Amy Dixon
Biography
Artist Statement
Africa
Europe
The Americas
The Mediterranean
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Nok Seated Dignitary, Earthenware, Original: 92.1 x 27.6 x 35.6 cm., Africa, 250 BCE
Nok pieces, made in a location near the Jos Plateau region of Nigeria, were executed subtractively, a comparable manner to wood carving, which is suggested to have influenced them. The heads of Nok terra cottas are proportionally large relative to the bodies, and while not enough is known of Nok culture to explain this apparent imbalance, it is interesting to note that a similar emphasis of the head in later African art traditions often signifies respect for intelligence.
Nok Seated Dignitary, Earthenware, Original: 92.1 x 27.6 x 35.6 cm., Africa, 250 BCE
Nok pieces, made in a location near the Jos Plateau region of Nigeria, were executed subtractively, a comparable manner to wood carving, which is suggested to have influenced them. The heads of Nok terra cottas are proportionally large relative to the bodies, and while not enough is known of Nok culture to explain this apparent imbalance, it is interesting to note that a similar emphasis of the head in later African art traditions often signifies respect for intelligence.
Nok Seated Dignitary, Earthenware, Original: 92.1 x 27.6 x 35.6 cm., Africa, 250 BCE
Nok pieces, made in a location near the Jos Plateau region of Nigeria, were executed subtractively, a comparable manner to wood carving, which is suggested to have influenced them. The heads of Nok terra cottas are proportionally large relative to the bodies, and while not enough is known of Nok culture to explain this apparent imbalance, it is interesting to note that a similar emphasis of the head in later African art traditions often signifies respect for intelligence.
Plank Figurine, Red Earthenware with Red Sigillata and Sgraffito Decoration, Original:30 x 14 cm., Cyprus, Early Bronze Age, 2500 BCE
Many hundreds of plank-shaped figurines were made by the people of Cyprus during the Bronze Age. They have been found mainly in gravesites. The planks were hand-built and often had geometric shapes and patterns carved into the surface. Although small solid female figurines were made by most Neolithic and Bronze Age cultures, the flat, geometric shape of these figurines from Cyprus is unique.
Plank Figurine, Red Earthenware with Red Sigillata and Sgraffito Decoration, Original:30 x 14 cm., Cyprus, Early Bronze Age, 2500 BCE
Many hundreds of plank-shaped figurines were made by the people of Cyprus during the Bronze Age. They have been found mainly in gravesites. The planks were hand-built and often had geometric shapes and patterns carved into the surface. Although small solid female figurines were made by most Neolithic and Bronze Age cultures, the flat, geometric shape of these figurines from Cyprus is unique.
Platter, Earthenware, 52.1 x 39.4 cm., France, School of Bernard Palissy1, 510-1589 CE
Palissy was a natural scientist during the time of the scientific revolution where fascination with the natural world was expanding. He made casts of actual specimens of local plant and sea life which he used to reproduce those forms in clay. The style of pottery developed by Pallisy became known as “Rustic Pottery”. This oval dish is in the shape of a pond surrounded by plant life. Perched on the plate are fish, frogs, a twisting snake, a lizard, crayfish, and a variety of shellfish. Pallisy pottery developed a cult following in the 19th century in England, France and Portugal, where copies and ware made in the style of Pallisy proliferated.
Platter, Earthenware, 52.1 x 39.4 cm., France, School of Bernard Palissy, 1510-1589 CE
Palissy was a natural scientist during the time of the scientific revolution where fascination with the natural world was expanding. He made casts of actual specimens of local plant and sea life which he used to reproduce those forms in clay. The style of pottery developed by Pallisy became known as “Rustic Pottery”. This oval dish is in the shape of a pond surrounded by plant life. Perched on the plate are fish, frogs, a twisting snake, a lizard, crayfish, and a variety of shellfish. Pallisy pottery developed a cult following in the 19th century in England, France and Portugal, where copies and ware made in the style of Pallisy proliferated.
Platter, Earthenware, 52.1 x 39.4 cm., France, School of Bernard Palissy, 1510-1589 CE
Palissy was a natural scientist during the time of the scientific revolution where fascination with the natural world was expanding. He made casts of actual specimens of local plant and sea life which he used to reproduce those forms in clay. The style of pottery developed by Pallisy became known as “Rustic Pottery”. This oval dish is in the shape of a pond surrounded by plant life. Perched on the plate are fish, frogs, a twisting snake, a lizard, crayfish, and a variety of shellfish. Pallisy pottery developed a cult following in the 19th century in England, France and Portugal, where copies and ware made in the style of Pallisy proliferated.
