Archive for the ‘Dana’ Category

A difficult path was mine to walk.

Wednesday, April 29th, 2026

“Don’t be afraid of not knowing what to do. Part of the creative process is not knowing what to do. It will appear. It will reveal itself beyond you. There is no big secret. There’s just courage, perseverance, complexity. And complexity is just multiple simplicities. One step at a time. That’s all there is.”
— Eddie Marsan

“Does one’s integrity ever lie in what he is not able to do? I think that usually t does, for free will does not mean one will, but many wills, conflicting in one man.”
— Flannery O’Connor

“I didn’t know back then that the Christian story is the story of our rebellion against God. I didn’t know that by taking part in that rebellion I had become part of the story, whether I liked it or not. I didn’t know, either, why Christians see pride as the greatest sin.”
— Paul Kingsnorth
 

2025 deer harvest
 
 
 
 
 
 
 
 
 
 

I recall vividly when I gave up hunting in my 20s. Having shot a wild rabbit with my .410, I was suddenly overwhelmed with the thought that it was too easy. Perhaps I felt that it was unsportsmanlike or one-sided. What I actually remember is: “Cannot do this. Too easy.”

It took me much longer to understand that I wasn’t necessarily drawn to difficult things, but that I had an aversion to easy. When it came to my creative talents, it caused me to be less interested in things that seemed effortless, even if I was quite good at them. I was more interested in things I couldn’t do as well or had never tried before. I relied on my patience. Make no mistake, I definitely could be impatient, but it nearly always brought failure. Trying my hand at new things could bring failure, too, and that fed my insecurities. I must not be as good as others thought. Easy felt hollow. Especially when my motive was the approval of others. Nothing compared to when patience paid off with achievement or success (whatever those are). I wasn’t well served when that sort of thing led to artistic obsession, or when it spilled over into my life: personal excess, self-destructive conduct, experimentation with danger, and patterns of negative psychology. (Oh, and have I mentioned that I gave up the culture of holy sacraments into which I was born?)

I was miserable, did not know what to do about it, and barely could recognize that I was woefully mixed up. I squandered mentor after mentor. I finally chose to turn things around when it was no longer easy, but now I couldn’t do it by myself. It required the family members who were always there and a woman who cared for the real me, in spite of my superficialities — all as an expression of the mercy of a loving God, the source and supreme essence of true patience.

As everybody who knows me understands, it was a crooked trail, to say the least. A child of television, it took episodes of Kung Fu to get a bit of wisdom to seep through my hard shell, but I didn’t undertake martial arts until I got back from my ordeal in Europe (which had only compounded my self-absorbed bewilderment). I began to meditate when I thought that the TM craze was my answer. I began swearing off bad habits, but flirted with narcissism, dietary fanaticism, and personality cults to pull it off (oh, those hazardous “ISMs and OSMs”).

And yet, even if progress seemed apparent, I didn’t grasp the difference between gifts and grace. Gifts are finite, come with obligations, and are only deserved if met with individual development. Grace is undeserved and infinite. Without grace, gifts or talents are without meaning and can be fraught with pitfalls. This is actually an easy thing to understand in hindsight, but not for somebody with a phobia for easy. And so the difficult path was mine to walk.

At the risk of oversimplification, I came full circle through the intercession of Christ — through prayer, the rosary, and contemplation. There are many souls who played a part. Most of them are those who loved me more than I knew how to love them. Plus the saints and masters whose teachings would pave the way to break through my barriers and open a connection to God through inner silence (including Sister Mary Otho Ballard, Thomas Merton, John Main, Thomas Keating, Bede Griffiths, Eckhart von Hochheim, and the anonymous 14th-century English monk who penned The Cloud of Unknowing).

Eventually, I started hunting again. When it wasn’t easy. When I could appreciate it as a blessing from the Spirit of nature. I don’t know if I have a gift for hitting what I aim at. If I do, I won’t let it go to waste. I know what my true gift is, and where it comes from. I am beginning to put things in context. I can see my flaws, contradictions, and confusion about what to do each day as part of my fallen state of being. Just like every artist. Just like every man and woman.

And now, on my 74th birthday, I accept that the Almighty, Everlasting Creator took on the totality of human nature, with its wretched weakness and suffering, to redeem me forever. To arise in victory over sin, disease, and death. Has he not sent His Spirit to comfort and direct me, to love and enlighten me, to guard and defend me, in every place, in every way, at every moment? To live fully with that recognition is the beginning of authentic freedom. Most of all when I don’t have a clue what to do next.

Sad mood. Bad mood.

