Curriculum vitae

Diane Dyckhoff (Antwerp, Belgium) lives in Holland since 1968. After obtaining the diploma of master in art teaching in her native city, she studied at the Academy of Fine Arts in Arnhem and obtained the autonomous artistry certificate in 1985. From then she is working as an artist. A few times a year she works in her studio in the Alentejo (Portugal) for several weeks.
Exhibitions at home and abroad, a.o. De Krabbendans (Eindhoven, 1990), the Museum Commanderie van Sint Jan (Nijmegen, 1992), Site du Grand-Hornu (Hornu-Belgium, 1992), Beelden op de Berg VI (Wageningen, 1993), Galeria del Arca (Lima-Peru, 1994), Landcommanderie Alden Biesen (Rijkhoven-Belgium, 1994), National Botanic Garden (Meise-Belgium, 1995), De Bergkerk (Deventer, 1998), Akiyoshidai Art Village (Yamaguchi-Japan, 1999), Museum Het Valkhof (Nijmegen, 2000), Museum of Religious Art (Uden, 2004), 12xHolland (Hirado-Japan), Ohra Insurance (Arnhem, 2005).
Several works on request, a.o. De Lückerboom (City of Nijmegen, 2000), The Symbol (HAN Arnhem, 2001), Silence Centre (Hospital Sint Maarten, Nijmegen, 2005).
In 2003, she produced a project "The curdled Sorrow" during a three months stay at the European Ceramic Art Centre ('s Hertogenbosch). She was invited to realise art projects in Japan and Peru.
Her art work "Under the Cosy" was elected by the public visiting the State Museum of History, Architecture & Fine Arts in Pskov-Russia as the gift of the sister city Nijmegen on the occasion of the jubilee of 11 centuries of the city of Pskov.
Her art works are part of the collections of museums, provinces, cities, trading industries and private persons at home and abroad

About my artwork

My work is characterized by recurrent starting-points like involvement with nature and the endless cycle of the elements. Trees, plants and animals are recognisable themes, being part of a bigger whole and exchangeable in my imagery. Myths, sagas and fairy-tales play their part arising from the primitive language of the human culture.
Lining, brushing and colour use betray, together with my inherent starting-points, my special affinity with the Japanese culture, caused by my study-trips and work-stays in that fascinating country. But the archetypical tales of our own western culture as well contribute to the fantasy world that underlies my imagery. My favourite materials being of vegetal or animal origin, I use treestumps, leaves, grasses, fruits, plants, juices, fish-skins etc. In several works on request, living trees play an important part. A concept developed by myself, after analysing the invitation or the request, forms the basis of each work.