Charles Dickson was born in Los Angeles in 1947. He has lived and works in Compton, is an Artist in Residence at the Watts Towers Art Center and has been an important figure in the Black L.A. art scene for decades. His intricate carvings in wood and metal reflect the African diaspora through direct references to traditional motifs, languages and styles of well documented African ritual objects and languages, including Ghanaian Adinkra symbols. His many public artworks include the Dr. Martin Luther King, Jr. memorial in Watts, Wishing on a Star at the California African American Museum, Spirit Tree at the Watts Towers Art Center, Divine Order: The Manifestation of the Soaring Spirit for the Metro C (Green) Line Mariposa Station (El Segundo) and The Beacon at Crenshaw Plaza. As well as a series of award winning medals and sculptures commissioned by Charles R. Drew University of Medicine and Science. Over the course of his career, Charles has taught both formally (including at Otis College of Art and Design) and informally and has participated in more than one hundred exhibitions, including shows at the National Black Arts Festival, Los Angeles, Contemporary Exhibitions, California African American Museum, Japanese American National Museum, Los Angeles Arboretum, Korean Cultural Center and Watts Towers Art Center.
Charles Dixon discussed his early fascination with carving, influenced by his mother 's shopping trips and father 's cake decorating. He discovered art in junior high and was inspired by his father 's creativity. Dixon's work evolved into public art, with notable projects like Destination Crenshaw, where he leveraged his expertise in materials and collaboration. He emphasized the importance of representing Black women in art. Dixon's trip to Senegal sparked new techniques in his photo alchemy process. He plans to continue his women's series and explore textiles. Dixon aims to leave a legacy of hard work, creativity, and community impact. Here is an Indie Incognito magazine exclusive. One on one with Charles Dickson. A conversation with our special correspondent Estella Holeman, aka, Stella the Poet. So Mr. Dixon, can you tell us about the young Charles Dixon? Th e you n g Ch ar les Dixon ? Well, I cou ld t ell t h e st or y w h en I w as f ive an d exposed t o a n eigh bor w it h a pen k n if e car vin g an ot h er k n if e, k in d of lik e a k in d of lik e t h e sh ape of Alibaba, k in d of sw or d. In an y case, I becam e f ascin at ed w it h t h at pr ocess an d w h at cou ld be sh aped f r om it . An d t h en I becam e in t r igu ed w it h all k in ds of m at er ials, k n ow in g t h at w it h m u d, w it h a con cr et e, you cou ld do som e sh apin g. Th at a br ick cou ld be sh aped in t o an ot h er f or m . I t r ied t est in g ou t all k in ds of t h in gs. What influence did your upbringing have on your career path? M y m ot h er w as a gr eat in f lu en ce. Becau se I w as ver y ill at t h e t im e, I h ad t o go in t o Hollyw ood t o Ch ildr en's Hospit al. An d ou r jou r n ey led u s f r om Ch ildr en's Hospit al t o dow n t ow n , an d sh e w ou ld go sh oppin g at Bu llock s f or f u r n it u r e, t h e sh oes, t h e per f u m e, t h e h at s t o w h at ever .
