Archive for the ‘Ingredients’ Category

Contemplation Ajar ~ details

Monday, June 1st, 2015

“It’s the little details that are vital. Little things make big things happen.”
— John Wooden

One of my favorite things to do with an image of a collage is to explore alternative compositions by cropping. We can never stop training the eye. Visual ingredients are always elements in context and their character can change with different design relationships. The more we do this, the more a sense of balance and spatial harmony are internalized. As a bonus, any ideas that emerge can become the basis for new investigations.
 

square crop ~ detail from Contemplation Ajar ~ John Andrew Dixon ~ The Collage Miniaturist

 

square crop ~ detail from Contemplation Ajar ~ John Andrew Dixon ~ The Collage Miniaturist

 

square crop ~ detail from Contemplation Ajar ~ John Andrew Dixon ~ The Collage Miniaturist

 

square crop ~ detail from Contemplation Ajar ~ John Andrew Dixon ~ The Collage Miniaturist

four squares from Contemplation Ajar
collage on structured panel by J A Dixon
collection of J Wood

Collage Miniature Collaboration Number One

Saturday, April 4th, 2015

“I am most interested in discovering new ways to tell an old story, with humor, irony, and a dash of anarchy!”
— Allan Bealy

It was a pleasure to take a step deeper into the collaboration zone with Brooklyn-based artist and art director Allan Bealy. Take a look at my March 1st entry to see the starters that I sent Allan. His finished artworks are delightfully effective. The rugged, floating pear is a fine touch, and decisively positioned, too. His rhythmic figures are splendid in the second collage, and the “circle v” anchors the whole composition. Thank you, Allan. Now it’s time for me to tackle the items you sent for me to complete!
 

A collage miniature collaboration by John Andrew Dixon and Allan Bealy

Untitled (rugged pear)
a collage miniature collaboration by J A Dixon and A Bealy
(start by Dixon, finish by Bealy)
5 x 7 inches, collection of J A Dixon

A collage miniature collaboration by John Andrew Dixon and Allan Bealy

Untitled (rhythmic figures)
a collage miniature collaboration by J A Dixon and A Bealy
(start by Dixon, finish by Bealy)
5 x 7 inches, collection of A Bealy

A universal antidote . . .

Saturday, January 17th, 2015

“Self-consciousness is the enemy of all art, be it
acting, writing, painting, or living itself, which is
the greatest art of all.”
— Ray Bradbury

I was honored, but also thrilled, to accept my third invitation for the “New Year New Art” exhibition at our local Community Arts Center, one of the outstanding cultural institutions in Central Kentucky. The extraordinary thing about this annual show is a freedom to display, The Barretts ~ a portrait by John Andrew Dixonwithout juried appraisal, one or two pieces for which one has passion. The only restriction is that the work not be over four months old. I decided to create something around the holidays specifically for the opportunity, and, because I had just completed a difficult portrait commission in watercolor and pencil, a more personal form of expression was a welcome idea. I had used an illustrative, “news-magazine-cover” style that always has had great appeal to me, but that over the years has challenged my self confidence and repeatedly has put my perfectionist tendencies to a stress test. Fortunately, I have discovered a universal antidote for all that — collage.

For the January exhibition I wanted to do something fresh, to surprise myself, but also, as most artists prefer, to create something that would please others, that would excite an individual’s subjective response. Mixed-media collage is a medium that people find both provocative and delightful, and to which I am strongly committed, but that should be no surprise to anyone who follows this site. As a working designer and graphic artist, I return to collage on a nearly daily basis as fuel for my creative life and a potent solvent for that side of myself which continually flirts with self doubt if something might not turn out exactly as I imagine it should. All that nonsense fades away when I incite the spontaneity of this magnificent medium.

Of course, I remain captivated by the ability to make something of value from material that otherwise would be thrown away or recycled. I enjoy creating artwork that has bold visual appeal from across a room, but that also provides a depth of interest at close observation, with many stimulating details within an intimate viewing distance. “Matthew’s Touchonic Lodge” is primarily an abstract composition, and I salute two collage artists whose work I admire with my title and embedded allusions. “Apparition Rising” uses ingredients that are more whimsical, but perhaps slightly “spooky” at the same time. A phrase from a song that I like sparked the genesis of its assembly. Both are significantly larger than my typical miniature, more dimensional than a standard flat surface, and, as with all my designs, I worked intuitively with color, contrast, and the activation of space. In addition, I continue to push the effect of collage as a stand-alone treatment that does not demand the protective glass barrier. Please let me know what you think of these new works.
 

Dixon_TouchonicLodge

Matthew’s Touchonic Lodge
mixed-media collage by J A Dixon
22.5 x 20 inches, December 2014
title source: homage to artists M Rose and C Touchon
Purchase this artwork!

