非常感谢David DiMichele将项目介绍和项目图片授权gooood发行。更多请至：David DiMichele on gooood
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David DiMichele的Photographs系列着实给人留下了惊讶的印象，大照片里面呈现的实际是小小的装置场景。但这个装置场景并不单是模仿，而深入的达到更高层次。大家通常观看艺术是通过现场展览，书籍等等。David DiMichele完成的是不那么沉重的，梦幻的，数字化的，诡异的场景。再精确的操纵现实的光线及其角度，实现了更多的东西。David DiMichele热爱艺术，戏剧，建筑。在他的这个系列中，艺术是如此的大型，人类相反较小，具有强烈的视觉冲击力。

” That David DiMichele’s art should impress on such a scale is all the more surprising (and impressive) given that his Pseudo Documentation series of large-scale photographs is actually a depiction of small- scale models. The collection, depicting immense installation artworks, is no simplistic parody of installation art per se, it is much more subtle than that. More homage than parody, the images succeed on a deeper level, commenting not just on large-scale installation art as a genre, but also on the way we frequently perceive such art- as often through websites or books as actually visiting an exhibition. The fantastical, dream-like effect of a figure isolated in a cavernous hall, surrounded or even overwhelmed by art, is also somehow an unsettling one. Partly this is due to the heightened reality of DiMichele’s dioramas, where he is able to precisely manipulate light and perspective, but it is also something more.There is love here- love of art, love of drama, love of architecture- but a certain coldness too.

Just as the art is so much bigger, elevated, the human figure is inversely smaller, more vulnerable and subservient to the human vision embodied in art.” James Lee Tullis, Platinum Magazine, Winter 2010

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