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!
“What more can we ask than to never know what to expect?”
— Paul Violi
The opening reception for the annual New Year New Art exhibition at our Community Arts Center was a massive success. Collage artist Connie Beale had a superb artwork on display, but she managed to slip out before we could include her in a group picture. So, we asked the ever-helpful Kate Snyder to grab a shot of “three collage dudes,” back in the corner where Robert Hugh Hunt was showing a new addition to his “20th Century Icons” series — President Jimmy Carter. I was delighted to see included within the mixed-media portrait a collection of Jimmy heads that I’d surrendered to Robert earlier in the year. 
Strangely enough, the envelope had been lurking in my stash for decades, after the faces were clipped from newspapers during the Carter presidency. It can take a while for certain elements to find their destination, on the uncanny path toward a collage outcome.
My Harmonic Squall was hanging nearby. As these things often play out, I was a bit more pleased with the piece each time I saw it. The residual sense of heightened criticism was continuing to wear off. One certainly doesn’t want the effect to move in an opposite progression. It makes me think of the companion artwork that just as easily could have been part of the exhibition — an extreme vertical that I called Strategic Quake. Both were the result of an evolved process that I touched on in last week’s entry. I’ve been meaning to post the one that wasn’t selected, too (above), along with an image detail (below, for a zoomed-in look). “Spatial manipulation, a unified color scheme, and compositional balance” might be a good way to describe the goals I’ve set for a collage abstraction. It needs to look strong from a distance, with the ingredients becoming the “brushstrokes” that provide visual interest at a closer viewing distance.
Strategic Quake (detail)
collage on fabric by J A Dixon
12.5 x 28.25 inches
available for purchase
Earlier this month I had the privilege of attending a gallery talk by Kentucky artist Robert Hugh Hunt, as he outlined his ambitious “Twentieth-Century Icons” collage portrait project and described an attitude toward the medium that is profoundly thought provoking.
You may be aware of Robert from his long-running Hillbilly Voodoo collaboration with T R Flowers or the way he brings an individualistic mixed-media aspect to contemporary collage. Hunt and I have done our own collaborative works together and we share the experience of creating collage artwork in a geographic environment that often responds to the medium with a sense of bewilderment. Clearly, this circumstance is no impediment to the strong personal approach that runs through Robert’s body of work. He describes himself as a twentieth-century man, but his art is always fresh and intuitive. It springs from a deep cultural awareness that is inseparable from his creative identity.
Hunt told me that he thinks there is lot of negativity towards collage. “I hear people say that collage artists are only using something someone else has created,” he said. “The word appropriation is bandied about. This is true to a certain extent. Collage is a medium steeped in appropriation, and as such is delegated to the status of the red-headed stepchild of art. But to me collage or any medium has to transcend the material used to make it, to truly be art. It is the collage artist’s job to use the appropriated imagery, and, by changing and manipulating it, to relay his own message and to find his own voice.”
Katrien De Blauwer recently brought our attention to the same topic with a link to this page at WIDEWALLS, where Elena Martinique suggests that the term adoption is “more appropriate to describe the level of care one should take when using someone else’s creativity” as a point of takeoff. Many of us who pay attention have seen collage after collage that exploits a prominently featured “load-bearing” image, with trite or superficial treatments that rely almost solely on the power or interest of a photographer’s or illustrator’s invested creativity. Most of us probably started out this way, and it can be initially absolved in student work. Professional or serious amateur collage artists must hold themselves to a much higher standard.
Perhaps that is why I lean toward “maximalism” in my own work. I don’t know what I would say to other creative people if they called me on merely tweaking their intellectual property with a note of irony, humor, or cosmic wonder. 
I have great respect for collage minimalists who bring a consistent level of innovation to work that actually transcends the component parts.
Robert Hugh Hunt moves from minimalism to maximalism with a particular voice that defies imitation. In the tradition of fine art collage, the unique instrumental sound of “Robbo” is heard above whatever compilation of raw ingredients he puts to use. But, for me, there is another dimension that is also present — an authenticity rooted in drawing that cannot be imposed with a contrived “outsider” style. I look forward with high anticipation to how he brings all of this capability to his emerging series of famous faces.
Einstein – Teddy – Ali – Anne Frank
mixed media collage portraits by R H Hunt
16 x 20 inches each, 2014-2017
(below) R H Hunt at the Community Arts Center with his
in-process portrait of the 14th Dalai Lama
Mama’s Story
monochromatic collage by R H Hunt
collaborative collage
from ‘Hillbilly Voodoo’ series
R H Hunt and T R Flowers
mixed media collage by R H Hunt
(click each to view larger)
“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, 
without 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.
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!
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
“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
“Transforming nothing into something is something of course, but because it’s a metaphor (let’s say it’s a reflection of life and death), doesn’t mean it’s especially important.”
— Matthew Rose
Is a pizza fundamentally more satisfying than a beer?
Perhaps this question is a peculiar way of following up on my previous post. The subject of maximalism and minimalism in collage is worth continuing, and I readily admit that our topic would benefit more from an interactive discourse than a single voice, but such is the nature of a blog that has yet to gain a participatory following. Nevertheless, I cannot drop the discussion without further remarks and, in particular, some worthy examples of each methodology.
Getting back to the opening query . . . There is nothing more inviting on a hot summer evening than a cold beer after a day of effort. It can immediately lose its appeal if flat or flavorless. A slice of pizza will look much better — steaming, fragrant, and loaded with toppings — but not if it is dry, overdone, or charred underneath. What I am trying to suggest with this oddball reference is the idea that a simple thing or a complex thing is not necessarily better than the other. It is all about how each is presented. And the most meaningful conclusion may be that both are enhanced when the two exist together. Whether you investigate Picasso, Braque, or Schwitters, it is clear that they thought of collage as an extension of painting, and how can one say that maximalism or minimalism in painting takes supremacy over the other? One cannot, of course, and either method is more interesting when the entire scale of approaches to the medium are continually explored (in some cases by the same artist). So, returning to my feeble analogy, we recognize that the combination of “good stuff” determines a synergistic effect. Collage as an art form is more vital today as a result of this diversity of orientation.
Our medium does not exist in a vacuum. Maximalism, minimalism, and everything in between is rooted in the movements of Dada, Surrealism, Constructivism, Expressionism, and Popism. One contemporary collage artist with a keen awareness of these influences is the “American in Paris,” Matthew Rose. He has created masterful works at multiple points in the spectrum of complexity, and a few examples appear below. In future entries, we shall feature other artists who probe minimalism and maximalism in collage.
The End Of The World
Matthew Rose, 2008
Immaculate Perception
Matthew Rose, 2010
Breathless
Matthew Rose, 2010
China Star
Matthew Rose, 2010
Experience
Matthew Rose, (date unknown)
Lucky Strike
Matthew Rose, 2010
Self Portrait
Matthew Rose, 2011
“I never made ‘Who’s Who,’ but I’m featured in ‘What’s That?’”
—Phyllis Diller
America has lost not only a pioneering comedic performer, but also a multi-talented artist. Nevertheless, the image that is circulating in the wake of her demise is not a Diller self-portrait, but a work by skilled assemblage artist Jason Mecier, who had an exhibition called “Celebrity Junkdrawers.” Notice that his ability to create strong illusions of visual depth does not rest on the inherent dimensionality of ingredient objects, but on an astute interpretation of light and shadow.
Phyllis Diller gold
mosaic portrait by Jason Mecier
40 x 40 inches