Dixon_ApparitionRising

Apparition Rising
mixed-media collage by J A Dixon
19.5 x 27.5 inches, December 2014
title source: from the song “Ghost Town” by J Brasfield
also available for purchase

Arbitrary Mischief

Sunday, October 5th, 2014

“As we mature, all of us learn to ‘put away childish things.’ Often, though, we do such a good job of growing up that we lose contact with our spontaneity, teaching ourselves to follow rules and habits that inhibit us from acting on our hunches and intuition.”
— W. Clement Stone

One of my earliest entries at this site made mention of the intuitive response in our process of collage creation. I have continued to ponder this idea of making visual decisions without conscious thought, especially after a lengthy discussion at the Collage Critique group in the facebook realm. There is something to be said for intuitive spontaneity with no preconceived notions, in contrast to the methodical execution of a concept. Collage as a medium is diverse enough to embody both approaches and everything in between. In my opinion, there is ample “non-thought thinking” taking place, even when no “idea” is driving the process. On the other hand, most of us can tell when a piece is struggling to be more than a mere stew of ingredients and the temptation to declare it “finished” should be resisted.

Personally, it is no longer possible for me to imagine coming to this activity without the foundation of art education, a rigorous training in graphic design, and 40 years of practice as a creative professional. I suspect that I have internalized all this to become part of an inner resource, so that when, at the conscious level, I put all of it out of mind, it still informs each spontaneous visual choice and the sense of something appearing “right” to the eye. Deciding that “an ingredient in play” has the right color, the right value, the right shape, the right texture, or the right spatial role often happens without rational awareness. That is my goal, at any rate, to keep such “non-thinking thought” in motion for as long as possible before I find myself falling back into outer rumination. It is not only a matter of aesthetics. The same phenomenon applies to thematic or symbolic associations, and the overall process of ingredient acquisition and selection that initiates and sustains the whole affair. Not that there is anything undesirable or distasteful about planning, calculation, and a deliberate methodology. Far from it. Nearly every work of art will involve some of that. It just happens to be that what I am most hoping to take place is something else — that the flow of assembly leading to a stimulating but balanced effect is the result of an artistic intention deeper than conscious decision making.
 

hand-crafted collage by John Andrew Dixon, The Collage Miniaturist

Arbitrary Mischief
collage on panel by J A Dixon
8 x 10 inches
 
Purchase this artwork!

Even more Haus of Cards

Wednesday, July 23rd, 2014

“Somebody said once or wrote once: ‘We’re all of us children in a vast kindergarten trying to spell God’s name with the wrong alphabet blocks!’”
― Tennessee Williams, Suddenly Last Summer

As is true with many graphic artists, I have been fascinated by letterforms since childhood. The first time I rendered the word “ICE” with frozen encrustations, it felt like a rite of passage for me. One of the reasons I shunned store-bought greeting cards in favor of my hand-crafted versions was to indulge a love affair with custom lettering. As collage miniatures began to dominate the character of my card making, the alphabet remained a key part of the visual vocabulary. As my enthusiasm for the medium of collage continued to expand, symbolic language became a re-occurring, vital ingredient in nearly all my artistic compositions.

 
a collage greeting by J A Dixon

collage miniature by J A Dixon
collection of A D Kenner

a collage greeting by J A Dixon

collage miniature by J A Dixon
collection of C Dixon

a collage greeting by J A Dixon

collage miniature by J A Dixon
collection of D R Dixon

a collage greeting by J A Dixon

collage miniature by J A Dixon
collection of E Debarone

a collage greeting by J A Dixon

collage miniature by J A Dixon
collection of R W Breidenbach

a message to Aunt Erma, 1964

Wednesday, July 16th, 2014

“Have been real bad about not writing.”
—Miles, Jr.

My collage on 50-year-old postcard arrived in Wales and it was posted to the ABAD site today. The reverse of the vintage card is probably more interesting than my improvisation on the image side. A message from Miles, Jr. (sitting in the Louvre, resting feet more tired than eyes) was written on July 10th and received an Army Air Force postmark on July 13th. Apparently his Aunt Erma was in the hospital — a nephew reaching out to “the only family person who knows these places.” Whether or not she ever came home is unknown, but we can only imagine that the card from Paris evoked for her more than a few memories of Europe, the bitter as well as the sweet.
 

ABAD 2014 (reverse of vintage postcard substrate)
collage on 1964 postcard by J A Dixon
6 x 4 inches, not for sale

“Oh, the Places You’ll Go”

Friday, June 20th, 2014

“Art is the only way to run away without leaving home.”
— Twyla Tharp

Places to go, ways to travel, and flights of fancy . . . A series of local exhibitions at the Boyle County Public Library’s Mahan Gallery has been an effective catalyst for me to create new pieces based on unifying themes. I have recently experienced mixed emotions about the ubiquity of vintage material in contemporary collage, but the topic of this show had me hunting through my morgue of old postcards and other relics to produce a pair of artworks on canvas. Yes, we all dig the instant “gravitas” of using old stuff, but will art historians say we copped out, if we do not accept the challenge of working with ingredients from our own present-day culture? I am just musing about the state of the medium, not any artist in particular. I see a hundred or more collage artworks posted online each week that rely exclusively on 20th-century material, and much of it seems stuck in a bygone avant-garde style. It is important for all of us to keep in mind that the Dada artists so widely emulated worked with material from their own time. Perhaps the opportune approach is to blend it all together, past and present. As post-centennial collage artists, we also owe each other a bit more constructive criticism than I currently observe. As the details below illustrate, I have absolutely nothing against using vintage material. I think that artists such as Hope Kroll or Fred Free or Matthew Rose (to offer only three examples) are creating some of the more exceptional work in the medium. On the other hand, there are many who seem to be using it as a crutch, over-relying on the antique impression of the ingredient material itself, rather than the juxtapositional synergy or overall aesthetic effect.

