Tania Dibbs’ paintings are a confluence of science and art, paint and biology, a series of forms that are at once random, organic, orderly, beautiful and organized, an order that is simultaneously spontaneous and structured, the heartbeat of our living world, of all existence everywhere.
Originally a landscape painter Dibbs has since leapt into the micro world, her paintings an exploration of the patterns that underlie our world, the matrix of life on earth that is both familiar and strange. There is something instinctually familiar in these pictures, as if we are emotionally attuned to the universal waves of sky and sea, the erosion of the land, the setting of the sun. Here’s what she has to say about her work:
These images remind me of miracles of biotech: how bacteria can be altered to produce our pharmaceuticals, how a trachea can be grown in a lab, how scientists can order up machine made DNA, how they can make a glow in the dark bunny by manipulating genes, etc. The forms in these paintings could be molecules, or biological transformation, or microscopic views of infection. The technology described seems both miraculous and unnerving and the shapes can be viewed as beautiful or scary. They float, groundless, allowing them to have many meanings and or to maintain their mystery and beauty and potential without distinct interpretation.
Whether I paint the whole or a part, something recognizable or something abstracted, the pieces feel familiar to most people who are residents of the same planet, and lovingly familiar to me.