“The bay received a morning kiss
That came from azure heights;
The waves, rejoicing, rose and fell
In everchanging lights.”— William Porter
If you have never visited Les Cheneaux in Upper Michigan, this unique formation along Lake Huron awaits your discovery. I shall never tire of interpreting its natural magic with my stash of papers.
Near Duck Bay
collage landscape by J A Dixon
9.875 x 6.625 inches
Les Cheneaux Series
“Learn by little the desire for all things
which perhaps is not desire at all
but undying love which perhaps
is not love at all but gratitude
for the being of all things which
perhaps is not gratitude at all
but the maker’s joy in what is made,
the joy in which we come to rest.”
— Wendell Berry
Off La Salle
collage landscape by J A Dixon
9.75 x 7.875 inches
Les Cheneaux Series
“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
Collage is ideally suited to opening ourselves to intuitive discovery. It’s only natural for our intellect to seek the upper hand, but we can practice exercising our discernment to perceive the distinction between ordinary deliberation and a connection to the heart of creativity.
Mystery Tramp
collage miniature by J A Dixon
5 x 4.875 inches
from my Series of Rock
Up the Channel
collage en plein air by J A Dixon
art size: 9.25 x 7.375 inches
framed: 16.75 x 13.75 inches
• S O L D
“Say thank you in advance for what is already yours.”
— Denzel Washington
As the holiday nears, gratitude is in the hearts of all who silently look inside and attune, especially those with circumstances in flux between sweetness and sorrow — for those of us less tempted to take things for granted — as a tide of adversity and bounty reminds us that thankfulness must be present in the midst of both suffering and grace.
A long practice of making crafted cards for others, the wellspring of my concentration on the art of collage, occasionally sparks an unexpected commission based, more often than not, on the traditional photo montage. These works may not be destined for a museum, but the response makes them a most rewarding experience, as I participate vicariously in an apex of family joy. The type of “legacy collage” featured below is an ideal gift because it is highly meaningful to the recipient, of course, but everyone also relates to the inherent “cut and paste” technique, accessible to all, with its deep heritage in the domestic and applied arts.
Bouquet of Memories
legacy collage by J A Dixon
11 x 14 inches
Spent a chunk of September “painting in papers” while in the Les Cheneaux Islands. This recent method of pasting collage ingredients over a crude charcoal sketch really started to grow on me.
Here is an interim stage of completion for “Up the Channel.” The water foreground needs to be finished and softened. The shoreline can benefit from a few more details. Please stand by for the final version!
The recent Baker’s Half Dozen Collage Exchange sparked a new series of miniatures that quickly took on a warfare theme. Now to see which one the Museum retains for its permanent collection.
My eleven-part Warfare Series originated with no conscious intent nor anticipated interpretation and potentially serves as a kind of “collage rorschach.” Images that personify both the greatest evil and the highest good have always found inclusion in my collage artwork from time to time. This kind of art is very different than my representational collage, although both are based on re-using and manipulating found paper that has little, if any, intrinsic value. Juxtaposing the detritus of our culture within this practice offers creative choices about what to use and what to ignore. I continue to be interested in the complex relationship between spontaneity, intuitive judgment, and subjective awareness.
“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
Three more solutions that use two Februllage prompts, plus a single-catalyst collage for the 20th and final piece. The series is finished. I even tricked myself into creating a miniature self portrait. This project has provided a stimulating acceleration into March, traditionally one of my busiest studio months of the year. See you in April!
I’ve stuck with doubling the Februllage prompts to close out this series. A few of them have pleased me conceptually from the point of completion. Many of the others still look a bit bizarre to my eye, even though they work from a distance as successful color-quantity abstractions.
