Archive for the ‘Ingredients’ Category
Saturday, August 10th, 2013
“But now I had these targets, and something grand in me wanted to make the two divergent threads — one of my artwork, one of my father — intertwine.”
— Laura Tringali Holmes
An increasingly engaging form of collaboration in collage is the coming together of a diverse group to explore the shared concept. In my last post we looked at an example in which the participants artistically exploited an image or thematic suggestion. Today we feature a remarkable project launched by L T Holmes that makes use of nearly identical vintage paper targets she has magnanimously provided to those taking part. Anyone reading this is urged to investigate her recent blog entry that offers an affecting backstory for the “Target Practice” initiative.
As this outstanding series takes shape, I cannot help but think of the Merz painting, “Hitler Gang,” and how KS (as usual) was just a bit ahead of us. If he thought a target was a cool collage ingredient nearly 70 years ago, I am, for one, quite content to continue digging the ground he broke. At least we are not fearing for our personal safety, thank heaven.
Friday, 1963
collage miniature by J A Dixon
vintage target from L T Holmes
6 x 7 inches
Purchase this artwork!
Posted in 1) Available!, Collaboration, Ingredients, J A Dixon, K Schwitters, L T Holmes, Merz, Theme/Variation | No Comments »
Wednesday, July 31st, 2013
“I’m not an art reviewer, nor am I a psychiatrist, but I’ve often thought that Katrien De Blauwer’s special talent is her ability to speak to and for the collective unconscious of human emotions.”
— Laura Tringali Holmes
I regularly walk to a nearby college natatorium to swim laps. To my periodic astonishment, I will get an idea for a collage while staring at the bottom of a pool. My mind apparently stays cluttered with images of unused ingredients, and I suppose they demand to be composed, even when I am absent from my studio. As I travel to and from the destination, no scrap of litter escapes my attention (an occupational practice for many collage artists). Recently, when I discovered a wadded-up candy or bubble-gum wrapper that looked to me like a tiny, mashed bird (or was it a disfigured fleur-de-lis?), I knew I had to find a place for it, but I preferred that it not get lost in a “maximalist” design. So I encouraged myself to produce a collage with a minimal of elements. This is not my typical style, but I visually partake daily of numerous examples by peers who excel at this technique, if one can call it that. Thankfully, a bit of their approach may have rubbed off. Laura Tringali Holmes has taken it another step by accepting the challenge of creating a collage under the influence of a particular fellow artist. Laura often leans in the direction of maximalism, as do I, and her skillful homage to Katrien De Blauwer, a master of minimalism, is worth a visit to her site. As you may know, I am keen on the cross-fertilization of solid influences. I am not ashamed to say that both of these collage artists are among my favorite sources of rich visual pollen. Watch for a profile of each in future entries here.
Fear of Failure
collage miniature by J A Dixon
4.75 x 6.375 inches
Purchase this artwork!
Posted in 1) Available!, Influences, Ingredients, J A Dixon, K De Blauwer, L T Holmes, Links, Maximalism/Minimalism, Methodology | No Comments »
Saturday, July 6th, 2013
“My scraps rarely get thrown away and are often the main inspiration for getting started on a piece.”
— Fred Free
Slowly open your eyes to find yourself in an oddly familiar space that is part tool & die shop, Zen garden, and hi-fi showroom. Mom is there in her polka-dot apron, and somewhere in the next room, The Adventures of Jonny Quest has gone to commercial break. It may well be a surreal warp in quantum time, but, more than likely, it is the distinctive world of a Fred Free collage.
I cannot say if Fred Free uses his given name or a pseudonym, but it has never really mattered to me. He is one of the most actively intriguing artists working in the medium today. His superb compositions often look more minimalist than they actually are, offering delightful complexities that blend a clearly restrained interplay of vintage ingredients and street rubbish with moods that fluctuate between reverence for lost motifs, wry humor, and a mild disenchantment with 21st-century culture. While cohering to a recognizably defined vision, FF skillfully explores the spectrum of minimalism to maximalism in collage. In spite of a “yesteryear” oeuvre, he makes adept use of online platforms and social networks, while also effectively promoting visual cross-pollination at Tumblr by “endorsing” other artists with his Variety Showcase.
fantasy f
Fred Free, 2005
to pay
Fred Free, 2007
conceal
Fred Free, 2008
digging for the foundations on
Fred Free, 2011
activities
Fred Free, (date unknown)
7413
Fred Free, 2013
Posted in Artists/Collage, Collage, F Free, Ingredients, Maximalism/Minimalism, Methodology | No Comments »
Monday, June 24th, 2013
“Less is not necessarily more.”
— Milton Glaser
A profusion of collage artwork has recently come to my attention that makes use of only two or three elements. When this type of minimalist approach is successful, the result can be quite arresting to the eye and mind. More often than not, it looks uninteresting or unfinished to me. It may come as no surprise that I am more of a maximalist, preferring to build a layering of ingredients that transcends the intrinsic quality of the found material. I suppose that I have been more influenced by Schwitters than Cornell. Although there is nothing inherently unappealing to me about “sparsity,” admiring those who employ the methodology with skill, I have found myself pulled toward “density’ for the past few years. Some artists may think that if one hasn’t achieved a solution with fewer than a dozen parts, the essence of the piece has escaped. I appreciate that viewpoint, and respect those who consistently meet the challenge of limitation. For me, the working surface calls out for more, until a balance of “visual polyphony” takes form, and the dynamic aspects of color, shape, composition, and symbolic communication have resolved themselves as a distinctive, unified whole.
