that represent a spectrum from the greatest evil to the highest good, but it always bugs me to see a collage artist traffic in the shock that comes with merely taking a “cheap shot” or “low blow” at religious imagery.
 
 

Make Your Mark

Saturday, June 1st, 2024

 

Make Your Mark
collage on reclaimed canvas by J A Dixon
26.5 x 26.5 inches

April Burst

Wednesday, May 8th, 2024

“Confidence comes not from always being right, but from not fearing being wrong.”
— Peter McIntyre
 

It has been too “moist” this week for me to make art with paper outside, so I did my studio finish to the collage that I had started at a previous Art Out. Whether or not it is apparent to others, I try to do something different each time, an interpretation or radical ingredient choice that causes discomfort at first. I think it’s important to momentarily frighten myself. Then I know that I might be breaking new ground.

 

April Burst
collage en plein air by J A Dixon
Plein Air Artists of Central Kentucky
available for purchase

a dry shoal and “Vacation Merz”

Wednesday, January 31st, 2024

Looking back to when I was in Upper Michigan last year… In addition to making collage landscapes outside, I exploited whatever paper fragments were at hand in the cabin. The result was this experiment in color, form, and counterpoint. Those familiar with the history of collage as a modern art will understand why I think of it as “Vacation Merz.”
 

Untitled (dry shoal)
collage experiment by J A Dixon
9.3125 x 11 inches
available for purchase

the LITTER-ALLY KENTUCKY collection

Monday, October 16th, 2023

 

Thank you for your interest in my new collection of landscapes. This original collage artwork is infused with litter to promote stewardship of natural places. Premium giclée prints are available.

 
   

   

   

   

   

A Cyclic Occurence

Monday, June 5th, 2023

“The healthiest response to life is joy.”
– Mark Twain
 

If we understand anything about the many strong characteristics of collage as an artistic activity, we surely know that it has significant therapeutic attributes. I came into the studio to shrug off some negative vibes and to create a pair of new miniatures for an upcoming gallery hop at nearby CAMP. Connie Beale, fellow collage artist and owner of the unique retail space, had just sold two of my paper landscapes the previous week, so replacements were in order. I wanted to use a bright palette and appealing fauna as ingredients. Could I bring a bit of delight to my disposition and to anyone who showed up to discuss the result?

Mission accomplished!
 
 

A Cyclic Crunch
collage miniature by J A Dixon
7 x 8.5 inches
available for purchase

 

A Cyclic Hum
collage miniature by J A Dixon
7 x 8.5 inches
available for purchase

The Lived Life ~ a new series prompted by Februllage

Saturday, February 4th, 2023

My intention was to boost intensity in the studio, so I began a new series in the Merz tradition. Each piece is based on daily Februllage prompts. The hypothesis: by keeping myself even busier, I’ll get more achieved this month than the artwork directly related to the series ritual. View the first four pieces. Check back to see if my plan works.
 

“LITTER-ALLY KENTUCKY” takes shape . . .

Friday, September 30th, 2022

“The thing is to be attentively present. To sit and wait is as important as to move. Patience is as valuable as industry. What is to be known is always there. When it reveals itself to you, or when you come upon it, it is by chance. The only condition is your being there and being watchful.”
— Wendell Berry
 

At the close of 2021, based on my plein-air practice to date, I applied to the Kentucky Arts Council and received a KAR grant with funding from the National Endowment for the Arts. The goal of my project is an exhibition-worthy body of collage landscapes created from salvaged ingredients consisting of litter, trash, and recycled papers. The new works are en plein air interpretations of actual rural spots in Central Kentucky. The collection will be made available to partnering venues as a thematic exhibition that carries a call for greater awareness of how we interact with our environment. The traveling display will invite community engagement in the form of gallery talks, student opportunities, and online references — with a message for greater litter awareness and a cleaner countryside in the Commonwealth.

 
 
 
 
 
 
 
 
 
 
 
 
To fulfill this grant-supported process, I am nearing the end of my creation phase. It’s been a period of acquiring paper litter, arranging visits to rural locations, engaging with property owners who accommodate my on-site sessions, starting the landscapes outside, and making follow-up studio refinements. Collage artworks will have been made at over a dozen locations in six contiguous Central Kentucky counties around Danville. I avoid exceeding my outside time when completing a landscape indoors, to stay within a 50:50 ratio. There are techniques for details that are best left to the end, when the breeze is not a factor, but my goal is to retain the fresh, intuitive quality of the initial impression.

It often seems like I’m behind schedule, until I remind myself that the entire process is not unlike the act of being present in nature. The way forward can be revealed as much by receptivity as by forced progression. I’ll spend the balance of the year with finishing touches, having the artwork professionally framed, preparing support materials and promotions for my sought-after series of shows, plus contacting venues suitable for the traveling display (which will be chosen in part based on the anticipated reach and exposure for optimum audiences, including youngsters).

An important part of this project has been my desire to interact with the public about a relatively recent area of concentration for me as an artist — representational collage. Until they observe more closely, many people think my landscapes are traditional paintings. It’s been rewarding to watch this sense of discovery, so similar to what I experience as I explore the potential of art made from paper. This connection with others fired my enthusiasm and prompted me to propose a way to engage audiences with another layer of meaning. By including a higher percentage of litter and trash, I hope to further a conversation about the ongoing problem of litter in Kentucky and the solid waste crisis in general. As I exhibit “painted” rural scenes that were created with by-products of our wasteful society, I’m optimistic that my art will promote a more conscious regard for stewardship of natural places.

 

Near Catnip Hill
collage en plein air by J A Dixon
50% / 50% — site to studio
8.375 x 8.625 inches, 2022