Meet the Art Contributors for Issue 33

Our editors are hard at work building Issue 33 of Superstition Review, which will launch May 1. This issue features art from six award-winning artists: Dixie Salazar, Kathy Peterson, Slav Nedev, Kelly D Villalba, Rodney Rigby, and Nam Hoang Tran.

Dixie Salazar is an artist and writer who has shown her work extensively in the Central Valley of California also in San Francisco, Merced, Las Vegas, Oregon, and New York. She has had numerous one-person shows in Fresno, and also Merced, Turlock, and Monterey. A major show at Arte Americas in Fresno in 2006 explored Mayan symbolism in her painted collages. Dixie shows throughout California. Her latest one-person show took place at the Fig Tree Gallery in Fresno, CA. in 2021. Dixie has a studio/gallery at 654 Van Ness in downtown Fresno. She also is a published poet with seven books of poetry, the latest from Stephen F. Austin University Press called “Crosshairs of the Ordinary World” in 2023. She has also published two novels. In 2023, Dixie received a California Arts council Fellowship for her artwork.

Kathy (K. Alma) Peterson is a painter and poet. Her paintings are abstract mixed media. She has a Studio Arts minor BA from the University of Minnesota. Her MFA in Poetry is from the MFA Program for Writers at Warren Wilson College. She has published two books of poetry with Blaze Vox Books. She lives in Florida.

Slav Nedev is a freelance artist born in 1967 in Sofia, Bulgaria, where he lives and works. Through his body of work, he explores a wide range of styles and media, including painting, digital art, objects, sculptures, and installations. His latest projects examine the interplay between the inner and outer world and those eternal principles that, even if intangible, make the phenomena as we know them. Slav is currently curating a group show set to open in November 2024 and working on two solo shows scheduled for 2025.

Kelly D Villalba is a visual artist based in Los Angeles, California. In her art practice, she creates unique sculptural artworks to reimagine the idea of the traditional coiled basket. Kelly uses fiber and found material to create funky forms emphasized by contrasting colors and vivid patterns. Through her use of coiling, a weaving technique originated by Black and Indigenous artisans, she creates imaginative soft sculptures for a contemporary audience.

Rodney Rigby is the Author/Illustrator of several children’s books, all published by Hyperion, New York. He also Illustrated Paul Muldoon’s The Last Thesaurus. His Art has been shown in the US, UK and Europe. For the past year Rodney has been Artist in Residence at his local library in Liverpool. Helping make art more accessible to adults and children alike. 

Nam Hoang Tran is a multidisciplinary artist based in Orlando, FL. His work appears or is forthcoming in Posit, The Brooklyn Review, ANMLY, New Delta Review, Tagvverk, Always Crashing, and Diode, among others. With Henry Goldkamp, he co-edits TILT – a journal of intermedia poetics.

Guest Post, Dixie Salazar: Dippity Don’t

Dixie Salazar picture

        “Imagination is More Important than Knowledge”   Albert Einstein

Growing up, I always felt different. Of course I struggled with this, trying desperately to fit in, reading in the dark, trying to strain my eyes so I might need glasses because one of the “popular girls” wore them and I thought they would give me access to her status. When the surfer girl look came along, I was again, out of sync, with a mass of kinky/curly hair that only went straight when I set it on huge orange juice cans slathered with Dippity Do, even attempting to sleep on this torture contraption, so I’d be acceptably straightened for school the next day, only to have my smooth cap of hair spring back into a froth of frizz as soon as the morning fog hit. Next came ironing—my hair, that is. I wanted that parted in the middle, straight down the sides Cher look, with a long, silky rope of hair that swung down to my waist. But I gave this up after singeing the side of my face, not the in look I was going for.

I’ve now made peace with my hair; in fact, I celebrate my hair, along with all the other differences that plagued me growing up. It turns out they are all the best things about me and they help me to appreciate and participate in the arts. So here’s my rant against uniformity, and I don’t think it’s overstating the fact to say that uniformity is a danger facing our entire country. Just look at the current state of national politics.

 

Rant #1 Uniforms: Parents and teachers love them, but aren’t they the first step toward cookie cutter soldiers, mass-produced to join the ranks of the corporate/military assembly line? I don’t know how I would have made it through school or my first mind-numbing job without the crutch of daydreaming my next day’s wardrobe. I loved putting together unique colors and styles and being creative with fashion. I still do. And unlike teenagers and gang bangers, I don’t want to look like everyone else.

Rant #2 Paint Nights: Where everyone pays a fee to put on a smock and follow a stroke by stroke demo from a so called artist, to supposedly unlock their hidden talents. And they each go home with an almost exact replica of the leader’s painting, and they are all the same and they are all happy and brag the next day about discovering the artist lying dormant within them for so long. Please! All they unlocked was the hidden copyist lurking inside. This is just wrong…on so many levels it would take several more blog posts and a lot more ranting to deconstruct.

Rant #3 MFA poetry products: O.K. This one may make me unpopular, but I can’t be the only one who feels this way. I’m talking about MFA produced/work-shopped poetry.  I swear that it has a smell (not fragrant). Three lines into reading one of these poems, my nose is twitching and my eyes begin to glaze over. It’s obvious the writer has mastered quite well the template for pleasing his/her professors. Granted, there may be imagination at work at times and even adept writing, but it remains static within the normalizing template. They were very smart, industrious students and they’ll become smart, industrious teachers and editors who’ll direct the next generation down the same rutted path of boring mediocrity. And we now have a tautology, a closed self-perpetuating system as well as a love fest. The students give their professors glowing evaluations so they can keep their jobs and the professors in return give the students glowing recommendations so they too can get jobs and …and they publish each other and read to and applaud each other. And most people who don’t understand (read) poetry accept it and go away reinforced in the fear that they just don’t get it.

 

Granted, the hot mess that is current politics won’t be easily solved by eliminating uniforms, paint nights, and MFA poetry, but unless we change our intrinsic value system and promote creative individualism and critical thinking over the mass consumption of acceptable, locked in place ideas, we are doomed to be ruled by those who would have us all look, think, talk, dress, act and vote alike.

One of the side effects of creativity is empathy. It’s impossible to relate to someone who is different from you if you can’t begin to imagine their situation or their plight as one you might experience yourself. Nurturing imagination in children is a crucial step toward creating a world where we value differentness and otherness. Walt Whitman said, “I do not ask the wounded person how he feels, I become the wounded person.”

And finally, in the words of Alice Walker, “This is a wonderful planet and it is being destroyed by people who have too much money and power and no empathy.” I would just add that it’s being destroyed by people who have no imagination.