Thursday, April 2nd, 2026

“Be strong! Do not be afraid. Here is your God…”
— Isaiah 35:4

Town House, 2026

I won’t go into why we decided to live at the Town House or why we continue to stay here (probably “for the duration”). I just want to note that over the past 37 years or so, we have been witnesses to countless people at their moments of greatest discomfort. It comes with living next to a funeral home and a courthouse. These incidents are not uncommon, but one never really gets used to seeing others in abject sorrow or extreme turmoil. Fits of temper. Wails of grief. Explosions of anger. Awkward outpourings of affection. All I ever can do is say a prayer.

~ Lord have mercy on those in the midst of great loss or distress. May they know that You are always with them in the worst of their emotional pain. May the mercy of the Father, the love of the Son, and the comfort of the Spirit be with them. Amen.

The art of legacy collage

Thursday, July 10th, 2025

“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

Sunday, February 9th, 2025

Back to California one more time . . .

Friday, January 31st, 2025

 

 

 

There are times when a moment of audacity pays off, and we found ourselves transported to the far side of the continent, the beneficiaries of a piggyback ride on a private jet. Now we get to celebrate the 90th birthday of Dana’s brother, Bill. As I witness her happiness to be here, it feels like a miracle, while I apply myself to “homeostasis” and get a daily dose of citrus off the poolside tree.

When the world gets weird, build a greenhouse.

Sunday, March 31st, 2024

The March X ends today, and among the things accomplished: a new greenhouse kit was assembled at the back line of our yard. My thanks to Russ for his catalytic inspiration, Terie and Marty for their help, and Dana for her reliable support.

Happy Easter!
 

Pretty darn good Saturday . . .

Saturday, July 30th, 2022

Training the trainers in Eastern Kentucky!
 

 

March Ex(clusion) — twenty-second day

Tuesday, March 22nd, 2022

“A recent bill that was introduced would ‘authorize the President of the United States to issue letters of marque and reprisal for the purpose of seizing the assets of certain Russian citizens.’ So, if the bill passes, children can once again legitimately dream of becoming a pirate when they grow up.”
– Simon Black
 

It occurred to me today that Dana and I started out together with our own natural lifestyles, and, over the years, we’ve evolved separately toward the mean. I’m not talking about our personalities, but the way we like to live each day. We actually were remarkably close to begin with, but then we mutually adapted to like each other’s groove a bit more over time. Hey, in other words, it worked out fine. Earlier today we had a busted mission to dig some freebie yard plants. I sowed some wildflowers instead. This morning brought good relations with Les J in England and Tammy in Lake City. That, plus a decent night’s sleep, made this one a keeper before noon.

Today’s sight bite— Flashing lights on the firetruck a stone’s throw away, —c-l-i-c-k— while the morning air filled with enough burnt-toast stink to coax me back inside.

March Ex(clusion) — twenty-first day

Monday, March 21st, 2022

“The universe rewards hustle.”
– Joe Rogan
 

Spring done sprang out there, but Dana and I had to spend most of our day putting the finishing touches on “Collage as: Painting in Papers,” my article submission for Contemporary Collage Magazine. Writing something decent always requires that I ask for her help. Mediocre is all I can manage on my own. As I mentioned to Marty, nothing at all might result from this, or it could be one of the most important things ever to come my way as an artist (probably something in between those two extremes). Man, did I want to be outside today! I’ll save that anticipation for tomorrow.

Today’s sight bite— n o n e

March Ex(clusion) — twentieth day

Sunday, March 20th, 2022

“Of all sources of wealth, farming is the best, the most agreeable, the most profitable, the most noble.”
– Cicero
 

I tied one on at Greystone with Marty, James, Nic, and Seth last night — great fun — and then it was another long work session inside the Blue Bank Hall today, patching and painting with our crew. I broke away later to continue my duties in the “orchard.” Seth and I scheduled the long-awaited transfer of the Legend Papers, and there’s no telling what might come of that.

Today’s sight bite— The near equinoctial sun, piercing through the upper branches of a venerable pear tree, —c-l-i-c-k— as I continued my annual pruning in the family cemetery.

March Ex(clusion) — seventeenth day

Thursday, March 17th, 2022

“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.

March Ex(clusion) — fifteenth day

Tuesday, March 15th, 2022

“You only regret the workouts you didn’t do.”
— Joe Rogan
 

Hoov wants me to get involved in his club-jersey project. This is a good reminder that there will always be unexpected things pop up, whenever I allow available time to contract unnecessarily. We had our aborted farm run this morning when Joan had a bad tire intervene south of Danville. My manual labor helped only so much, until Dana provided the brainpower to move us promptly to “best-case scenario.” If I don’t jump on this mild weather (and a bicycle, of course), I may not get in ride for a few days. It’s March. Where’s the commitment?

