“Rooted in visual design and inspired by the avant-garde history of collage, LITTER-ALLY KENTUCKY is a compelling body of work that transforms discarded materials into powerful statements on beauty, environment, and belonging. Created entirely from recycled and found objects — including ruined book pages, used tea bags, and fragments of roadside litter — these intricate collage landscapes offer…” READ MORE:
“The problem is that AI absorbs and spits back conventional wisdom gleaned from every source, which makes its judgments no better than someone wholly uninformed on particulars but rather gains opinions from the mood of the moment. It has no capacity to judge good quality over bad so it puts it all into a melange of blather, distinguished only because it looks and feels like English. Any writer who thinks this is a good way to pawn off content on unsuspecting readers or teachers is headed for disaster. I shudder to imagine a future in which AI is training the population how to think. It is the opposite of thinking. It is regurgitating conventionalities without any serious reflection on the social or historical context. It is literally mindless.”
“Writing, like all creative forms, is a human endeavour. At its best it is pulled up from the soul and put down on the page, or the screen. We all use ‘tools’ of some kind to do this, like the keyboard I am now writing on. But AI is different. It does not help you to do your job; it does your job for you. It sucks up from the worldwide web the usings and doings and scrapings of the already-created and it rearranges them, pretending all the while that it has ‘created’ them itself. It imitates reality but can never replace it. It is, at root, a shabby, boring and actually evil thing. It is the end of art.”
— Paul Kingsnorth, 7/12/25
“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. She introduced me to the practice of “Centering Prayer.” 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
Recent Landscapes
As I continue to focus
on “painting in papers”
LITTER-ALLY KENTUCKY
Also available as
premium giclée prints
A Change of Seen
When I first took paper
and paste outside
“Sometimes a man humbles himself in his heart, submits the visible to the power to see, and seeks to return to his source.”This small landscape found its start a year ago during one of my library demonstrations. I finished it from imagination in the studio this past week after a season of “painting in papers” outside.
— René Daumal
La Monda’s Refuge
collage on canvas by J A Dixon
8 x 10 inches
Apparently this is the way I look when I’m “in the zone.” Thanks to Joe F for the photo. Monday was a splendid day on the Knob, but a contrast from when I began a collage painting there a year ago. I could never bring myself to touch that “start” in the studio, so I decided to sit in the same spot and to pick up where I had left off. Now I’m finally eager to finish it inside without ruining it.
My sincere thanks to Brett Smith and Diane Dehoney for bringing this video to YouTube and for promoting the show at Paul Sawyier Public Library. My collage landscapes infused with litter are on display in Frankfort for three more weeks.
“Accepting the familiar is the enemy of seeing… Seeing takes work and patience and concentration and focus otherwise we are always walking around in a fog only seeing what we think we know but not actually seeing anything at all.”
— Cecil Touchon
Cropping exercises always offer some insights about internal composition and color relationships. The more I internalize spatial decisions and color judgments, the less reason there is to think about them when I seek spontaneity in pasting ingredients. Please take a look at the entire collection that I call LITTER-ALLY KENTUCKY.
Nine Details, LITTER-ALLY KENTUCKY
collage en plein air by J A Dixon
giclée prints of originals are available
This past month was dominated by the earthly departure of my mother. The role she played in my becoming an artist and the approach I bring to my practice cannot, and should not, 
be understated. What a debt I owe to her, and to pay it forward will require that I live as long as she! I might’ve started “giving back” much earlier, if it had been my basic nature. I can be a quick study for most things, but it often takes me far too long to learn the rest, especially when it involves stepping beyond my own creative urge. Her life was a lesson in putting others before self. In order to support her parents’ household in a world at war, she turned down a full scholarship to the same University of Cincinnati that I would eventually attend. Decades later, in a nest recently emptied of seven children, and just as she was about to explore her own personal interests, she followed her family to a remote part of a rural Kentucky county. As a widow, she built an ethical foundation for a land-based legacy that is now set to endure for generations. When she faced a grim medical prognosis that would break the spirit of others, she maintained a zest for life, an obvious concern for how it might affect others, and an astonishing diligence to push back against it. The world of my youth had shouted, “Be cynical, or pessimistic, or both,” but she would always be my reliable source of optimism, like a spring which never dries up. 
