The wide-angle format works best for a swim parallel to the shore. It implies distance and time traveled. The artist divides the composition asymmetrically, with a bright bottom and dark top.

Result #1

The wide-angle format works best for a swim parallel to the shore. It implies distance and time traveled. The artist divides the composition asymmetrically, with a bright bottom and dark top. Dont worry, its still beautiful. The new work is sparse, almost solid. The old work was always brimming with life, and the new one has seemed to dissolve into nothingness. This is a testament to Dibbetss own pessimism.This is the problem with Dibbetss new work, which, even though its a work in progress, is a reminder of a weakness in his approach. In the new work, he leaves behind a style of painting that makes no distinction between a solid, blue field and the forms that are in it. These shapes have been taken over, however, by new combinations of color, line, and form. The forms are diverse, and each color is different, which means that the shape is not a symbol, but is an actual thing, and is not a painted thing but a sculpted thing.This new work includes only an oval, a rectangle, and a square. Each shape has an equal share in the new colors and forms. This is important: the oval and the rectangle are identical, and they are two of the most important elements in the new paintings. The new color scheme is very good, but the new shapes are so distinctive that it is difficult to describe them. Dibbetss new work shows that he has mastered the ability to create a pictorial vocabulary in a very short period of time. What is new in the new paintings is the ability to work with a broad range of forms, as with the canvas and in one instance, with shapes in two colors. Dibbetss new work is also new in concept. It has a pictorial simplicity, a very abstract feel, but it doesnt seem to be based on any systematic form. Dibbetss new paintings are not to be trusted to tell a story, or to tell us how to paint, because they seem to have no creative sense, but a visual simplicity that is an attempt to simplify a real problem.

Result #2

The wide-angle format works best for a swim parallel to the shore. It implies distance and time traveled. The artist divides the composition asymmetrically, with a bright bottom and dark top.One of the most pleasing compositions is one featuring the corner of a room, painted a bright pink. Another is a square photograph of a beach, with two yards of sand behind the picture. The pink triangle indicates the area where the beach is. The blue rectangle indicates the area behind it. The subject is a pink and tan beach floor. The beach floor is the floor of the room, and the pink and tan sand are the walls. The blue is almost translucent and transparent, but it reflects the sunset light and makes it look like the sand that covers the floor. The pink, pink and tan floor does not make the pink, tan sand look as if it were a grayish color. The pink and tan sand is not colored in any way like the other colors that surround it.The colors and colors of the ceiling of the room are different from the rest. The one in the middle of the room is a turquoise-blue. A second one is a pink-green. A third one is a violet. The colors are the same, the tops and bottom of the room are the same, and the colors are symmetrical. They are not too bright, but the colors are not too dark either, although the shadows are nice. A picture of a wave, a bouquet of flowers, a pendulous shaped waterfall, and a cherry tree in a corner of the room are all captured in this beautifully painted surface. This object is photographed on a transparent-glass wall, shown on a transparent-mirrored monitor. The mirrors, which create a thick, almost impenetrable background, provide a natural background for the photographs. The real background, the artificial background, is impossible to capture. The mirror has an illusion, of course, of transparency. But the images cannot be reproduced on any mirror. The mirror sets the illusion off.The colors and textures of the carpet of the room are almost the same.

Result #3

The wide-angle format works best for a swim parallel to the shore. It implies distance and time traveled. The artist divides the composition asymmetrically, with a bright bottom and dark top. The apparent heights are the heights of the images. When the top is steep, the bottom of the composition expands, indicating a more distant depth. When the bottom is flat, the bottom of the composition remains flat. In the middle of the composition is an opening, which is the deepest and thus furthest away from the bottom. The opening is blocked by two mirrors, creating a sea of contrast. The slightly raised surface at the bottom of the composition keeps the bottom and top of the composition closer together.A vast majority of the works are unretouched. However, the rotating light source is a postcard, and the stretching of the surface and its shadows can be seen from several points. The two-part composition is a device for linking two separate planes of vision. The original image is reflected in the mirror, and the subsequent one can be seen in the mirror. This device emphasizes the illusion of movement. It is a projection of time and space. The line and shape of the mirror is an illusion of the two-dimensional image, in which the mirror always remains in its reflection and the viewer always remains behind the mirror. The illusion of movement created by the twisting and curving surface of the mirrors are a powerful driving force in the work. The illusion of movement in the mirror is very much in evidence in this work. The surface of the mirror is a projection of a three-dimensional image. In this way, the physical distortions of the mirror, its dark tone, and the unevenness of the surface (which is never smooth) create a three-dimensional illusion. The edges of the mirror are not straight; the mirror has a three-dimensional surface, yet one that is mirrored. The two layers of mirror are aligned so that the mirror, the surface, and the mirror-image are at the same time two-dimensional. They are in constant tension. One can see the reflection of the surface in the mirror, or the reflection of the mirror in the mirrors.

Result #4

The wide-angle format works best for a swim parallel to the shore. It implies distance and time traveled. The artist divides the composition asymmetrically, with a bright bottom and dark top. Its not hard to read the bottom as a shadow, to see the top as a mirror image. Because of this, the top half of the composition is the most abstract. Still, the bottom half is very original, intimate. In the bottom half of the composition, the body of the boat is revealed. The silhouette of the nude (a silhouette of her nude) and the silhouettes of the two bodies are more than an issue of position, but of immateriality, as in the still life of painting: the reflection of the image is an immaterial part of its primary quality.The watercolor works best for a depth-set composition, as opposed to a vertical one. Its more powerful than the watercolor, more sacred and mysterious. Watercolor can be seen as a storehouse for something not seen. A glass sphere in watercolor can be understood by the reader as a picture; by a distance, as a window; a bottom, as a horizon; or as a flat surface. The same principle holds true for watercolors. A watercolor on a watercolor surface is an illusionism that can be visualized, seen, and understood. A watercolor on a watercolor surface, therefore, is an evocation of the material world in a spiritual way. Is it so hard to believe in the spiritual essence of watercolor? A picture on a watercolor, on the other hand, is a magic plane that goes beyond the tangible. Is it possible to make watercolor—a plane of solidity—transcend the material world? This is the secret of the mystic watercolor. When reading and looking at the page, the touch is the most beautiful thing.Watercolor has many layers—its almost a mythological world. The layers consist of light, dark, and air—there is an invisible depth and a visible depth.

Result #5

On one side, the top of the painting is focused, and on the other, the bottom. The painter has transformed the painting into a flat plane, a sort of transparent floor. The painting is like a living thing.A second group of works, titled Abstruse, 1997–2003, extends to a kind of transparent ceiling. The bottom portion is as rigid as the first, but on the left side, the light blue sky is a dense mauve. Here the colors are not so black and white, but more blues, greens, and reddish hues. The floor is plastic. The work is an inverted, solid polyhedron with a dark core. It gives the impression of solidity. Its the air that remains opaque.