Dibble is a solid example of a self-made man, both as an artist and as a skilled tradesman.He was a 1978 graduate of Cleveland’s defiantly inspiring, now-defunct Cooper School of the Arts, and has marched to his own drummer ever since, indifferent to changing intellectual trends in university art department BFA/MFA culture. Yet even in that world,painting has had a tendency to follow its own historic arcs, and Dibble’s ongoing interests,which can be traced back to his student days, include original, nuanced reactions to both modern and postmodern personalities—from Henri Matisse and Fernand Léger through Willem de Kooning and Jackson Pollock, all the way up to the present. You don’t need an MFA to know your art history. A fascination with pattern and repetition continues to underlie his large-scale Abstract Expressionist paintings, inspired perhaps by such mid-century American painters as Mark Tobey, who was interested in symbolic form from a surrealist perspective, but also as a more contemporaneous early influence from the Pattern and Decoration movement that surged in the 1970s. In fact his work has long displayed a double trajectory, which includes those paintings where expression moves towards meaning, but also a counterbalancing body of work, in which the drawn outlines of mythical-looking figures seem to float or dance in a film of space just beyond underlying blueprints, dress patterns, newspaper columns—as if the right and left hemispheres of the brain were performing a gavotte.