the artist

Platinum Press
Publishers LLc:
pigment prints





I am seeking collaborative projects.  

            Topics of this work:
            Danger zones
            Power and light construction
            Apocalyptic change and The Sublime, climate change, smoke and fire
            Symbols, Logos "a token of personal power, status or office, or of an official body of government or jurisdiction"
            Lost gardens
            Process and materials

                    McCrady Axon installation                                   

Personal bio -
No More Anonymous
I was born in Speedway Indiana to two jazz musicians, vocalist Toni Benson and trumpet lead, Harry McCrady. They were performers who also managed their own 18 piece Big Band dance orchestra. In the tradition of Duke Ellington and Nat King Cole, my pet name was the rhyme Lady which became my feminist pen name. Music is visceral, palpable and immersing. I began making objects at an early age because the piano I played didn't move east with us.

About the practical aspects of being artists, my dad said "alotta musicians would like to work only in music, but Hell, on Monday morning, there's no one there to dance." Their vocations and my environment evolved into new topics: precise language, inventive engineering, the manipulation of textiles into three dimensional surfaces. My mother wrote book reviews and tailored Chanel suits. My dad designed jet engines. After VPA university and London, I illustrated the first picture cookbook with children of multiple ethnicities that signaled a change in publishing, and experienced media recognition at age 21. I made a suite of art brut Clich Verre prints for a jazz poetry book by Barry Wallenstein. I drew a bilingual Spanish English picture book published by the Feminist Press. Andy Warhol stayed long at my Paris and East Village art opening Heaven & Hell and later at my studio Fire Under the Water Tower party. I was profiled in Interview, and hosted parties in my installations for his pals. I met an English printmaker.

Jump forward and we have left Southampton Long Island but not NYC. Five years later I showed large glossy paintings of clinging red interlocked forms. They turned out to be prescient of ominous events and I destroyed them. Protection became paramount. The act of painting allowed inner thoughts to rise to the surface, so painting color and light in its simplest forms kept things present.

Now my work is about the ritual of immersion in the studio. There is again a resemblance to power and light workers' temporary shelters and work spaces. I plan to re-make the Big, the Dense, the Dark: to gather its strength.

©Lexi Axon 2016