All of that signifies the irruption of the unconscious which makes its theatrical entrance in this painting, and Matthew Dibble himself, supports this analysis by speaking of his work as a psychological painting in a recent email received on April 4, 2010:
"This painting is psychological..."

But this phenomenon is not new, since Marcel Duchamp had seen in Courbet, the father of the modern painters, the intervention of "the subconscious hand" and also quite evidently in the work of Matthew Dibble, where his work escapes pure reason.


Tout cela signifie l’irruption de l’inconscient qui fait son entrée en scène dans cette peinture. Et Matthew Dibble lui-même conforte cette analyse parlant de son œuvre comme d’une peinture d’ordre psychologique dans un courriel récent du 2/04/2010 : " This painting is psychological… "


Mais ce phénomène n’est pas nouveau puisque Marcel Duchamp voyait déjà en Courbet, le père des nouveaux peintres, l’intervention de la " main subconsciente ". Et bien évidemment aussi chez Matthew Dibble où son travail échappe à la pure raison.

http://espacetrevisse.e-monsite.com/pages/mes-travaux-person...

With reasoned obsessiveness, the canvases of David Dupuis repeat
and design the various patterns of recognizable abstractions, figures of
the movements of the subconscious hand in which the explorations of
the mind become trapped
https://www.collezionemaramotti.org/documents/20182/230417/A...

If one of the characteristics of modern art since Courbet has been the
cult of the subconscious hand, quite a number of artists in the last thirty
years have abandoned this cult and tumed toward a consciously..
https://eportfolios.macaulay.cuny.edu/calirmanfall2014/files...