Fallen Body
collage artifact by J A Dixon
7.5 x 10.5 inches
available for purchase
Posted in 1) Available!, Artifacts, Collage, Influences, Ingredients, J A Dixon, J Cornell, K Schwitters, Links, M Glaser, Maximalism/Minimalism, Methodology | No Comments »
Tuesday, June 18th, 2013
“Not what we give, but what we share,
For the gift without the giver is bare.”
— James Russell Lowell
My thanks to fellow collage artist, Kathleen O’Brien, who kindly bestowed on me a delightful trove of vintage poultry. By all appearances, the various hens, roosters, ducks, and geese were scissored from multiple sources many years ago, often less than expertly, and compiled for some anticipated project. Why this collection was passed along or sold, with an original intent abandoned, can never be known, but my friend felt that the ingredients were more suited to my artistic activity than hers, so now I am the fortunate steward of a silent menagerie. Hope Kroll, the “paper surgeon,” could undoubtedly exploit the entire mass of images in one fell swoop, but I am more likely to apply them in a trickle. Here is the first collage that benefits from the acquisition:
A Chicken Involved
collage miniature by J A Dixon
4 x 4 inches
collection of R Gilpin
Posted in H Kroll, Ingredients, J A Dixon, K O’Brien, Links | No Comments »
Wednesday, June 12th, 2013
“Art is never finished, only abandoned.”
— Leonardo Da Vinci
“A painting is never finished. It simply stops in interesting places.”
— Paul Gardner
One of the many fascinating aspects of this medium is that a collage can never be ruined, but only delayed. Perhaps it is the most forgiving of all art forms. Nevertheless, artists have been thinking about the issue of completion for a very long time, and a vital part of creating a collage is deciding when to quit. We see many examples that appear overworked to the point of exhaustion, or that fall short of a fitting denouement. Whether one considers it abandonment, suspension, or conclusion, the collage artist, like any creative person, must pay attention to a process that leads to the notion of “ahhh… the end.” When does the sculptor lay down the chisel? How does the choreographer know a dance is finished? When does the poet decide to stop revising?
A collage may languish in the working space for days, or even weeks, defying its appointed culmination. With experience, one can recognize the need for postponing a final resolution, and it usually involves matters of both compositional harmony and ingredient quality. While some arrangements follow a natural progression of assembly, others cannot be pushed to premature completion. If a “missing” element eludes the sought-after symbiotic result, one must wait until a solution is clear. In spite of its size, today’s featured miniature is such a case in point. Brought out several times for fresh review and incremental color refinements, it was deemed unfinished until a second egret presented itself. How does one know when a collage is done? For me, the more important consideration is learning how to see that it is not.
Fears and Fancies
collage miniature by J A Dixon
4.5 x 4.5 inches
private collection
Posted in Collage, Ingredients, J A Dixon, Methodology | No Comments »
Saturday, May 25th, 2013
Some collage artworks spring spontaneously from a random juxtaposition, a mental picture, or the way various ingredients coalesce. Others are sparked by thoughts about an individual. The first example below was a tribute to Zach Collins, one of the more prolific American collage artists whose work is also consistently innovative. The second piece is dedicated to a couple of guys I know who both had birthdays this past week. One is a friend, and the other is family.
Blind the Mocking Eye
collage miniature by J A Dixon
5 x 5 inches
private collection
Sufficient Alacrity
collage miniature by J A Dixon
4.875 x 6.875 inches
Purchase this artwork!
Posted in 1) Available!, Ingredients, J A Dixon, Z Collins | No Comments »
Sunday, May 19th, 2013
For the full viewing experience, one can never get too close to a collage, but this opinion from a person so enamored with the miniature probably comes as no surprise. When I create a larger piece, lessons learned from the small format have a strong bearing on my approach. As a concluding exercise to hone compositional awareness, it is beneficial to discover croppings that can stand successfully on their own. Before Mystery Solved left the studio, it was interesting to visually isolate six square miniatures, just to see if they might capture in microcosm the essence of the parent design.
A ‘Jack of Diamonds’ was too visually outstanding
at first and had to be massaged into balance.
I enjoy creating a montage of linguistic symbols,
but “a-l-e” was accidental (or perhaps subliminal;
one never really knows with collage).
Integration through color: photo of butterfly
specimen + ticket stub + magazine scrap.
Juxtaposition: illustration from an exotic soap
wrapper + book engraving + photo of flower.
The interesting effect of a raised panel: the
illusion of depth versus actual dimensionality.
From diverse sources: combining ingredients
that seem to have always belonged together.
Thanks again for looking. Please share your thoughts, suggestions, or constructive criticism (frankly, our medium of collage always needs a healthy dose of it).
