With Cynthia Dinan-Mitchell’s work, we, as viewers, are impelled to revisit whole swathes of art history, and to reconsider styles, genres and techniques we would normally think of as incompatible. In her syncretic approach, she brings together a wide range of influences and methods: the baroque, 17th-century Dutch still life painting, the chiaroscuro, contour drawing, etching, Japanese and Western film aesthetics, screenprinting, ceramics, sculpture, and other, more recent elements as well, such as surrealism and botany. Audaciously time-travelling, voluntarily conjuring up anachronisms and provoking impossible encounters between incongruous objects, Dinan-Mitchell constantly throws us off the scent.
Dinan-Mitchell fully owns the decorative nature of her installations, inverting the hierarchy of low and high art. Indeed, she designs intimate and familiar mise-en-scènes where strangeness, freedom, seduction and humour can truly coexist.