SAMUEL DICKOW
PAINTING STUDIO WEBSITE
Geometric Landscapes:
Time and Transformation
The concept of landscape in the pictorial tradition has long served as a crucial medium through which artists explore not only the natural world but also the human experience within it. Historically, landscapes have been imbued with symbolic meaning, reflecting cultural, spiritual, and existential concerns. In the context of contemporary art, however, the landscape is increasingly confronted by the predatory interventions of humanity—urbanization, industrialization, and environmental degradation—posing a stark contrast to the idyllic and harmonious visions of nature often depicted in traditional landscapes.
Considering the work of Samuel Dickow at the outset of his career, it is imperative to examine how he engages with these dynamics through the lens of geometric abstraction and the landscape as a means of portraying human temporality. Dickow’s paintings interrogate the boundaries between the organic and the constructed, the natural and the artificial. His use of abstract geometric forms to represent landscapes challenges the viewer to consider the ways in which human intervention disrupts and reshapes the natural world, ultimately transforming the landscape into a chronicle of human influence and time.
This approach underscores the necessity of rethinking landscape in contemporary art, not merely as a reflection of physical space but as a narrative device that encapsulates the passage of time and the profound impact of human activity on the environment. Dickow’s work thus serves as a critical commentary on the evolving relationship between humanity and nature, prompting a reconsideration of how we depict and understand the landscapes around us in light of ongoing human depredation.
In Samuel Dickow's 2013 paintings, the horizon line, typically a gateway to depth and space, is obstructed by dense masses of acrylic paint. These opaque forms block the expected atmospheric perspective, simultaneously highlighting the synthetic materiality of the medium. This tension between the pictorial plane and the illusion of depth challenges traditional landscape representation, compelling the viewer to confront the physicality of the paint and the constructed nature of the image.
Empty Billboards, Market Forces,
and Pictorial Autonomy
Samuel Dickow's series "Pinturas de Estrada" offers a profound commentary on the intersections of art, commerce, and the desolate landscapes of modernity. Through his depiction of empty billboards, vacant bus stops, and the various signs scattered along Brazil's highways, Dickow explores the visual and conceptual emptiness that permeates these spaces. By focusing on billboards devoid of advertisements, he invites the viewer to confront the absence of the very messages that these structures are designed to convey, thus questioning the relationship between form, function, and the demands of the market.
In this series, Dickow problematizes the billboard as a metaphor for the pictorial plane. The billboard, much like the canvas, is a surface meant to be filled, usually with content dictated by market forces. However, when these surfaces remain empty, they become disfunctionalized, stripped of their intended purpose. This emptiness is not merely a physical void but a conceptual one, challenging the viewer to consider what it means when a space designed for communication is left blank. Dickow's work thus critiques the commodification of space and image, drawing a parallel between the autonomy of the pictorial plane and the commercial pressures that often govern its use.
Brazilian art critic Paulo Sérgio Duarte has articulated that the pictorial plane, while autonomous in modern and contemporary art, is still subject to external influences, particularly those of the market. Duarte’s perspective aligns with Dickow's exploration in "Pinturas de Estrada," where the empty billboards serve as a visual metaphor for this tension. Just as the pictorial plane in a painting can be influenced by commercial demands, so too can the billboard be seen as a space where the absence of content reveals the underlying dynamics of power and economy.
In "Pinturas de Estrada," Dickow constructs a contemporary critical reflection through the medium of painting. By portraying these empty billboards, he not only emphasizes the materiality and autonomy of the pictorial plane but also underscores its vulnerability to market forces. The series becomes a meditation on the disjunction between form and function, content and absence, revealing the complexities of representation in a world increasingly dominated by commercial imperatives. Dickow’s work challenges the viewer to reconsider the role of the pictorial plane, not just as a surface for artistic expression but as a space deeply intertwined with the structures of economic power.
The conceptual interplay between the pictorial plane and the empty billboard as a metaphor for the Duchampian readymade invites a refined exploration of the boundaries between art, object, and environment. In Samuel Dickow's "Pinturas de Estrada," the empty billboards encountered along Brazil’s highways function almost as site-specific installations, found objects that transcend their intended commercial purpose to become vessels of conceptual reflection. These vacant structures, stripped of their commercial imagery, echo the principles of the readymade, where the ordinary is elevated into the realm of art through the act of selection and contextual redefinition.