Today’s sight bite— As flat as a left-rear tire can get, —c-l-i-c-k— before the realization hits: if I can’t loosen these lugs, there isn’t much I can hope to do.

March Ex(clusion) — thirteenth day

Sunday, March 13th, 2022

“If you believe that the West can craft sanctions that maximize pain for Russia, while minimizing financial stability risks in the West, you could also believe in unicorns.”
– Zoltan Pozsar
 

It was a full day that included our trip to Lexington with Marty, visiting the toy show and Kentucky Crafted Market, along with a couple of nice meals. The best part was seeing grandson and grandmother having such quality time together. I came away from the market more convinced that I wasn’t working hard enough, plus the idea that more “prepared papers” are the way to go. Shocked to learn that Joanne P also hadn’t sold a single piece through Artrepreneur. I grabbed a bit of my own quality time with Terie and Marty when I delivered the big lad home. Afterward: the season-four finale of “Mrs. M.” I was enthralled by Tony S’s brilliantly modulated acting and how integrated it was with his incredible breath control. What does any of this have to do with the March Ex? Very little. Tomorrow must be a day of dedicated re-calibration.

Today’s sight bite— After a fruitless search through the floor of tables at the Lexington Figure Fest, it appeared as though the site was devoid of vintage plastic men, ’til I spied a container of odds and ends, —c-l-i-c-k— with the only “oldies” to be found, including some Hong Kong soldiers, three China martial arts fighters, and one M.U.S.C.L.E.!

March Ex(clusion) — tenth day

Thursday, March 10th, 2022

“The Fates find a way.”
– Virgil
 

Today is the 44th anniversary of our first date, a number that does not fail to gain one’s attention. Long ago, two much younger versions of ourselves transformed what could have been a day of utter dejection into our wellspring of loving companionship. Dana made venison chili while I toasted some blue corn, cheddar-jalapeno nachos. We opened a satisfying Cabernet made from “noble vines” and watched Spielberg’s West Side Story. Still sore from “checklist exercise” and yard activity, I’d done my best to neglect most of the daily duties so characteristic of March.

Today’s sight bite— The sprawling bush, shorn of last year’s tangle of outermost growth, —c-l-i-c-k— with thousands of tiny buds casting a mellow green tint across its bread-loaf shape.

Saturday, February 6th, 2021

 
Earlier this week, Dana and I traveled to Ohio with Terie to pay tribute to her grandmother, Jane. I like to point out that Dana found only one satisfactory mate in life, but she was blessed to have two first-class mothers-in-law. Saints, like all human beings, have imperfections, although they best emulate the only perfect example known to us, and show us how to live. Jane was that kind of person.

It was an emotional trip for another reason. Jane’s street-level funeral procession, from Moraine to North Dixie Highway, will stick with me for a long time. I can’t recall ever having seen such a disturbing progression of urban blight than what I witnessed from the back seat as Dana drove. We were all acutely aware of our surroundings. Every red light was bypassed within the supervision of local police. The steady, harrowing vision outside was that of a sad wreck — a city that I knew so well in the ’80s as Dayton, Ohio.

“Oh, the humanity . . .” (in the true spirit of the original lament)

 

 

Saturday, April 11th, 2020

A miniature birthday collage for my petite sweetheart!

Loving her from a distance . . .

Friday, March 20th, 2020

 
 
I’m pleased that Dana and I were able to visit Mombo at ‘The Grandview’ in Campbellsville, before the facility was locked down as part of the pandemic response. Jerome is now the only member of the Clan who can enter the building. There was a time when she would’ve been vitally interested in all the daily developments and whether or not we’re on the verge of a potential “Crash” (an ongoing topic of discussion in our family for decades).

Tuesday, June 4th, 2019

This isn’t Before and After. Sadly, AFTER is when the baking plate is empty, but I enjoy every bite of the journey. Now you know that Dana’s elite-level pies are the reason I must regularly schedule a date with my bicycle. We recently cashed in on a bumper harvest of tart cherries. Thank you, Joan. Thank you, Terie. Pitting is no fun, but worth the effort. Yes, I get a kick out of taking pictures of her pies. About the steam cuts: She used to call me “Johnamo.” Eventually it got shortened to Mo. So I started calling her Mo, too. Too much detail? Hey, it’s a blog…

With a whole bunch o’ help from my friends . . .

