Michael Dixon Landscape Paintings
American
Excerpted from Debris: Dixon, Hindle and Silverstein at the SOFA by Tom Rhea of The Bloomington Voice
The progression in Michael Dixon’s work moves literally from a closet to the world. The logic of the first few steps is compelling, from the shuttered interior of Summer Studio where the brilliant yellow light pressing at the windows activates the entire painting, to the open window of Banana Still Life to the open air of the final rooftop views of Bloomington, from downtown Sixth Street into the distances of campus buildings. The pull of the outer light, the upper spaces, makes sense for his treatment: the scale of his sweeping stroke wants to describe distance, size and surfaces, not the minutiae of still life. His ambition is the opposite of kitsch; he wants to enlarge, not miniaturize. The raw scrapings of the brush in Margrave Closet make the canvas feel naked, the stroke used up, compared to the fullness of Last Graham Plaza and Bloomington.
Dixon gets into issues of ugliness vs. beauty, finish vs. process, order vs. chaos (as does Hindle), and these are not easy issues to resolve. Indeed, these paintings are sometimes difficult to look at, difficult to see. Dixon may not have fully realized his subject yet, or found his color. A painter like Marc Jacobson, for instance, working with similar subjects in his cityscapes, deals more explicitly with ideas of decay, and visual inertia as an occasion for inciting artistic invention. But in the multiplication of form, Dixon makes his paintings about accretion, in the same organic way that cities devour and build themselves up, almost senselessly. There is a sense of rush and motion in his elevated view of the square (even though the streets are empty of traffic), almost like time lapse photography. Large objects like trees become phantasmal and transparent, open to the storefronts behind.
After several treatments of the same city view, Dixon becomes assured and familiar enough to pull away the cloth of literal representation, leaving the sense of structure intact. A Construction was painted away from the source, so in that sense is an abstraction, but everything is informed by the same spatial organization, the same descriptive brushwork and color. The brilliant strips of blue at the top still feel like sky. It’s and interesting stepping off point, and makes a smooth transition into the work of Sheila Silverstein.to
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Artist: Michael Dixon
Grant Building, Abstract Impressionism, Oil, 24x30 , Framed, Light Shadow
By Michael Dixon
Located in Houston, TX
I believe I share with the majority of painters a tremendous love of the abstract stuff of the world that painting addresses: edges, planes, masses, forms, lines, passages, light and shadow. My inspiration for painting comes from direct observation of this “stuff.” The subject for a painting can be anything, but it helps to love the subject and to spend a lot of time with it. Even more important than the choice of subject is to find a relatively quiet, secure, solitary place to work.
I have always loved looking out of windows...
Category
Early 2000s Abstract Impressionist Michael Dixon Landscape Paintings
Materials
Oil
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Michael Dixon landscape paintings for sale on 1stDibs.
Find a wide variety of authentic Michael Dixon landscape paintings available for sale on 1stDibs. You can also browse by medium to find art by Michael Dixon in oil paint, paint and more. Much of the original work by this artist or collective was created during the 21st century and contemporary and is mostly associated with the abstract style. Not every interior allows for large Michael Dixon landscape paintings, so small editions measuring 20 inches across are available. Michael Dixon landscape paintings prices can differ depending upon medium, time period and other attributes. On 1stDibs, the price for these items starts at $1,440 and tops out at $1,500, while the average work can sell for $1,470.