Roz Dimon
Since the beginning
roz@rozdimon.com
Works in Shelter Island, New York United States of America

PORTFOLIO (6)
BIO
I could draw before I could talk. My kindergarten teacher called my parents and said, “Have you seen this child draw?" They had. It lumped onto one child of five and came not only from my father’s deft surgical hands but two grandmothers, both artists.

My drawings and paintings for many years now are created with a digital brush and canvas. I graduated from the Lamar Dodd School of Art from the University of Georgia and moved to New York City in 1981 where my early paintings increasingly filled with pixels as a response to our information age. I took one of the earliest courses in digital art in 1984 at The School of Visual Arts, which set me on a course that is continuing to this day. I cultivated these skills working as an Art Director at The Wall Street Journal Online and other corporations at the World Trade Center, while participating in some of the earliest international fine art exhibitions of digital art. Meanwhile, my work was acquired by corporate collections (AT&T). However my classical underpinnings are ever evident. It has always remained about painting, drawing and storytelling.

After 9/11, a period of deep spiritual introspection led me to explore classical iconography and apply it to the new media landscape. This resulted in the discovery of a new form of animated web painting and storytelling, a DIMONscape®; a single painting that is many paintings, combining infinitesimal layers of imagery and words.

One of these works has recently been acquired by the 9/11 Memorial Museum for their permanent collection and is also in the collection of the Metropolitan Museum of Art.
As I look back on my early oil paintings on canvas, I can see how the line work and color so clearly align with my recent digital works. They are of one accord, the same artist—one uses the tools of the past to honor a continuing legacy while the other looks to inform and imagine the future; to lead others into an understanding of where we are and how we are evolving . . .

I feel strongly that it is time for a new call, which while ancient must be realized anew, for artists to bring sense, meaning, and yes, hope, to the wondrous age we live in using the tools of our time to do so.
A southerner who calls New York home since 1981, my husband and I divide our time between Manhattan and Shelter Island.

Roz Dimon, 2013
Discussions (15) Opportunities (0) Events (2) Jobs (0)
DISCUSSION

DRAWING IN THE AGE OF INFORMATION


Philip - I couldn't have said it better myself... Roz

DISCUSSION

DRAWING IN THE AGE OF INFORMATION


Artists taking their own authority:
I want to add something here although it appears I'm now posting to myself... but it's important to clarify my previous post. When I say the patent-pending DIMONscapesTM are "free in virtual space, I mean "free to view" not "free to steal." Which is why I make it clear that this work is “patent-pending.” If any of you wish to collaborate with me on further developing these works, please feel free to send me a proposal. This is what usually leads to creative collaboration. Otherwise I respectfully ask that you honor my request. I do the same for other artists as faithfully as I know how - especially if this is their request. Please note that responsibility to and recognition of other artists is part and parcel of the DimonscapesTM invention itself, giving authority to the emerging lexicon of our visual information world, of which we artists are the progenitors.

Patenting a technique, not a single artwork or merely code
Patent law aims “to promote the progress of science and useful arts.” It also protects the single entrepreneur, although the larger conglomerates are winning some battles here recently in the arena of patent law as we have been in a very pro big-business era these past 8 years under the Bush administration. And yes I feel strongly that DIMONscapesTM have a very useful, underlying technique… as I stated before, that is what I am trying to patent, not the artwork or the code alone.

Sharing with artists/sharing with Coke
I may ask a nominal fee/recognition agreement or whatever of other individual artists. I am still formulating this. On the other hand, this is not an idea I want to give “free” to Coca-Cola. And if I do choose to share or teach this technique to a select atelier of artists, I would like to do so with my own authority and with some control as to that process.

The Present is not the Past
When you compare today’s world to that of Picasso or Seurat… they did not create their most innovative work in a medium both instantaneous and mass (as in McLuhan’s connotation of a one -to-all globally connected universe). Artists traditionally worked on their techniques either privately or in ateliers and showed/marketed their work to select venues before it became public knowledge.

Going forward:
Keeping one's own authority and technique in the world of the internet while being willing to share one's art with others brings up important issues that are unresolved in our new visual universe. I am still formulating a larger manifesto around all of this, but it’s turning into a novel, or an e-novel. I welcome you to join me in the ongoing discussion. I do ask that we treat one another with respect and civility as we continue the dialogue.

DISCUSSION

DRAWING IN THE AGE OF INFORMATION


I am thinking alot about all of this and will put up a more thought-out response to this shortly but want to get up a quick note to say (yes, before I go the dentist... still a real world event. Fun!) that as far as my intent: 1) I am not applying for a patent to sue other artists or prevent creative collaboration... and 2) yes I am applying for a patent because I see significant commercial application for this in the realm of business and advertising and 3) yes, I'm an artist that has to assist in paying the rent, which living in NYC is currently going out to the highest European investor and 3) I am concerned about issues of appropriation not only of my own work but other artists' work, especially in an Internet driven world where so many boundaries are being blurred (art/commerce, sharing/privacy, etc.) while co-existing simultaneously... much like the DIMONscapesTM themselves which are both on the wall and up for purchase while off the wall and free in virtual space; and, a creative process while simultaneously a technical one that can be applied outside of the artwork itself in another realm. I will write more later but as I did my morning headstand, I observed how strange and yet exciting the world looked upside-down. However, some laws still govern like gravity... familiar objects still stay on the floor to be maneuvered, but the landscape is completely different. This is the world we now inhabit. Little did I know when I started on an IBM with 4 colors in 1985... it is exciting and also painful. I enter this discussion with you as I am wrestling with many of the issues of which you speak... I suppose if I didn't want this discussion i would have put a password on all my DIMOnscapesTM, so yes, there's the conundrum but many co-existing views are true here...

DISCUSSION

DRAWING IN THE AGE OF INFORMATION


To Philip Galanter. I appreciate your open-mindedness:

"That intent being that society is best served by both rewarding inventors AND making the invention public for eventual free and general use."

as this approximates my intent.

Roz

DISCUSSION

DRAWING IN THE AGE OF INFORMATION


Eric... I hope you are being funny with your comment about appropriating image rollovers...

To Pall's point that no patent on a method or process is going to make a great work of art -- that's true but in response to your "all you can do is make your very best out of it and hope that the rest of the "artworld" thinks it's as good as you do.":

Yes, one can hope, but I would add that one's best work is never driven by what the artworld thinks, or the world for that matter.

Roz