“Brigham Dimick’s new paintings take us on imaginative forays across intersected worlds. A persistent example comes through in images where a centered, well constructed tranquility is extrapolated into – rather exploded into – the wider natural world, where icebergs and continental shelves are now as close as the bathroom sink. We experience in this case a startling intersection of home life with whale migration routes. These are delicately realized paintings of somber and exciting reflection. The architecture of a home becomes the undergirding structure for the planet.

What will the world hold for us? Where are we going? Where do we belong? These are mindful questions that seem to float directly from his subjects’ tranquil, half-slumbering or submerged bodies. We are presented a shared world that is at once intimate and dauntingly wide”

-by Thomas Paquette, Crary Art Gallery

“Dimick’s works are stunning, old master-inspired drawings and complex constructions involving bees and hives, inspired by his life-threatening allergies to insect stings. He employs bees to both produce and destroy proxies of his body, in a process that is equal parts existential quest and process art.”

-by Ivy Cooper, Review: Art meshes well with science

“Equally personal and universal, Brigham Dimick’s multi-faceted art works act as metaphors of the synergistic relationship and shared vulnerability of humankind and nature.”

by Terry Suhre – Exposure 14 brochure for wax works

“Drawing rules in the second of this season’s challenge exhibitions at the Fleisher Art Memorial, and rules with authority. Brigham Dimick’s large drawings in charcoal and conte crayon are the boldest and most energetic of the three bodies of work in the show.

Like many artists today who specialize in drawings, Dimick invents his subjects. It’s hard to say whether his images are totally improvised or whether they evolve from forms encountered in nature. The drawings resemble concoctions of machine parts such as inflated tubes, hoses, ductwork, pumps and belting, with a hint of organic voluptuousness. The constant in all nine works is a formidable feeling of movement and vitality. There isn’t any point in trying to rationalize these examples of pure picture-making. Better to savor their marvelous combination of precise detail and ambiguous suggestion.”

-by Edward Sozanski (from The Philadelphia Inquirer)