Galleries
- Jamie Blackburn
- Betty Foy Botts
- Emily Brown
- Brown Cannon III
- Susan Colwell
- J.K. Crum
- John Duckworth
- Philip Durst
- Erin McPherson
- Eva Magill-Oliver
- Elizabeth Foster
- Chris Fulp
- Josh Brown
- Karen Keene Day
- Kim Keats
- Alicia Leeke
- Debbie Martin
- Hirona Matsuda
- Timothy Pakron
- Steve Palmer
- Tom Potocki
- Dixie Purvis
- Celia Rochford
- Mike Ryon
- Lisa Shimko
- Ed Shmunes
- Sebastian Smith
- Stephen St. Claire
- Jim Victor
- Marissa Vogl
- Stephen Elliott Webb
- Trever Webster
Dixie Purvis | bio [+]
These drawn paintings and painted drawings are a relational, emotional interpretation of personal history. Incorporating painting and drawing in each piece creates a push pull tension. The work is personal but not exclusive.
Shapes move in from the edges or out from the center but the line and shape always break the margins creating a sense of a larger experience. Overlapping shapes, shapes that push against each other, and shapes that merge and emerge remind the viewer of the complexity and influence of personal relationships.
The colors set the mood. The emotional content of the painting is expressed with color.
Drawn, scraped, scratched and painted, the line leads the viewer. The line may be subtle, embedded or hidden, reflecting a distant memory. The line is more often active, bold and physical. The lineā¦. fractured, intersecting, and spontaneous echoes time, movement and the accidental nature of the human experience. The paintings invite the viewer to be lead by the force of the line as it moves through each piece acknowledging that much of our own history is defined by relationships and formed by events and experiences beyond our control.