As metaphors for the pictorial plane, these empty billboards challenge traditional notions of representation and function. Just as Duchamp’s readymades questioned the nature of art by presenting everyday objects as finished works, Dickow’s billboards, encountered in the landscape, reveal themselves as images formed by absence rather than presence. This absence creates a dialogue between the object’s intended purpose and its new role as a blank canvas, inviting contemplation on the autonomy of the pictorial plane and its susceptibility to external forces.
The choice to render these billboards in dimensions reminiscent of classical photography further reinforces the tension between illusion and reality. By adopting the scale and framing associated with photographic realism, Dickow enhances the illusion of the billboard as an image, blurring the line between what is perceived and what is presented. This photographic illusion serves to draw the viewer into a space where the boundaries between art and environment, object and image, are subtly destabilized.
In this context, Dickow’s work can be seen as a critical reflection on the intersections of art, commerce, and landscape, where the empty billboard emerges as a site-specific readymade—a blank yet potent space that, through its very emptiness, becomes a locus for conceptual engagement. The billboard, like the pictorial plane, stands as a testament to the power of context and the capacity of the ordinary to be transformed into a vehicle for artistic and intellectual inquiry.
Dialogues of Depth:
Beyond the Pictorial Plane
In the evolving discourse of modern and contemporary art, the tension between Abstract Expressionism and Post-Painterly Abstraction has long centered on the treatment of the pictorial plane. For Abstract Expressionists, as articulated by critics like Harold Rosenberg, the canvas became an "arena" of action, where the artist's gestures were imprinted as raw, physical manifestations of emotion and spontaneity. The pictorial plane was not merely a surface but a dynamic space, charged with the intensity of the artist's confrontation with the medium.
Clement Greenberg, in his championing of Post-Painterly Abstraction, shifted the conversation toward the notion of flatness as an essential characteristic of modernist painting. The emphasis on the purity of the pictorial plane, where the medium’s inherent qualities—its texture, color, and flatness—were laid bare, sought to reduce the illusionistic depth that had characterized earlier artistic practices. In this context, the reduction of the pictorial plane to its most fundamental elements was seen as a means to achieve clarity and openness, stripping away the gestural in favor of a more restrained, formal approach.
However, Samuel Dickow’s work complicates and transcends these earlier discourses by engaging in a radical rethinking of the pictorial plane. In his series of paintings that conceptualize themselves as "paintings within paintings," Dickow drastically reduces the space of the pictorial plane, not to emphasize flatness or purity, but to create a layered, multi-dimensional narrative. His approach invokes a dialogue between nested frames of representation, where the surface of the canvas becomes a window into another world—a world that exists within the boundaries of the painting itself.
Dickow’s reduction of the pictorial plane is not an endorsement of the flatness espoused by Greenberg, nor does it echo the action-oriented surface of Rosenberg’s Abstract Expressionism. Instead, it proposes a new understanding of depth, one that is conceptual rather than physical. The painting, in Dickow’s hands, becomes a space of introspection, where the viewer is invited to peer into a series of images, each nested within the other, challenging the conventional boundaries of the pictorial surface. This nested structure of "paintings within paintings" reveals the artwork as a site of reflection on the nature of representation, where each frame within the painting interrogates the relationship between surface and depth, illusion and reality.
Through this complex layering, Dickow critiques the reductive tendencies of both Abstract Expressionism and Post-Painterly Abstraction, suggesting that the pictorial plane can be more than a flat surface or an arena of action. It is a multi-layered construct, a space where the act of painting is itself a dialogue between different dimensions of thought and representation. Dickow's work, thus, stands as a critical intervention in the history of modern painting, offering a profound re-examination of the pictorial plane as a site of conceptual depth, where each layer of paint adds not just to the physicality of the surface but to the complexity of the ideas it embodies.
Intimate Spaces: The Dialectic of Stage and Cage in Contemporary Abstraction
In Samuel Dickow's work from 2017 and 2018, there is a notable shift from the expansive external spaces of traditional landscape painting to more confined and intimate settings, where elements such as stages and cages begin to dominate the visual narrative. This transition marks a critical evolution in the artist's exploration of space, moving away from the vast, open landscapes that characterize much of his earlier work and toward more introspective environments that suggest a closer proximity to the artist's inner world.
The introduction of stages and cages within these compositions is not merely a formal shift but a conceptual one as well. These structures serve as metaphors for the spaces where personal and artistic expression intersect, where the artist's inner turmoil and creative energy are both contained and exposed. The titles of these works further reinforce this intimacy, inviting the viewer to engage with the emotional and psychological landscapes that are being mapped out within these confined spaces.