Thursday, May 30th, 2019

Here’s an overview from The Collage Miniaturist about the
creative development of my tenth poster for the GABBF:

– – – – – – – – – – – – – – – – – – –

“While many modern-day album artworks tend to favor strict minimalism, The Beatles make a serious case for going bold and wacky without any type of restraint.”
— Nicole Singh
 

As promised, I’m devoting an entry to the project that kept me out of the collage studio for at least a dozen weeks. I shall beg your forgiveness at the outset for delving into the details of a digital process. Not only has this site kept a seven-year focus on traditional cut-and-glue techniques, but I haven’t indulged the applied-arts side of my multiple personality as a graphic artist. I’m going to depart from that now — perhaps just this once — because it’s been an extraordinary circumstance for me, and a few of you may find the description worthwhile. At any rate, I encourage everyone to read Patrick Roefflaer’s article for a story that is genuinely more interesting than mine!

Not so long ago, a prominent local musician and former brass band director took me aside at an exhibition opening. Based on her recognition of my fondness for collage, she asked me if I would take on a visual homage to the Sgt. Pepper’s album cover design. The purpose would be to mark the 30th production of the Great American Brass Band Festival, held each June in our hometown of Danville, Kentucky. It had always been her dream to link the announcement of her retirement at the annual weekend of concerts to the classic album, with a medley of tunes arranged for brass instruments. Sadly, a severe health crisis had forced her early retirement before that could happen, but she preserved hope that a multi-discipline Beatles tribute for the festival’s upcoming milestone might happen in 2019.

I’d already designed nine posters during the festival’s lifespan. To create a tenth was tempting, and this idea had a barbed hook. It really snagged me. My previous experience offered no sense of proportion about the magnitude of time to which I was committing myself when I said, “Sure.” The first obstacle was whether we were allowed to do it at all. we soon discovered that an enormous number of entities had made a visual salute to the famous image over the past fifty years, and that it had already become a ritual of pop culture, in spite of the complexities involved. There’s even a website that shows over a hundred previous parodies. Before long, we had mutually decided that it might as well be our local festival’s turn to pay homage.

The assignment was now in my lap, and I was overwhelmed with a desire to do it justice and exceed expectations. I found inspiration in filmmakers who I admired (like John Frankenheimer or Robert Altman), because their time-consuming approach would be required for what I’d bitten off. I wanted to bring the same passion, attention to detail, and collaborative leadership to my effort. I ended up shelving all other priorities and putting a ludicrous amount of time into the project, but not without the help of many partners. First and foremost was my wife, Dana, who jumped in head first to play a key part in nearly every aspect of the creative enterprise. After getting advice from an experienced model railroader, she began crafting a miniature flower garden to display the festival acronym for a mandatory foreground allusion. More than once, she would come back to the unfinished artifact to find that its spongy base had “spit out” some of the “flowers.”

The rest of it hinged on two important elements — whether we could pull together our own “Fab Four,” and then surround them with a crowd of numerous figures. It was determined that the Beatles would be “represented” by the previous directors of the Advocate Brass Band, a Golden-Age-style band associated with every festival. Their initial formation to color a political rally in 1989 was a direct influence on the organizing of the annual event itself. This made perfect sense because the foursome would include the festival’s pair of co-founders and their band uniform jackets, although not psychedelic, would be an effective visual reference point. We immediately knew that some digital sleight of hand would be called for, since only two of the four were locally present. One was near a university town many counties away, and the fourth had moved to a distant state. It took lots of coordination to solve that equation, and we pulled it off with the crucial participation of my friend, photography pro Bill Griffin, who took time away from his day job of wealth management. In keeping with the guiding theme of “a little help from our friends,” getting all the ingredients for the poster art to coalesce would demand the magnanimous assistance of others — furnishing space, props, and standing in at our photo shoot, plus image research and acquisition.

At a certain point, I began to focus on researching the background “crowd of fans,” to honor the countless performers, organizers, sponsors, staff, and volunteers who made three decades of festivals possible. It became a daunting, complicated task of culling and selection. I realized that the poster would be the size of a picnic table if everyone who deserved to be on it were included. The original setup by Jann Haworth and Peter Blake was peopled with life-size, hand-tinted cut-outs that imposed a certain physical limitation, and it was fabricated within two weeks. A virtual approach was too open-ended for comfort. There was a limit to how methodical I could become in choosing ingredients for the montage of faces. The solution was to approach it more intuitively, as I would any of my “maximalist” works.

