Bridging both Painting and Photography Dinnis van Dijken uses the pinhole camera or Camera Obscura to locate the timing and place of image making. He makes a record, a mark, of him performing, painting or playing dice with his wife which becomes a means to prove that the image of a body is present although not figuratively visible. It is a way to make the body feel and experience the passing of time. The act of painting and the recording of that moment in time through the pin hole camera reminds us of an automated mark making or gesture of throwing a shadow, a proof somehow that one's body exists and yet remains absent. Every attempt at representing or capturing a moment in time necessarily makes a projection, a production of performing images, these paintings hover in between projection and painted surface, between screen and materiality. Van Dijkens work reminds us of the desire and difficulty to inhabit a body both as a political necessity and personal satisfaction. Words by Martin Gustavsson.
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