As the artworks for “Places” also demonstrate, I continue my effort to liberate a collage from the traditional glass barrier. To do so, it is necessary to find a proper level of protective sealant to balance visual appeal and durability. I prefer to avoid an overly polymerized impression with a finished surface. Because I primarily work with found material, I have had to learn which ingredients can handle direct exposure (for an effect similar to the painted surface). Nevertheless, some are simply too fragile and will always require a safe abode under glass.
 

 

left: Here and There (detail)
right: Now and Then (detail)
two collage artworks on canvas by J A Dixon
12 x 12 x 1.5 inches each
available for purchase

Many Waters Under Heaven

Friday, June 13th, 2014

“Put stardom and success aside and just go out and do it. It’s like painting. Don’t talk about it. Or, like writing. Put it down.”
— Jonathan Winters

“Don’t think about making art, just get it done. Let everyone else decide if it’s good or bad, whether they love it or hate it. While they are deciding, make even more art.”
— Andy Warhol

After learning about a call for entries on the theme of “water,” at the new First Southern Community Arts Center in nearby Stanford, Kentucky, I leaped at the theme with a minimum of thought or calculation. I was overdue for the opportunity to create a larger piece, and it was good for me to push aside all the internal questions and mental gyrations which too often intrude on the genesis of a new work or new point of public contact. I mixed a batch of wheat paste, added a stabilizing measure of white glue plus acrylic medium, and dug into my stash of nature images. Hand manipulation of the surface with wet, rectilinear ingredients became an almost papier-mâché-like process that soon involved shapes of pure color. A sort of “low-tech pixelization” began to suggest the gentle clash of primeval and present — a Garden of Eden sweeping forward to the modern digital world.

When I delivered my artwork to the gallery and was assisted by a local artist and volunteer, Roni Gilpin, I could not have been treated better. Chasing my passion for collage, meeting pleasant people, and breaking into a new venue — I must remind myself from time to time that this is what it’s all about. I am excited about today’s artist reception, 4 to 7 pm (in downtown Stanford, adjacent to the superb Bluebird Cafe). Family is visiting from Davis, California, and everything is shaping up for an exceptional evening!
 

 

Many Waters Under Heaven
mixed-media collage
by J A Dixon
33 x 11.25 x 1.5 inches
 
Purchase this artwork!

Roni “Sister” Gilpin
volunteering at
First Southern Community
Arts Center

March Exercise  |  year nine, day twenty-four

Monday, March 24th, 2014

 

Untitled (Archangel)
collage experiment by J A Dixon
2 of 2 within 90-minute constraint
8.25 x 5.125 inches, not for sale
ingredients by Kathleen O’Brien

March Exercise  |  year nine, day twenty-three

Sunday, March 23rd, 2014

 

Untitled (Alexander)
collage experiment by J A Dixon
1 of 2 within 90-minute constraint
8 x 5.25 inches, not for sale
ingredients by Kathleen O’Brien

March Exercise  |  year nine, day seventeen

Monday, March 17th, 2014

“If you want to get better at something, you have to do the reps. Dreams work the same way. You don’t get to pick and choose a life of home-run moments. You get to swing the bat, a lot. Some of them are going to connect; some of them won’t. But each one takes you one step closer to awesome.”
— Jon Acuff

I have crossed the halfway point in my March Exercise. Yesterday, I went to the plate one more time and met the ongoing challenge of creating a harmonious balance of counterpoise in a collage. For me, it is one of the most important factors that determine whether or not a composition is merely an active “stew” of ingredients. As I added another miniature to my Bibelot Series, I completed the exercise of using journal experiments to concentrate on a particular set of design principles — the visual support for any ideas at play in the artwork. Perhaps I should have made this parameter more clear at the beginning of the month, and explained the history of the annual regimen. One comment maker on Facebook asked me if I have been creating daily college entries for nine years. Any earlier concern I had about the potential for misinterpretation proved valid. A blogsite should not cause confusion for those kind enough to pay a visit. On the other hand, more and more people ask questions before spending enough time to comprehend a fuller picture of things. Nevertheless, I am always willing to interact with my guests and answer any inquiries. I have a great passion for working in this medium, but this online destination is meant for the observer (and remember: I have a thick skin, too!).
 

In Pomp Arrayed
collage miniature by J A Dixon
4 x 5.75 inches
on consignment
 
Purchase this artwork!