“The artist’s presentation is both a sequence of self-contained paintings and sculptures, and an energetic environment produced by their interplay. Aside from the colorways that link them, one connective strand between Dickson’s two- and three-dimensional works is that they frequently suggest transitional spaces thresholds between a here and an elsewhere that might be physical, psychological or both. Such realms, he discerns, are subtly inscribed in both art history – in charged architectural nooks painted by Fra Angelico, Jan Maelwael and Piero della Francesca – and in the texture of contemporary urbanism. There are sculptural references in Dickson’s work to portals between public and private spaces in Amsterdam, for instance: snail-shaped toilets in the red-light district, and the large storefront-like windows of domestic abodes. These liminal areas might twist allegory: they’re worldly places available to all that nevertheless foster a sense of privacy, intimacy and inward communion so that the mind can spin in its orbits – into wonder, perversity, disgust, or being haunted.”

Martin Herbert

[fragment from an essay for Offspring, 2019, De Ateliers, Amsterdam]