Flower Type (Square) and Flower Type (Oval), both 2019, are drawings from a new and ongoing body of work.
A number of pieces from Regeneration (2006-2010), plus earlier works, including Camouflage Suite (2004), have been accessioned in 2019 to Yale Center for British Art.
The works are
gifts from the Driek and Michael Zirinsky Collection.
The silkscreen Camouflage II, Second State, 2004 (seen below), was included in the exhibition Kip Gresham: The Art of Collaboration, at the Heong Gallery, Cambridge. March - May 2019.
A fully illustrated catalogue is available: ISBN 978-1-911247-09-8
"Despite the documentary import of photography, these are not specimens that have emerged from the deepest oceans or furthest forests: they are creations from within the artist's mind realised through the transforming properties of light. Their creation shares a deeper metaphor with Anna Atkins' algae cyanotypes (….) A biometric realisation, in that art imitates the processes of life to create new forms."
Craig Hartley, 2016. (extract discussing Evidence of Doubt, from his catalogue essay for Realisation: recent works by Susan Aldworth and Jane Dixon) Published by The Fitzwilliam Museum, 2016.
"On a more universal scale, meanwhile, the body is what we must live within. As we're reminded by Jane Dixon's intensely worked Untitled (Torso Diptych) 1997 - a near abstract study in bulging flesh - the body is the imperfect frame wherein consciousness pulses (…)."
Martin Herbert, 2016 (extract from his essay in Drawn from Life: People on Paper.) Hayward Publishing, 2016.
At the heart of Jane Dixon's work is a complex creative process that, perhaps uniquely, inverts the usual hierarchy, in that here a painting is made solely to play a part in the creation of a drawing (…) The resulting drawings are (…) thought provoking works of art, which carry a considerable burden of symbolism.
Susan Owens, 2013 (extract from The Art of Drawing: British Masters and Methods since 1600. V&A publishing)
"For me, the most affecting drawings are those which are peculiar and lucid (....) In this selection one finds such distinct 'handwriting': the very built up coloured dots and clear script in Alison Turnbull's chart, the muted drifts within passges by David Musgrave, Don Brown, Emma McNally, George Shaw, Jane Dixon or Alison Wilding, all of whom think with shading, razor cuts, frottage, transparencies and employ techniques that deliberately lose their eloquence in reproduction."
Catherine Lampert, 2009 (extract from the catalogue essay for In Between the Lines: Recent British Drawings, Trinity Contemporary, London.)
"What interests me is that you are able to produce
images that appear calm out of such intensity or violence, yet that remain
threatening. It is that sense of vulnerability combined with a troubling
vitality that is fascinatng because so fragile, as if you have caught a
moment of tension or poise between two such opposing states."
Simon Groom in conversation with Jane Dixon for the catalogue
to accompany the exhibition 'Solid Sate: reflections upon the real' which
she exhibited in and curated for Kettles' Yard, Cambridge in 2001.
"Her work is about vulnerability. It is about the human
body, although the body is almost never present. It adresses the fears
and sensations that the body engenders and arouses. Her paintings map
the extent of our fragility and articulate the sensation of containment
within fallible, organic, imperfect bodies. They speak eloquently of
simple but important truths: of our need to hide our failings, to protect
our weakness: they negotiate fundamental human paranoias - medical invasion,
decrepitude, the threat of violence - and our fear of what is inevitable."
Ben Tufnell, curator at Tate Britain (taken from Under
False Colours, 2004)
Catalogues and publications available:
Realisation. Recent Works by Susan Aldworth and Jane Dixon. Catalogue by curator Craig Hartley to accompany the exhibition at The Fitzwilliam Museum. Published by The Fitzwilliam Museum, 2016. ISBN: 978-1-910731-05-5
Drawn from Life: People on Paper. Hayward Publishing, 2016. ISBN: 978-1-85332-342-3
Apparitions:Frottages and Rubbings from 1860 to Now. By Allegra Pesenti, to accompany the exhibition at The Hammer Museum, Los Angeles and The Menil Collection, Houston. Published 2015, Distributed by Yale University Press, ISBN: 978-0-300-21469-7
Drawn to the Real, catalogue to accompany the exhibition. Published by and
available from Alan Cristea Gallery, London. www.alancristea.com
The Art of Drawing: British Masters and Methods since 1600, by Susan Owens. Published by V&A Publishing, 2013. This book considers the distinctive characteristics of British drawing's masters and methods, from Medieval draughtsmanship to contemporary practice, examples are taken from the V&A collections.
Out of Rubble, by Susanne Slavick. Published by CHARTA in 2011, A survey of international artists including Julie Mehretu, Simon Norfolk, Cornelia Parker, Anselm Kiefer, Liu Bolin, Xu Bing and Wafaa Bilal, all of whom react to the wake of war in their work. The book includes two works from Regeneration - Tokyo 2, 2008 and Regeneration III (Yokohama) 2006. ISBN 978-88-8158-810-7
Regeneration - an illustrated programme for the exhibition of works on paper which took place in January/February 2008 is available from Tokyo Gallery +BTAP. Contact via firstname.lastname@example.org or www.tokyo-gallery.com
A fully illustrated catalogue for In Between the Lines: Recent British Drawings is available to download from
www.trinitycontemporary.com or contact the gallery.
Under False Colours Published by Djanogly
Art Gallery, Nottingham, with essay by Ben Tufnell,
text is in both English and Japanese. ISBN 1 900809 21 4
Parallel Objects Published by Kettle's
Yard, Castle Street, Cambridge CB3 OAQ
ISBN 0 907074 83 9
Solid State Published by Kettle's
Yard, Telephone - 01223 352124
ISBN 0 907074 89 8