I could’ve become a quitter early on, but she helped me to overcome discouragement born of self-doubt and to fulfill commitments. If something is worth doing, it’s worth doing well. Why not always do your very best? And then you will automatically get better. Along with my siblings, everything was done to provide the care she needed to continue living at home, until it became no longer possible. Those years — what could be mistakenly judged as sacrificial — strengthened our family bond in a way that will last us for the duration. To separate that from my activity as an artist was unnecessary at the time and foolhardy in hindsight. Above and beyond the value of artisanship, she taught me that a creative life without love for others is devoid of meaning. Of all the souls I have intimately known, hers is the most worthy of imitation.
“The shoe that fits one person pinches another;
there is no recipe for living that suits all cases.”
— Carl Jung
The distinctive singularity of an individual has been a profound feature of my awareness throughout life. Undoubtedly, it is the basis for much of what I have enjoyed doing most — from solving visual problems for unique entrepreneurs, or creating my own brand of illustrated portraits, and, of course, hand-crafting greeting cards with collage miniatures. I shall never tire of assembling a spontaneous composition with suitable ingredients to honor a particular person. Each collage, like every human being, is a one-of-a-kind creation, and the medium is ideal for personalized expressions. The artist has a remarkable opportunity to interpret the peculiar constellation of personality traits, proclivities, and associations that befit a fellow mortal. To put it simply: I love it!
Dwindling Nest
collage miniature by J A Dixon
collection of J Hellyer
“What is it that confers the noblest delight? What is that which swells a man’s breast with pride above that which any other experience can bring to him? Discovery!”
– Mark Twain
March is going out like a lion — no big surprise there. Meanwhile, the March Ex(clusion) is declared OVER. It has unwrapped itself in a way that I never could have predicted. This whole thing originated as a time-management experiment designed to re-calibrate a design practice that I didn’t realize was fated for demise, in transition to my true calling. 
I’m an artist now, belatedly but wholeheartedly, as I dreamed I’d be since childhood. The March ritual has become an internal, near-sacramental custom — more difficult to describe than ever. But that’s not the point of it. The 31-day string of blog posts is just a way to modulate my attention span and, perhaps, to crystalize as relics a few word clusters with the potential to re-animate various worthy insights at a later time. Would that I had the talent and capacity to write down the many intangible illuminations that peppered this month! That’s not my gift, any more than the ability to devise winning basketball plays under pressure (like my godfather) or to compose organ music in solitude (like my grandfather). Spring (who has sprung) points me to the open air. I am better prepared to answer her summons with another March under my belt (and, before long, to enter my eighth decade). April, here I come.
Today’s sight bite— His severe yet compassionate visage, with the ever-present verdigris patina, —c-l-i-c-k— that man on the Danville obelisk, seeming to acknowledge and endorse the success of a ritual that I’ve conducted in some guise for 16 years.
“Nothing, indeed, is so characteristic of Tolstoy as the painstaking attention he paid to his works. Even at a time when he was beginning to regard art as an evil, he remained the great artist who was never satisfied and in his search of unattainable perfection did not hesitate to criticize the best of his works.”
– David Magarshack
Sometimes I just want to hit my forehead against the double-brick facade of the Town House. After spending many hours over several days writing and refining a comprehensive artist statement for a major competition (with plenty of back-and-forth collaborative tension between Dana and me), I discover that a what I’d thought was a limitation of 5000 words was instead an clearly specified 5000-character maximum. AAUGHH!
