Roz Dimon
Since the beginning
Works in Shelter Island, New York United States of America

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
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Paul. Re: Holy Moly!That gave me a chuckle... haven't heard that one in a long time... I thought I was the only artist who said corny stuff like that - I’m not being glib here. (You won't usually find me quoting Baudrillard, although I must say I found Ross Barber’s commentary on his latest piece here on Rhizome’s artbase, Getting over Baudrillard 2007 white noise, wonderfully thoughtful while sweet and very funny.)

However back to this - I don't see what's counter-intuitive about trying to patent a creative process. I am not going to try to explain here exactly what it is I'm patenting, because yes it is "patent-pending" and my lawyer would not advise it. It certainly isn’t a light undertaking on my part and is the first time I’ve ever considered such a step in 23+ years of working in digital media. I certainly wouldn't undertake such an effort which is time-consuming and expensive, if I didn't think I was doing something unique, but suffice it to say that I do see this creative process, or idea, as inclusive of but much more than "javascript-based image-swap."

I am all for sharing creative ideas, but I do want to have some ownership and recognition for this particular creative process. I also feel very strongly about crediting other people’s creative ideas as well. One thing I love most about the DimonscapesTM is that every idea or appropriated image is foot-noted. (much like a novel which brings resonance to the written word by citing and quoting all.) The DIMONscapeTM format brings credibility to all imagery loaded on the digital brush/palette I’m using. Every image I use/edit is either purchased by me or used only with the permission of the artist who created it, whom I always credit in the footnotes if they desire, and with a link to their site if they wish.

On the commerce side, I have always rubbed up close to the commercial world and while I make fun of it (in Pale Male: A Pilgrimage, where I pit Jesus against Nike, or in Washington Pig, where the dollar bill goes explosively beserk), I think artists should be paid and recognized and feel that we only ghettoize ourselves when we pit terms like “fine” and “commercial” against one another. I do not feel an artist is “selling out” when they make money; on the other hand, no amount of money thrown at a work of art will ever make it great. (witness the current art market frenzy… it’s not about art, although some good work is there. I’m personally for resurrecting rules of the academy so we can break them again… no avant-garde is possible without rules to be broken which is one reason I feel that art as publicly perceived is currently caught in a boring morass of “everything goes”, which isn’t to say there isn’t some great art being done, but that’s another discussion…)

An artwork that is commercially viable, accessible but which transcends commerce and product… there’s the ticket. Well, I’m rambling a bit here but I’m all for dialog on these issues. And yes, per your point, the outcome is unknown! I have no idea if I’ll get a patent on this process but I’m going to try.



Sat Feb 16, 2008 00:00 - Mon Jan 07, 2008

An invitation to Rhizome members and friends:

February 16th - March 28th, 2008
Hosted by Applied Arts, School Of Visual Arts
ARTIST: Roz Dimon

OPENING RECEPTION: February 16, 4:00-8:00PM (6PM demo by Roz drawing with Wacom)
EXHIBITION: 10 limited edition pigment prints of drawings created working live from a nude model

5 Free Training Demos:
Feb. 18th & 25th 6:00-6:30 (Mon., part of the 6-9PM open studio figure drawing)
Feb. 28th & Mar. 20th 5-6PM (Thurs.)
March 8th, 11AM-12noon (Sat.)

What’s unique about these drawings? Surrounded by other artists using traditional media (charcoal, pen and ink) drawing from a live model, Roz Dimon sketches, honing her skills. The only difference is she plugs her backlit canvas into the wall and draws with a pressure-sensitized digital pen and tablet designed by Wacom Technology. Her unique style is captured perfectly as she applies her stylus to a plane in space. The tools she uses are of today but point towards the future, and give her work an exciting edge. At the same time, it’s still all about her hand, her touch, her vision.

What’s exciting about this exhibition? Dimon’s drawings connect us with the past, the classical roots of drawing and painting, and they explore the future. In a larger scope, this show comes at a time when the field of digital art is reaching a new level of maturation in both artistry and technology; alongside a growing public’s ability to understand and appreciate it. It also seems fitting that a show such as this originates in Long Island, a region teeming with artistic energy and American art history.

“I am beginning to do some of my best work here. I work with a different kind of light than the American Impressionists or the Abstract Expressionists… however, there is an undeniable creative force at work here on the East End where moraine meets sky and artists gather.” Roz Dimon

This exhibition and educational venue is made possible by a collaboration between:

Wacom Technology, providing funding and equipment for demonstration, including several Wacom tablets as well as the Cintiq, a state-of-the-art interactive tablet
Roz Dimon, an ongoing innovator in the realm of digital painting and drawing who has 8 pieces in the collection of AT&T among others. She has been featured in Forbes magazine alongside David Hockney and has had numerous shows both nationally and abroad. Dimon curated a major show of digital art, “code,” for Ricco/Maresca Gallery in NYC which drew a crowd of over 300 on opening night and was covered by all 3 National Television Networks, Prix-Ars Electronica and CNET online.

Roz will discuss her work and demonstrate drawing with the Wacom throughout the exhibition.

Please join APPLIED ARTS in bringing this exhibit to a wider audience.

Call 631-267-ARTS (2787) for more information.

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