Dijon Dajee's work is a blend between art and philosophy attempting to bridge the gap between practise and theory. He regularly displayed at Lights of Soho in Brewer street and has been exhibited at the Royal College of Art, Central St. Martins, and has had international success with several exhibitions in Ibiza, Marbella and Los Angeles (LAB art). His work is included in the private collection of the Earl of Leicester.
In addition to his artistic practise he is also a Production Designer for AH Design, Artistic Director for Silver Odyssey Productions and Creative Director for butterfly life app, a new social media app being released very soon.
The works he is best known for are his delicate paper and LED light installations that depict natural patterns and astronomical imagery. Combining imagery from the microcosmic and macrocosmic perspectives of the universe, his work attempts to depict the world at the very limits of the human perception. The paper surface, Dijon sees as a metaphor for the "skin" of the canvas, both establishing a boundary as well as allowing depth behind which beauty can be hidden.
His newest works take their inspiration from the 'action' painting movement. His technique is to firstly carve lino blocks into woodgrain patterns. He then takes his canvas and layers it with a number of different coloured paints. He then uses the lino blocks to wipe through the paints, creating wood grain effects upon the canvas surface. In doing so, these work conveys the idea that the purpose of humanity is to mimic the natural world, rather than attempt supersede it.
Dijon studied Philosophy, specialising in Analytic Aesthetics at the University of York and gaining his Master's in 2008. His main area of interest was in Idealist Aesthetic philosophy, studying primarily R.G. Collingwood and Bernadetto Croce. His master's thesis put forward the notion that Collingwood's theory of 'art proper' could best be understood as a teleological exploration of the jazz movement that was in full swing at the same time and forwarded the notion of art as an 'improvisational object'. More recently his method of inquiry has led him into the study of Object Oriented Ontology and specifically the school of Speculative Realism.
A fundamental question lying at the forefront of his art is whether beauty is found to be a feature of the surface of the work or is it something within the work, beyond the mere properties it contains? Given that we each find beauty to occur in different things, is the notion of beauty an objective feature of the thing we see before us or is it a subjective response to the artwork?