Allie Regan Dickerson

Allie spent three years in studio art at Stony Brook University, New York at their Fine Arts Center. She later went on to earn a BFA in graphic design from the University of Texas at Arlington. In 2014 she completed her MFA at TCU. A native of New York, she currently works as an artist and creative director in Dallas,Texas. Her creative process is sparked by an idea that resonates. Through exploration, a visual, symbolic language emerges through various media made of different elements. The current series, Collateral Beauty, was conceptualized while taking long walks in nature to heal a loss. She began observing plant life and how it is “built.” She realized that in nature, as in life, loss or damage often unveils the beauty that was always there. Clay seemed a natural way to build this newest body of work. These “clay paintings ”—which blur the line between sculpture and painting— explore themes such as; repetition and discontinuation, brokenness and renewal, beauty and loss of beauty, separate versus connected, fragility and strength. At times, things break, are created by happenstance or...are what they should be. Each piece is intuitively adhered one at a time to a board until the work feels compete. The repetition of shapes takes the work from the simple to the complex. The clay is timed to burn to achieve various shades from white to black. When finished each intricate clay painting morphs, impacted by light and space, and becomes what it will in response to its ever-changing environmentand the viewer’s eye. Allie has participated in many notable exhibitions including; the Chelsea International Fine Art Competition, the Agora Gallery, New York; the Hunting Art Prize,  Houston, Texas; the Small Works Show, National Association of Women Artists, New York; the Annual Long Island Artists 32nd Juried Exhibition, the Heckscher Museum of Art, New York and an award winner in the Pastel Society of the Southwest Juried Competition. She has also been published in the nationally, critically acclaimed periodical, New American Paintings, Issue #108.