Roman Double Headed Jug, Red Earthenware with Red Sigillata, Original: 35.6 x 20.3 cm., North Africa, 200 CE
While both glass and metal were popular in the Roman culture, the production of ceramics was less important. Most poman ware was mass produced, and often made wholly or partially in molds. The surface of the ware throughout the Roman Empire was coated in a finely levigated, iron rich slip called Terra Sigellata, or “sealed earth”. There were many jugs found that were depictions of human heads and this particular jug could have been used for water, beer, or wine.
Roman Double Headed Jug, Red Earthenware with Red Sigillata, Original: 35.6 x 20.3 cm., North Africa, 200 CE
While both glass and metal were popular in the Roman culture, the production of ceramics was less important. Most poman ware was mass produced, and often made wholly or partially in molds. The surface of the ware throughout the Roman Empire was coated in a finely levigated, iron rich slip called Terra Sigellata, or “sealed earth”. There were many jugs found that were depictions of human heads and this particular jug could have been used for water, beer, or wine.
Globular Double Spouted Vessel Depicting Lizards, Earthenware, Original: 16.5 x 29.7 cm., Nazca Culture, Peru, 100-200 CE
Many Nazca pots were found in cemeteries along the banks of the river. These pots were often zoomorphic, anthropomorphic, or depicted everyday life, animals, plants, birds, gods, or stylized creatures. The lizards on this pot were considered to be a sign of coming of rain or a symbol of moisture.
Globular Double Spouted Vessel Depicting Lizards, Earthenware, Original: 16.5 x 29.7 cm., Nazca Culture, Peru, 100-200 CE
Many Nazca pots were found in cemeteries along the banks of the river. These pots were often zoomorphic, anthropomorphic, or depicted everyday life, animals, plants, birds, gods, or stylized creatures. The lizards on this pot were considered to be a sign of coming of rain or a symbol of moisture.
Cycladic Standing Female Figure, 62.9 cm. h., Greece, Cycladic Islands, 2600–2400 BCE
This early Cycladic sculpture is of the Spedos variety, which were frequently placed in grave sites. Typically, the head tilts back, the knees are flexed, the toes slant downward, and the arms are folded beneath the chest. The size and style of Cycladic figurines varies greatly, but their common features of crossed arms and lack of mouth and eyes are said to depict death.Cycladic figurines were made of carved stone. I have reproduced this one in Earthenware.
Minoan Krater, Earthenware, Original: 68.6 x 63.5 cm., Crete, 1800 BCE
The krater was used as a wine-mixing vessel. This example is from the old palace period at Phaistos of the Minoan Civilization on the island of Crete. Curvilinear lines, checkerboards, and banding were often used in the decoration of pieces from this time. Minoan ceramics are characterized by their exuberance, of which this is a particularly good example.
Minoan Krater, Earthenware, Original: 68.6 x 63.5 cm., Crete, 1800 BCE
The krater was used as a wine-mixing vessel. This example is from the old palace period at Phaistos of the Minoan Civilization on the island of Crete. Curvilinear lines, checkerboards, and banding were often used in the decoration of pieces from this time. Minoan ceramics are characterized by their exuberance, of which this is a particularly good example.
Nigerian Beer Jug / Cooking Vessel, Earthenware, Africa, 20th c.?
This particular vessel was discovered with the top broken off. The missing part could have been another smaller vessel or perhaps the depiction of an animal such as a goat or a giraffe. The vessel was intended for only men to cook with, though this form was often also used for beer.
Nigerian Beer Jug / Cooking Vessel, Earthenware, Africa, 20th Century?
This particular vessel was discovered with the top broken off. The missing part could have been another smaller vessel or perhaps the depiction of an animal such as a goat or a giraffe. The vessel was intended for only men to cook with, though this form was often also used for beer.
Amy began her Fine Arts degree at the University of Regina in Regina, Saskatchewan. Shortly there-after she transfered to the University of Alberta in Edmonton, Alberta to study West African and East Indian Music for 2 years. In 2005 Amy moved to Toronto where she received 2 diplomas, graduating top of her class in Makeup Artistry / Special Effects and Animatronics at Complections International. After working at the Banff Centre as a Makeup and Wigs technician she transfered to the Nova Scotia College of Art and Design in order to complete her BFA. Amy is fascinated by the immeasurable instruments of cultural definition through the medias of music, theatre, film, sculpture, and ceramics.
I found the historical exploration in this workshop to be compelling as it is one thing to visually disect a two-dimensional image, but it is another to engage in and interconnect with the art of making and creating a piece. As we researched the processes used and materials in which the piece was originally made, it increased my appreciation for the procedures, techniques, and design that existed during times which lacked the technilogical sophistication of today. Through the pieces made, we were able to transend time, space, and cultural boundaries in exploration of the multiplicity of methods used in approaching the one extraordinarily diverse artform of ceramics.
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