All collage art worthy of the name is irrational at some level, and one of the reasons the original Beatles art is so iconic is the sheer illogic of it. And so, for us, that idea led to a few incongruous personalities, such as Carrie Nation and Howdy Doody. The final assembly was challenging, painstaking, rewarding, and fun, all at the same time. After refining the list of candidates and compiling the source files, each master image had to be sillouetted, retouched, color balanced, and optimized for inclusion. It seemed like the rearranging would never end before every element of the composition appeared to “belong.” I shall confess that I do not possess a powerhouse workstation. The increasing quantity of digital layers in Photoshop had to be continuously merged to prevent the composite file from paralyzing my Macintosh. Even so, it would often exceed 500 MB in size. I tried to save and back up as often as feasible without breaking stride, but there were periodic freezes that would result in “three steps forward and two steps back.”

There should be no misunderstanding, however. The marathon endeavor was punctuated by many fortunate, often astonishing developments. One of our “Fab Four” individuals made a vital connection with an outstanding photographer in Athens, Georgia, who went the extra yard in matching my parameters for an important superimposition of the black-suited Dr Foreman. He also shot an antique bass drum to add another convincing Sgt Pepper’s touch — the same one that appeared on the festival’s first poster in 1990, and it still had the original, hand-painted emblem! Dana took the lead in preparing the poster “mechanical” for offset production, as she always has done for Dixon Design. She also knocked one out of the park during the solicitation of bids. As a contribution to the landmark production, Mike Abbott of Thoroughbred Printing agreed to produce the job at cost, and spent an hour with the press operator, Dana, and me, making sure we were satisfied with the quality.

Our closing duty was to devise a printable key for identifying all the individuals and design elements. My original idea of including a longer “blurb” for each line item quickly became far-fetched when producing the abbreviated version dragged on. By the time we declared it done, the “labor of love” vibe had been exhausted. There wasn’t much love left in the air, and I just wanted all of it to hit the street, which it has, of course, and the positive response has been even more than I anticipated.

This post is already far too long, so I won’t get started on my Eva Marie Saint story, but I need to explain why we included a picture of the creators, and then I’ll finish up on an appropriate collage note. I was adamant that I would not fall prey to the Hitchcock Urge. I had no interest in, nor justification for, inserting myself, since I was making so many brutal choices to leave others on the cutting room floor. Dana was in total agreement, but the team of people who helped with the proofing process took an opposing viewpoint. Their collective drum beat was that the final rendition must include us! You can see that we eventually waved the white flag and stuck a small portrait on top of the Bourbon barrel.

A tiny figure seated at a kitchen table was provided by the Great American Dollhouse Museum as a nod to the Shirley Temple doll in the original composition, which also featured a Madame Tussauds wax figure of Sonny Liston on the opposite side. I knew there had to be a way to include Kentucky’s own Muhammed Ali in our version. Rather than take unavailable time to solicit permission to use a photograph that might get buried in the sea of faces, I turned to my friend Robert Hugh Hunt, who kindly let us insert the extraordinary collage portrait from his 20th Century Icons series!

Oh, I get by with a little help from my friends!
 

30th GABBF Poster
digital homage by Dana and John A Dixon
24 x 36 inches
Purchase one now! 
 
Online order page includes a printable key to identification, 
plus a ‘special thank you’ to all our essential collaborators!

another perfect visit to the Speed . . .

Tuesday, January 8th, 2019

No matter where one resides, there is almost always proximity to wonderful artwork. One of the great aspects of living in Kentucky is the opportunity to frequent the Speed Art Museum. My choice of the word “frequent” may take on the quality of wishful thinking, but, for Dana and me, this past Sunday was wishful doing!
 

   
 
   
 
   
 
   

Dana and I took advantage of art from the Eskenazi Collection
being at the Speed before it returns to Indiana University.

 

Birthday season has arrived!

Sunday, April 8th, 2018

 

Although “birthday weather” has not yet arrived, Dana and I launched another season of natal celebration with a visit to the Speed Art Museum and its Women Artists in the Age of Impressionism. After replenishing our souls with art, we found an Ethiopian restaurant that hit the spot. Cheers, Mo!


 

 

 

35 years!

Monday, September 11th, 2017

“As a husband, you have to remember the crucial importance of three little words — ‘I was wrong.’ That will take you a lot further than ‘I love you.’”
— Charlton Heston
 

After pondering what to do with my stash of birds for far too long, I decided to start a new series that I describe as “Crafted.” Here is an example — a 35th Anniversary present to my indispensable partner and dearest friend.
 
That Red Boot ~ J A Dixon

That Red Boot
collage miniature by J A Dixon
5.375 x 7.25 inches
collection of Dana Dixon