In this context, the stage becomes a platform for the performance of emotion, a place where abstract forms and colors are orchestrated to convey the artist’s inner dialogue. The cage, on the other hand, symbolizes both restriction and protection, encapsulating the tension between freedom and constraint that is inherent in the act of creation. Through these metaphors, Dickow's work engages in a dialectical process, where the act of painting becomes a negotiation between the expressive potential of abstract forms and the representational demands of contemporary art.
As the artist navigates these intimate spaces, his work invites a deeper contemplation of the relationship between the external world and the inner self. The landscapes of the mind are mapped out in these confined arenas, where abstraction becomes a tool for expressing complex emotional states and the contradictions of modern existence. Dickow's paintings thus resonate on multiple levels, offering a richly layered commentary on the nature of artistic creation and the role of the artist in contemporary society.
Figural, Image, and Painting: Samuel Dickow’s Critical Exploration of Contemporary Art
Samuel Dickow’s latest phase of research marks a significant evolution in his practice, as he shifts focus to problematizing painting through the lens of the "figural." This concept, as articulated by Gilles Deleuze in Francis Bacon: The Logic of Sensation, moves beyond the traditional figurative, engaging the viewer at the level of pure sensation and intensity. Deleuze distinguishes the figural as a mode of artistic expression that disrupts the conventional representation of forms, instead rendering the invisible forces that shape them. In this context, the figural operates as a direct engagement with the affective power of the image, rather than a symbolic or narrative depiction.
For Dickow, this theoretical framework provides a novel approach to the study of the human figure, which now becomes central to his investigation. Moving away from his earlier focus on landscape and spatial abstraction, his current work delves into the human body as a site of tension, transformation, and distortion. This shift represents not just a formal evolution but also a culmination of his previous concerns with space, temporality, and the materiality of paint.
By incorporating the concept of the figural, Dickow is not simply exploring new subject matter; he is redefining the role of painting in contemporary art. His critical reflection on images invites a deeper inquiry into how we experience and interpret visual forms today. In an era dominated by the proliferation of digital images and visual culture, his work stands as a response to the need for a more profound and tactile engagement with the image itself, where the materiality and intensity of the painting speak directly to the viewer. This exploration positions Dickow’s work at the intersection of intellectual rigor and sensory experience, offering a fresh perspective on how contemporary art can critically reflect on its own processes of image-making.
By integrating Deleuze’s concept of the figural into his practice, Samuel Dickow positions his work within a critical framework that transcends traditional figurative representation. The figural, as understood through Deleuze, is not merely a depiction of recognizable forms, but a revelation of the underlying forces and sensations that shape the image.
In Dickow's work, this manifests through a deliberate distortion of the human figure, a process that deconstructs the familiar to expose the raw intensity beneath the surface. This move reflects not only a formal exploration but also an intellectual engagement with how the image operates in today’s saturated visual culture. In an era where images are increasingly consumed in fleeting moments, Dickow’s paintings demand a slower, more immersive contemplation, encouraging viewers to confront the deeper, affective layers of visual experience.
This conceptual pivot in Dickow’s work also signifies a broader commentary on the role of painting in contemporary art. At a time when digital media dominates and visual saturation abounds, his engagement with the figural serves as a reminder of the power of painting to evoke direct, visceral responses. Dickow’s exploration of materiality, form, and intensity offers a counterpoint to the often detached and ephemeral nature of digital images, grounding his work in the physicality of the painted surface. By doing so, he not only critiques the superficiality of contemporary image culture but also reaffirms the relevance of painting as a medium capable of provoking thought and sensory engagement. His practice, thus, aligns with a broader intellectual tradition that questions the nature of representation and challenges viewers to reconsider their relationship to images in a world increasingly mediated by screens.
"Between Veils and Landscapes:
The Reimagining of the Human Figure"
Samuel Dickow's recent work marks a transition to a focus on the human figure as a core element in his exploration of new mythologies. Moving from vast landscapes to more contained, intimate settings, Dickow now engages the figure itself as a site of layered, abstract narratives. This approach reflects a shift from external space to a deeply introspective one, where mythology and identity are reexamined through the spatial and material presence of the human form.
Drawing on Guy Debord’s reflections on painting and sculpture as forms obscured by metaphorical veils, where layers of fabric and texture reveal complex relational structures, Dickow’s work conceptualizes the human figure as partially hidden and partially revealed, embodying dimensions both visible and latent. As Debord theorized in "The Society of the Spectacle," where surfaces and appearances mediate experience, Dickow’s figures suggest a similar interplay of concealment and disclosure, guiding the viewer to engage with layers of identity beyond the immediate image.