Today’s sight bite— The tiny brown bird with speckled breast and long tail, fidgeting on my newly clipped bush.—c-l-i-c-k— An edgy wren, lady thrush, or juvenile sparrow? My ignorance is disclosed…
“He was a Dutch mouse, and lived in a windmill with a little girl named Marsha. The windmill belonged to Marsha’s father and mother, but Mr. Poof belonged to Marsha.”
– Rena & John Jacob Niles, Mr. Poof’s Discovery
I’m marveling at Wesley’s masterful graphic illustrations for Larkspur’s newest title. There was a time when Gray was “holding auditions” for a backup engraver. I’m proud to say that I was someone who got a tryout, but Joanne earned the gig (and soundly, too). If Bates can bang out 18 wood blocks for one tale, surely I can create nearly that quantity of collage miniatures by June. (Does that guy over there walking toward April have a starting gun in his hand?)
Today’s sight bite— The image of a mouse, printed with superb artisanship, —c-l-i-c-k— emblematic of a literary partnership that I’ve had the great fortune to observe with intimacy, awe, and gratitude.
“To plead the possibility of the merely possible, losing in the process all right to insist on the desirability of what would be better, is finally to lose even the possible.”
– Wendell Berry, That Distant Land
Spent most of the day on the Hoover job, and I realize how rusty my graphic production skills have become. I’m also fully aware of my meager attainment in the starting-vegetable-plants department, compared to how James has perfected his pre-garden methods. Faced with big decisions about my deadline for the Berea Learnshops (which were canceled two summers in a row because of infection concerns) and the Al Smith application. If you think about it, life is a four-period ball game. After coming of age, I spent the second quarter as a design professional and the third making a transition to collage artist. Well, I’m getting closer to entering the fourth quarter. Shouldn’t I have figured out by now what the essence of that will be about? (It has a heckuva lot more to do with the natural world. I know that much.)
Today’s sight bite— n o n e
“He and I hold some different views, which can be painfully stark these days; at the same time, I will always be a person shaped by his art, and by our love for one another.”
– B C Adkins
I stumbled upon Brendan’s gesture of sharing a link to my process video. His “rollover aside” both melts and pierces my heart. (Perhaps that’s as accurate a description of real love as I will ever come up with.)
Today’s sight bite— Searching through my little movie, frame by frame, —c-l-i-c-k— until I finally discover an image of me working outside that is probably better than all the other photos from the past five years.
“All has changed, thanks to Trudeau and Freeland setting precedent that a so-called Western G7 democracy can seize its citizens’ bank accounts with no due process and no appeal for the crime of demanding the reinstatement of their civil rights.”
– Mark Jeftovic
I think that the fitness matrix of the “March Ex” has fallen apart {that’s not what Ex(clusion) was supposed to mean}. Other progress is being made. I swapped out a couple collage artworks at CAMP. The article for CC:Mag is about ready to be released. Preparations for the coming season of plein air work is coming into focus. Garden preliminaries are seen through. Backyard agenda is at a resting point. And there are still 13 days of the month to transpire. Make the most of them!
Today’s sight bite— n o n e
“Some of us, like me, are addicted to truth, logic, and commonsense. We make those who’d rather turn away from the blazing fire of truth uncomfortable. So be it. Are you standing up for what you believe in on a daily basis? Are you looking evil in the eye and refusing to back down when it rears it’s ugly head? Are you a conduit of good? Are you in the asset column or the liability column for your loved ones and community? Do you protect or do you need protecting? Are you a warrior or a victim?”
– Ted Nugent
I spent almost five hours in a chair, wrestling paragraphs about my collage artwork into a first draft for Dana’s able editing. I don’t know what the publishers of Contemporary Collage Magazine are expecting, but I’ll be submitting a profile of myself as a landscape artist (and then we’ll go from there).
Today’s sight bite— A split-second flash of brilliant crimson, —c-l-i-c-k— as the male cardinal flees a nearly finished nest in my topiary yew.
