My work partially addresses and integrates a grand gestural technique with that of Neo-impressionist pointillism, leading to an abstract impressionism based on feeling rather than imagery, depth, rather than surface quality. My intention is to wrest chaos, fundamental to the technique, into works that reference that technique, while still retaining an image

Using sticks and brushes to splash, throw, and splatter numerous layers of acrylic paint onto a large supine canvas, I try to evoke the essence of a subject, taking care with my accuracy not to overly emphasize the image, and thus minimize the process.

The intention and interactive play between the viewer’s perception and my technique determines the paintings perceived order and imagery. Each tiny splash of paint, each throw, chaotic yet cohesive, contributes to the substance that reads as organic subjects, subjects based mainly from my travels, and from my home base in the hills of southern California                 Diana Carey

It is a kind of impressionism, but educated by a new generation’s fuller appreciation of fractal complexity in branching, and all the chaos of natural form

NY art critic Robert Mahoney

the system of her painting likely suggests, imagistically, the French impressionists, who took it upon themselves to render the effect, rather than the actuality, of light

NY Art critic Jonathan Goodman

Given the extent of Pollock’s achievement, one might think it hard to find independence within the process he dominated so thoroughly- yet Carey has done so

NY art critic Jonathan goodman

The image arises from a deconstructed vision, with many fine elements coalescing to create the sense of something tangible before our eyes. But we are always reminded that it is a temporary reality

NY Art critic John Mendelsohn