BIO
Roz Dimon, aka “rozolution”
We're in a new age - the "Gutenberg press" of imagery according to "rozolution" who traded in her oil paints for an IBM with 4 colors as early as 1984. Now she loads her Wacom brush with millions of colors, photos, text, even video -- on a Mac canvas that holds thousands of layers of information that is "flatter-than-flat."
As she says, "it's downright spiritual."
An early and innovative participant in the digital art underground, Roz's work has been shown from New York City to Japan, although the art landscape is changing rapidly and as she puts it "the new palette is Photoshop and the new gallery is the web."
Roz has spoken on NPR about the ongoing digital revolution, curated a blockbuster digital exhibition "code" for Ricco Maresca Gallery (1995) and most recently had a work "Pale Male: A Pilgrimage," purchased by Walter Liedtke, (2009) a curator at the Metropolitan Museum of Art.
Increasingly for Roz, the material intersects the spiritual intersects the digital. When people want to know more about her work, she invites them to http://artstory.net and http://dimonscapes.com, and beyond that, to her studio in Shelter Island, New York, where the story is excitingly visible, from early days of oil-on-canvas to her latest interactive creations.
A graduate of the Lamar Dodd School of Art*, New York City has been home since 1981. She and her husband, James Dawson, an expert in Information Technology, also live in Shelter Island, New York.
We're in a new age - the "Gutenberg press" of imagery according to "rozolution" who traded in her oil paints for an IBM with 4 colors as early as 1984. Now she loads her Wacom brush with millions of colors, photos, text, even video -- on a Mac canvas that holds thousands of layers of information that is "flatter-than-flat."
As she says, "it's downright spiritual."
An early and innovative participant in the digital art underground, Roz's work has been shown from New York City to Japan, although the art landscape is changing rapidly and as she puts it "the new palette is Photoshop and the new gallery is the web."
Roz has spoken on NPR about the ongoing digital revolution, curated a blockbuster digital exhibition "code" for Ricco Maresca Gallery (1995) and most recently had a work "Pale Male: A Pilgrimage," purchased by Walter Liedtke, (2009) a curator at the Metropolitan Museum of Art.
Increasingly for Roz, the material intersects the spiritual intersects the digital. When people want to know more about her work, she invites them to http://artstory.net and http://dimonscapes.com, and beyond that, to her studio in Shelter Island, New York, where the story is excitingly visible, from early days of oil-on-canvas to her latest interactive creations.
A graduate of the Lamar Dodd School of Art*, New York City has been home since 1981. She and her husband, James Dawson, an expert in Information Technology, also live in Shelter Island, New York.
DRAWING IN THE AGE OF INFORMATION
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.
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.
DRAWING IN THE AGE OF INFORMATION
Dates:
Sat Feb 16, 2008 00:00 - Mon Jan 07, 2008
An invitation to Rhizome members and friends:
DRAWING IN THE AGE OF INFORMATION
February 16th - March 28th, 2008
Hosted by Applied Arts, School Of Visual Arts
ARTIST: Roz Dimon
CORPORATE SPONSOR: Wacom Technology
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
and
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.
Visit us on the web at www.appliedartsschool.com
DRAWING IN THE AGE OF INFORMATION
February 16th - March 28th, 2008
Hosted by Applied Arts, School Of Visual Arts
ARTIST: Roz Dimon
CORPORATE SPONSOR: Wacom Technology
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
and
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.
Visit us on the web at www.appliedartsschool.com
