Dazed Digital


The Art of Nana Dix

May 16, 2012

The granddaughter of the legendary artist Otto Dix succeeds with her own incomparable style

  • Text by Christine Bierhals

A famous family name can make your life easy. But it can be also annoying. That’s why the Munich artist Nana Dix tried to obliberate the traces that lead to her grandfather. She tried to work with an assumed name, but people realised again and again that she’s the granddaughter of the famous German artist Otto Dix. She has an innate compulsion for painting, colours and forms, going on to study Industrial Design as well as Art History in Munich.

In 2008 Nana Dix amazed the public in New York with an exhibition of multilayered collages that she painted over. The raw material she used for her collages were snippets of lifestyle and fashion magazines. These works revealed a cynical view behind the façade of a present, dominated by materialism. By painting over the high gloss photography with lucent shellac the artist emphasises the suggestive and glamorous character of these images but simultaneously unveils the hollow promise which lurks behind the pretty surface.

Today the Munich based artist succeeds by her own style, her progressiv collages and colourful paitings she just exhibited in the solo exhibition, "Colour Me Beautiful" at the gallery Andreas Grimm.

Satellite Voices: What was the first creative thing you ever made?
Nana Dix: A large scale wall drawing when I was five-years-old.

SV: How do you describe your artwork?
Nana Dix: My work moves between the poles of human existence, between rest and unrest, betweeen gentleness and aggression, eros and thantos.

SV: What project were you working on at the moment?
Nana Dix:
On a group show at the artist association Dachau called "Perma-Antifun" and on the third anniversary exhibition at Platform 3, a large loft with individual artist studios, where I’m working, too.

SV: What’s your dream project?
Nana Dix:
The bienale of Venice

SV: Where do you get inspired?
Nana Dix:
I do not really need external inspiration. The ideas for my work are rather emotional and can be seen as an attack against monotonous confirmity.

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