«What dominates me is the theme of water, vision, and allegory. Transparency leads me to the depths beyond the mirror, the depths lead me back to the questions of the surface. I am moved by the consistency of this path, by meeting the representations of nature thrown into randomness, and by the way randomness expresses through its positions, intersections, and rhythms the secret of a composition. I wait for the wind, currents, and light to choose the shot as though that instant were an attempt to
grasp the inescapable moment of the presence and dissolution of things. Time. Time is everything. The right moment, the illusion to pass with time and to stop it when I have to. To continue and to stop: at times I have the impression that my work is a private testimony, not to be confessed to anybody, about the evanescence of life as I feel it to be, as it presents itself materially to my eyes.
Flowers abandoned to the solitude of a form or colour;
leaves like rafts after a shipwreck; ferns and water lilies in planes, layers; palpitations of immobility discovered in distant corners of the world like the rhymes of nature to be listened to in their refractions. How much vanitas in these waves of space, and how much truth for me in this vanitas. I am and will continue stand apart from mechanisms which for me are distractions; I do not search for lights unless as a signal for the moment of a shot. I believe in the freedom not to participate in an organised cultural life; I am free to close the door, close the curtains.
Then I go outside and meet my waters (Connemara is my own sheet of water), drop after drop. It is simple and irresistible to meet this fluid and fragile universe; simple and irresistible is the pleasure of losing myself and disappearing inside my images, alone, with all the world outside.» (Vanitas, Drik Dickinson, 2017)