By applying abstraction, Dinis investigates the dynamics of landscape, including the manipulation of its effects and the limits of spectacle based on our assumptions of what landscape means to us. Rather than presenting a factual reality, an illusion is fabricated to conjure the realms of our imagination.
Her are an investigation into representations of (seemingly) concrete ages and situations as well as depictions and ideas that can only be realized in . By merging several seemingly incompatible worlds into a new universe, she finds that movement reveals an inherent awkwardness, a humour that echoes our own vulnerabilities. The artist also considers movement as a metaphor for the ever-seeking man who experiences a continuous loss.
Her works directly respond to the surrounding environment and uses everyday experiences from the artist as a starting point. Often these are framed instances that would go unnoticed in their original context. By applying a wide variety of contemporary strategies, she tries to approach a wide scale of subjects in a multi-layered way, likes to involve the viewer in a way that is sometimes physical and believes in the idea of function following form in a work.
Her works doesn’t reference recognisable form. The results are deconstructed to the extent that meaning is shifted and possible interpretation becomes multifaceted. By applying a poetic and often metaphorical language, she tries to increase the dynamic between audience and author by objectifying emotions and investigating the duality that develops through different interpretations.
Her works isolate the movements of humans and/or objects. By doing so, new sequences are created which reveal an inseparable relationship between motion and sound. With Plato’s allegory of the cave in mind, she focuses on the idea of ‘public space’ and more specifically on spaces where anyone can do anything at any given moment: the non-private space, the non-privately owned space, space that is economically uninteresting.
Her works never shows the complete structure. This results in the fact that the artist can easily imagine an own interpretation without being hindered by the historical reality. By questioning the concept of movement, she creates intense personal moments masterfully created by means of rules and omissions, acceptance and refusal, luring the viewer round and round in circles.
Her works focus on the inability of communication which is used to visualise reality, the attempt of dialogue, the dissonance between form and content and the dysfunctions of language. In short, the lack of clear references are key elements in the work. With a conceptual approach, she plays with the idea of the mortality of an artwork confronted with the power of a transitory appearance, which is, by being restricted in time, much more intense.
Her works sometimes radiate a cold and latent violence. At times, disconcerting beauty emerges. The inherent visual seductiveness, along with the conciseness of the exhibitions, further complicates the reception of their manifold layers of meaning. By exploring the concept of landscape in a nostalgic way, she seduces the viewer into a world of ongoing equilibrium and the interval that articulates the stream of daily events. Moments are depicted that only exist to punctuate the human drama in order to clarify our existence and to find poetic meaning in everyday life.
Her works are often about contact with architecture and basic living elements. Energy (heat, light, water), space and landscape are examined in less obvious ways and sometimes developed in absurd ways. By emphasising aesthetics, she tries to grasp language. Transformed into art, language becomes an ornament. At that moment, lots of ambiguities and indistinctnesses, which are inherent to the phenomenon, come to the surface.
Her practice provides a useful set of allegorical tools for manoeuvring with a pseudo-minimalist approach in the world of : these meticulously planned works resound and resonate with images culled from the fantastical realm of imagination. In a search for new methods to ‘read the city’, she creates work in which a fascination with the clarity of content and an uncompromising attitude towards conceptual and minimal art can be found. The work is aloof and systematic and a cool and neutral imagery is used.
Her collected, altered and own works are being confronted as aesthetically resilient, thematically interrelated material for memory and projection. The possible seems true and the truth exists, but it has many faces, as Hanna Arendt cites from Franz Kafka. By contesting the division between the realm of memory and the realm of experience, she absorbs the tradition of remembrance art into daily practice. This personal follow-up and revival of a past tradition is important as an act of meditation.
Her works are made through strict rules which can be perceived as liberating constraints. Romantic values such as ‘inspiration’, ‘genius’ and ‘authenticity’ are thereby neutralised and put into perspective. By examining the ambiguity and origination via retakes and variations, she makes work that deals with the documentation of events and the question of how they can be presented. The work tries to express this with the help of physics and technology, but not by telling a story or creating a metaphor.
Her works appear as dreamlike images in which fiction and reality meet, well-known tropes merge, meanings shift, past and present fuse. Time and memory always play a key role. With a subtle minimalistic approach, she wants to amplify the astonishment of the spectator by creating compositions or settings that generate tranquil poetic images that leave traces and balances on the edge of recognition and alienation.
Her works establish a link between the landscape’s reality and that imagined by its conceiver. These works focus on concrete questions that determine our existence. By investigating language on a meta-level, she uses a visual vocabulary that addresses many different social and political issues. The work incorporates time as well as space – a fictional and experiential universe that only emerges bit by bit.
Her works bear strong political references. The possibility or the dream of the annulment of a (historically or socially) fixed identity is a constant focal point.
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