In this light, the human figure becomes a stage-like element, a vessel mediating interaction in the same way Debord’s "veils" invite viewers to move between surface and depth. Here, the figure is not a static representation but a multi-dimensional entity, evolving between intimacy and grandeur. This reconceptualization challenges traditional portrayals of the human form, inviting viewers to engage in a dialogue around contemporary mythology and introspection. By merging physicality with metaphor, Dickow's work opens pathways to new mythological interpretations in contemporary visual culture.
n further alignment with Guy Debord’s critique of spectacle, Dickow’s approach reflects a nuanced understanding of the figure as an object not simply observed but mediated through layers of visual and cultural construction. Debord’s concept of the “spectacle” suggests that in a society governed by images, reality becomes less an objective truth and more an accumulation of mediated surfaces—an idea Dickow appears to echo in his veiled, textured figures. By presenting human forms that both reveal and obscure, Dickow invites viewers to consider what lies beyond appearances, challenging them to disentangle constructed myths from authentic expressions of identity. His figures thus act as both mirrors and masks, providing a dialectical space where viewer and subject negotiate meaning.
Moreover, Debord’s ideas propose that art itself is a site where spectatorship becomes active, rather than passive. Dickow’s figures, shrouded in conceptual and symbolic “fabrics,” operate within this framework, resisting the immediacy of surface interpretation and demanding a deeper, participatory engagement. Just as Debord posits that true understanding is mediated through breaking down layers of spectacle, Dickow’s artwork uses abstraction and metaphor to resist simple visual consumption, prompting viewers to question the formation of identity and myth. By reimagining the figure as a layered construct, Dickow’s work exemplifies a critical approach to visual culture, challenging the viewer to engage in an active, almost deconstructive process of understanding—a process that aligns with Debord’s vision of art as a revolutionary medium for interrogating the structures of representation itself.
Building on this framework, Dickow’s work also engages with the concepts of time and movement, elements central to understanding the layered identity of his figures and their embedded mythologies. In line with Debord’s theory, which frames the spectacle as a temporal phenomenon—a constant, fleeting flow of images that masks deeper social realities—Dickow’s compositions suggest an interplay between stasis and motion that disrupts linear perceptions of time. His figures are portrayed as if in the midst of transformation, caught within a dynamic process that resists completion. This treatment of temporality lends a sense of transience to the human form, positioning it within an unfolding narrative that mirrors the impermanence and fluidity of contemporary identity.
This approach to movement and temporal layering echoes the notion of a “situational” artwork, where images are not fixed in a singular moment but evolve through the viewer’s engagement. Here, time in Dickow’s paintings becomes cyclical and multifaceted, encouraging viewers to move beyond a passive gaze to a state of active, ongoing interpretation. Rather than a singular, frozen image, his figures seem to inhabit multiple temporal planes, as though each veil or layer represents a different moment in an unfolding story. By incorporating this temporal complexity, Dickow’s work gestures towards an open-ended narrative that aligns with Debord’s critique of temporality under the spectacle—challenging the viewer to see beyond the immediate image and contemplate the layered histories and mythologies that inform identity within the spectacle’s fragmented time.
In this way, Dickow’s work not only captures movement in a spatial sense but also implicates viewers in a temporal journey, guiding them to consider how identities shift and evolve across personal, cultural, and historical dimensions.
In conclusion, Samuel Dickow’s exploration of the human figure, woven through the complexities of time, movement, and layered identity, invites viewers to engage with contemporary narratives that challenge conventional understandings of representation. By employing metaphorical veils and dynamic forms, Dickow creates a rich tapestry of meaning that reflects not only personal and cultural mythologies but also the broader societal shifts underscored by thinkers like Guy Debord. This interplay of visibility and concealment, coupled with an evolving sense of time, compels us to consider how we interpret and relate to the figures that populate our visual landscape.
As the dialogue around identity and representation continues to evolve in contemporary painting, it beckons viewers to delve deeper into the current works that resonate with this framework. Artists today are increasingly embracing the complexities of movement, temporality, and layered narratives, much like Dickow. Exploring these emerging works may reveal fresh insights into how we construct and understand our own identities within a rapidly changing visual culture.
Thus, we encourage you to seek out these new and current paintings that develop along the same lines of thought, as they promise to enrich our understanding of contemporary myth-making and the ever-shifting dynamics of human experience.