Artist: Laddie John Dill

Title: Untitled

Type: Oil Paint , Cement, wash and monotype multiple on hand crafted paper

Signed and Dated Lower Right as well as on verso.

Dimension: Frame: 23" x 30

Provenance: L A County Museum of Art.
Dill's talent and ingenuity have combined to make him a highly regarded national and internationally known contemporary artist. Dill's list of exhibitions is pages long, with galleries and museums listed from such venues as Seoul, Paris, Nogoya, Japajn and Helsinki, Finland to New York, Kansas City, Seattle, and throughout Northern and Southern California. His work is owned by many private collectors and is included in the permanent collections of more than 25 museums. Even he admits to not knowing exactly how many exhibitions he has done since his first one-man show.
During the 1970's Dill also began experimenting with wall pieces using cement in contrast with the smooth surface of glass. Using natural pigments he incorporates, in his work, a wide range of colors from brick reds derived, from iron oxide, coal blacks from black sulphur, yellows and naturally mined cobalt blues. Combinations of these natural pigments create a variety of brilliant but still "organic" colors.

Dill considers his works, over the years, to be concentric rather than a linear chronology. "I never throw anything away," Dill says. "When I first went to New York in the early 70's, I lived with Jasper Johns for a few months. I noticed that he never threw anything away, image wise. He recycled images." Dill continues, "My studio always has a range of work from different times so when I'm working on new pieces, that information comes into play. The energy in the older pieces is very different than what I'm doing now, but I don't want to forget about that particular aspect of my work."

According to Dill, his current wall pieces are a combination of about "16 different processes, each process being fairly short. Carving cement has almost become second nature with me. I carve quickly so that the spontaneity of the gesture is there. There is a lot of energy in these pieces because of the immediacy and there is something magical going on in the ones that work."



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