Posted in Collage, Criticism, Details, Ingredients, J A Dixon, Larger Works, Methodology | No Comments »
Tuesday, April 16th, 2013
The primary reason that I look forward with great anticipation to this Friday’s LexArts Hop is because Kathleen O’Brien has a new solo exhibition. The opening reception for Realms of Wonder at the M.S.Rezny Studio & Gallery is from 5 to 8 pm, and it is certain to be one of the highlights of the evening. It was no surprise when a local Marketing Maven recently exposed herself as a Kathleen O’Brien “groupie,” and I suspect that there are far more than two of us. It’s not at all baffling to find oneself totally captivated by her visionary art.
Kathleen’s artwork clearly grows out of how she thoughtfully observes and attunes with the world of nature. It also literally contains and preserves natural ingredients. But in contrast to collage that maintains its focus on formal or intellectual juxtapositions, Kathleen’s art always nudges one toward a deeper sense of wholeness and the inner complexity of our balanced existence as both organic and spiritual beings. Without question, she has made a personal commitment to creating art as a mystical practice, and, on a communal level, to providing nature-inspired beauty as a source of healing in a fractured world. With the strong presence of these intangible dimensions, Kathleen’s art is always esoteric, and yet she manages to make the work accessible to all with her choice of subject matter and allegiance to traditional drawing. At the same time, she can delight the eye of a fellow artist with her methodology, aesthetic choices, and pictorial skill. I’m not ashamed to admit that much of Kathleen’s symbolic virtuosity is beyond my ken, but I appreciate that it’s all in play at the intuitive level. Being near the prolific output of her creative life is simply uplifting, and that’s because all the facets of her art —whether conscious or subliminal— unify as a total perception to nourish the mind, heart, and soul.
Here is a video of Kathleen in the studio discussing her art.
Find out more about the artist at her website or blog.
3 Worlds (detail, This World)
mixed-media collage, © Kathleen O’Brien
22 x 15 inches
Posted in Collage, Combined Mediums, Exhibitions, Influences, Ingredients, K O’Brien, Links, Methodology | 1 Comment »
Sunday, April 7th, 2013
“I’ve never met a tradition that is not the result of successful invention. As soon as you invent something that everybody wants, unless you evolve that tradition, it starts to get smaller. I think of the Silk Road, in many ways, as the Internet of antiquity. Today it’s much faster but we had essentially the same results. When people met at the borders, you traded; you figured out who you are; do I trust you? Can we do business together? Can we be friends?”
— Yo-Yo Ma
A week after finishing my 31-miniatures-in-31-days exercise, which culminated in a “Silk Road” collage series, I am able to look at the month’s output with a bit of perspective. A period of sustained experimentation collided with a catalytic event (attending a performance of the Silk Road Ensemble with Yo-Yo Ma), and suddenly I was off on a ride of intense thematic exploration. I am now able to link the end result to a piece I created seven years ago as a tribute to Kurt Schwitters. I felt strongly at the time that by transcending the individual characteristics of ingredient elements, the totality of a compositional effect could take on a reverential tone. I have nothing against irreverence, satire, or sarcasm in art, but I am increasingly comfortable with the idea that when I step beyond an inspirational experience, my natural tendency is to seek beauty, harmony, and perhaps even “the sacred” in a work of collage.
Sacred Ode To Merz
J A Dixon, 2006
homage to K Schwitters
16 x 20 inches (framed)
private collection
Posted in Artists/Other, Experiments, Influences, Ingredients, J A Dixon, K Schwitters, March Exercise, Merz, Silk Road Series, Y-Y Ma | No Comments »
Monday, February 25th, 2013
“Time consecrates and what is gray with age becomes religion.”
— Friedrich Schiller
The collage artworks of Kurt Schwitters possess a “vintage” appearance to our eye, but it is essential to keep in mind that his “Merz” ingredients were predominantly gleaned from a concurrent environment. It was Joseph Cornell, via the influence of Max Ernst and others, who consciously selected antique images to reinforce the romance and melancholy of feelings past. Apparently, a significant number of active collage artists limit their resources to vintage found material. Don’t get me wrong; I love this work. The immediate “retro effect” can be quite compelling. It would take a stronger soul than mine to dismiss the inherent dignity that comes with the marvelous scrap from an outdated encyclopaedia or the now-funky gravitas of post-war, mass-market magazines. However, from my perspective, a vital element of contemporary collage is the incorporation of present-day material and the recycling of twenty-first century detritus. I find it even more interesting to see vintage ingredients effectively juxtaposed with the ephemera of our own time. Nevertheless, every serious artist has a set of aesthetic considerations, genre goals, and process parameters that mold decisions. Due respect should be extended to the overall objectives that each collage artist brings to this exceptionally diverse media.
Untitled (Just Another Prophesy)
journal collage by J A Dixon
8.5 x 11 inches, not for sale
Posted in Collage, Experiments, Influences, Ingredients, J A Dixon, J Cornell, Journal, K Schwitters, M Ernst, Merz, Methodology, Priorities | No Comments »