This first image was from the ‘Transience and Eternity’, Angie Dixon’s exhibition at Foster/White in the 1990’s. It was a combination of installation and paintings. It was about creation and the formation of everything before it becomes tangible. The paintings were meant to be of the actual tangible results of the creative formation. The installation was black and white, the paintings were in color.
Angie Dixon studied art at the University of Washington where she received two degrees: one in fine arts and the other in art history. Dixon was one of the first 24 Americans accepted into the art school to study classic Chinese Landscape Painting and other Chinese painting and calligraphy in Hangzhou, the Zhejiang Academy of Fine Arts in the people’s Republic of China. She continued with graduate studies in the People’s Republic of China at the Zhejiang Academy of Fine Arts in 1984.
I eavesdropped on Dixon’s Beginning Sumi workshop last weekend, and heard her talk about studying from the old master ink and brush painters. Dixon is a deeply respectful person, especially when it comes to issues around cross-culture, education, and traditions – so this caught my ear: “You had to do what the masters said, exactly what they said, and not deviate.” She continued:
At the Zhejiang Academy of Fine Arts, students were asked to copy the teacher’s work, and you were only supposed to have one teacher. If you didn’t copy it exactly they’d have you do it again. After much study, Dixon said that one day the teacher told her to do it again, because she had failed to make an exact copy. She said “Ok, show me how it’s done.” The teacher attempted to make a copy of his own work, and failed. She learned from that, and decided to respect the knowledge that had been shared with her, and go her own way. Dixon branched out to study more styles and approaches from many more teachers for sumi all across Asia, and now has a contemporary voice to her ink, combining various Eastern and Western methods.
Dixon has a talent and a passion for teaching, and we are fortunate to be able to learn from her vast knowledge and experiences in sumi brush painting. This weekend starts a 2 Day workshop, by request of her students. Sumi II is for anyone who already has some experience with sumi, so students will have more opportunity to broaden and improve their techniques, and take their brushwork to the next level.
[image_with_animation image_url=”7909″ alignment=”center” animation=”None” box_shadow=”none” max_width=”100%”] Suzanne Saroff Set up a backdrop (to minimize visual clutter), and place an object or objects behind water glasses so that they form an interesting composition. Adjust lighting as needed, move things around for maximum effect, and crop for composition. Feel free to submit your work in the form …
“…but when they get a bit besmirched, well then they are fair game.” – Diebenkorn “I don’t go into the studio with the idea of ‘saying’ something. What I do is face the blank canvas and put a few arbitrary marks on it that start me on some sort of dialogue.” – Richard Diebenkorn In the …
One year ago in March, to protect our students and teachers from a new coronavirus, the Seattle Artist League moved our classes online. The virus was declared a national emergency, and we went into quarantine. We have now been in quarantine for thirteen months. Through this year, we have met each other online to draw, …
[image_with_animation image_url=”6645″ alignment=”” animation=”None” box_shadow=”none” max_width=”100%”] Rembrandt’s Etching Process You can etch with or without acid. In drypoint printmaking, images are etched onto a plate dry – without acid – so the tools directly unsmoothify the copper plate so it can be inked, and printed onto paper in an un-wet humorless non-boozy sort of way. …
Sumi Installations, by Angie Dixon
This first image was from the ‘Transience and Eternity’, Angie Dixon’s exhibition at Foster/White in the 1990’s. It was a combination of installation and paintings. It was about creation and the formation of everything before it becomes tangible. The paintings were meant to be of the actual tangible results of the creative formation. The installation was black and white, the paintings were in color.
Angie Dixon studied art at the University of Washington where she received two degrees: one in fine arts and the other in art history. Dixon was one of the first 24 Americans accepted into the art school to study classic Chinese Landscape Painting and other Chinese painting and calligraphy in Hangzhou, the Zhejiang Academy of Fine Arts in the people’s Republic of China. She continued with graduate studies in the People’s Republic of China at the Zhejiang Academy of Fine Arts in 1984.
I eavesdropped on Dixon’s Beginning Sumi workshop last weekend, and heard her talk about studying from the old master ink and brush painters. Dixon is a deeply respectful person, especially when it comes to issues around cross-culture, education, and traditions – so this caught my ear: “You had to do what the masters said, exactly what they said, and not deviate.” She continued:
At the Zhejiang Academy of Fine Arts, students were asked to copy the teacher’s work, and you were only supposed to have one teacher. If you didn’t copy it exactly they’d have you do it again. After much study, Dixon said that one day the teacher told her to do it again, because she had failed to make an exact copy. She said “Ok, show me how it’s done.” The teacher attempted to make a copy of his own work, and failed. She learned from that, and decided to respect the knowledge that had been shared with her, and go her own way. Dixon branched out to study more styles and approaches from many more teachers for sumi all across Asia, and now has a contemporary voice to her ink, combining various Eastern and Western methods.
Dixon has a talent and a passion for teaching, and we are fortunate to be able to learn from her vast knowledge and experiences in sumi brush painting. This weekend starts a 2 Day workshop, by request of her students. Sumi II is for anyone who already has some experience with sumi, so students will have more opportunity to broaden and improve their techniques, and take their brushwork to the next level.
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[image_with_animation image_url=”6645″ alignment=”” animation=”None” box_shadow=”none” max_width=”100%”] Rembrandt’s Etching Process You can etch with or without acid. In drypoint printmaking, images are etched onto a plate dry – without acid – so the tools directly unsmoothify the copper plate so it can be inked, and printed onto paper in an un-wet humorless non-boozy sort of way. …