Important message :
We are relocating!
Starting today, we will be occupied with packing and moving our internet store inventory. The entire collection needs to be transferred from Leidschendam to Oegstgeest, and this will take some time.
If all goes according to plan, we will be fully operational again on November 21st, but until then, it may happen that we are unable to immediately assist you with your order. We ask for your understanding, but as soon as possible, your order will be fulfilled with the utmost speed.
In the 1960s, he explored the assumptions of what we see through photography. Dibbets is interested in the concept of perception. The photo Perspective Correction, My Studio i, i: Square on Wall (1969) shows how a trapezium drawn on the wall becomes a square due to the perspective in which Dibbets took this photo. The spatial illusion he creates in his work begs the question of what photography does and what the viewer sees when presented with an image. A visual “read, but it doesn’t say what it says.”
One of the recurring motifs in Dibbets’ oeuvre is the window. He photographs windows of various shapes – round or square – but never from a frontal position. This distorts them. A circle becomes an ellipse; a square becomes a diamond. In some series, Dibbets also plays with the ‘landscape’ in which the window is situated. He cuts the window out of the photo and re-introduces it against a solid painted background. This raises the question of what is the foreground and what is the background: photographic and painting illusions come together.
He cuts the window out of the photo and re-introduces it against a solid painted background. This raises the question of what is the foreground and what is the background: photographic and painting illusions come together.
“You have a subject [photography] in which almost nothing happens. Everyone is obediently taking photos, there are billions of photos, all day long. But there is hardly any research. But that research is precisely what makes it so interesting.
And that research is not being done. It has been forgotten for a hundred years. And that’s my drive.”
Dibbets studied at the Academy for Visual Arts in Tilburg (1959-1963) and at Central Saint Martins College of Art and Design in London (1967). His work was represented at the famous exhibitions Op losse schroeven at the Stedelijk Museum in Amsterdam.
