Katherine Aimone writes about the paintings of Matthew Dibble.

Aimone notes that the "energy on [Dibble's] canvases is scrappy, adventurous, unapologetic, and direct… there is an active athleticism in the dynamic surfaces of his pieces." In painting Temple Hum, she continues, "painterly surfaces merge and commune with one another—visual sensations advance and recede to create a sense of depth. Detailed areas show a history of separate painted or drawn surfaces that have been cut and unified. In these works he seems to be exploring detailed passages while working toward overall coalescence, giving birth to a fusion of forces."