Christine Dixie has made a philosophical habit of juxtaposing one story against another, leaving the viewer with a sense that they are caught at the intersection of destabilizing narratives. Thematically her works embrace feminist concerns of representation as well as critical interrogations of a colonial landscape tradition. Dixie’s works are founded in historicity while simultaneously highlighting universal contemporary notions and existences. The entwined relationship between space, politics of landscape and the performance and construction of gender are used to reveal underlying social and cultural dynamics.

Dixie is a printmaker with particular skills in etching, she also extends the boundaries of her medium by working in installation and video, utilizing a variety of matrixes and materials. She completed her under-graduate degree at the University of the Witwatersrand, Johannesburg and graduated with her MFA from the University of Cape Town, South Africa. She is currently a Senior Lecturer in the Fine Art Department at Rhodes University, Grahamstown. In 2007 she had a mid-career retrospective exhibition Corporeal Prospects that was held at The Standard Bank Gallery, Johannesburg.

She has had numerous solo exhibitions; The Gendered Gaze (1993), FrontTears (1997), Track (2000), Hide (2002), Parturient Prospects (2007), The Binding (2010), To Be King (2015) and The Santiago Cross: Invisible Trade (2018). Her international group shows include Earth Matters: Earth as Material and Metaphor curated by Dr. Karen Milbourne (2007) and The Divine Comedy: Heaven, Purgatory and Hell Revisited by Contemporary African Artists curated by Simon Njami (2012), both of which opened at the Smithsonian Museum of African Art. Her installation To Be King was part of the Personal Structures exhibited at Palazzo Bembo in Venice (2017), The International Festival at the Coronet Cinema in London and the Kaunas in Art Festival in Lithuania (2018).

Her work is included in national and international collections including The New York Public Library, The Smith¬sonian National Museum of African Art, The Standard Bank Gallery, The Johannesburg Art gallery, The Durban Art Gallery and the Iziko National Museum of South Africa and the Nelson Mandela Metropolitan Museum of Art.



Collections and Awards



The New York Public Library
The Smithsonian National Museum of African Art
The Fowler Museum, UCLA
The Iziko National Museum of South Africa
The Johannesburg National Art Gallery
The Standard Bank Gallery
The Nelson Mandela Metropolitan Museum
University of Cape Town Art Collection
Rhodes University Art Collection
University of South Africa Art Collection
University of Stellenbosch Art Collection 
Sasol Art Collection
MTN Art Collection


2012 Smithsonian Artist in Residence Fellowship, Washington D.C.

2007 Merit Bonus Award- Rhodes University

1999 Merit Award: 4th Kochi International: Triennial Exhibition of Prints, Japan

1998 New York Residency – Ampersand

1993 Winner: Katrine Harris Print Cabinet Post-graduate Purchase Award

1990 Winner: Katrine Harris Print Cabinet Post-graduate Purchase Award

1989 Prize winner: New Signatures Exhibition

Collections and Awards

Articles and Catalogue Essays




The Santiago Cross: Invisible Trade (catalogue)


Dixie, C. “ To Be King: Colonising Foucault’s Las Meninas” 

Dixie, C. “ Binding Intertextuality and Materiality in the Artist’s Book, The Binding


Godby, M. 2015. Battleground: Charles Bell’s Drawings of the War of the Axe, 1846, in Historical context and in Relation to Recent Representations of the Frontier/Wars of Dispossession. Cape Town

Seddon, D. 2015. Paternity and Intertextuality in Christine Dixie’s The Binding.

Dixie, C. 2015. To Be King, installation catalogue for the Cape Town Art Fair


Ambroic M. and Njami, S. (eds) 2014. The Divine Comedy: Heaven, Purgatory and Hell Revisited by Contemporary African Artists. Kerber

Dr. Karen Milbourne, Senior curator at the Smithsonian National Museum of African Art in conversation with Christine Dixie and her installation The Binding.

Dixie, C. “ The Divine Comedy: My Father’s Name and The Binding

Von Veh. K. 2014. Deconstructing Dogma: Transgressive Religious Iconography in South African Art. Johannesburg: De Arte 01/2014

Dixie, C. “Unravelling the use of engraving in Unravel

Dixie, C. To Be King, catalogue for the Grahamastown Art Festival


Milbourne, K. 2013. Earth Matters: Land as Material and Metaphor in the Arts of Africa. New York: Monacelli Press. 


Von Veh, K.“Transgressive Christian Iconography in post-Apartheid South African Art”


Godby, M. 2010. The Lie of the Land: Representations of the South African Landscape. Cape Town: University of the Western Cape Press

The Binding (Brochure)

Dixie, C. “ The Glare of the Karoo Light: Contextualising Albany Gold


Schmahmann, B. 2009, Into the Breach: Christine Dixie’s Birthing Tray-Honey. In Taking a Hard Look: Gender and Visual Culture. du Preez, A.(ed). Cambridge Scholars Publishing.


Walters, J and Schmahmann, B. 2008. Against the Picturesque: Christine Dixie’s Bloodspoor. Johannesburg: De Arte 77, 2008. Read


Bunn, D. 2007  A Sidelong Glance: Christine Dixie’s Thresholds. Corporeal Prospects catalogue. Johannesburg, Standard Bank Gallery Exhibition

Schmahmann, B. 2007 A Breach in Representation: Caesarean Section and Christine Dixie’s Birthing Tray-Honey

Schmahmann, B. 2007. Figuring Maternity: Christine Dixie’s Parturient Prospects. Johannesburg: De Arte 75


Schmahmann, B. 2004. Through the Looking Glass: Representations of Self by South African Women Artists. Johannesburg: David Krut Publishing.


Articles and Catalogue Essays