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"That DavidDiMichele’s art should impress on such a scale is all the more surprising (andimpressive) given that his PseudoDocumentation series of large-scale photographs is actually a depiction of small- scale models. The collection,depicting immense installation artworks, is no simplistic parody of installationart per se, it is much more subtle thanthat.  More homage than parody, theimages succeed on a deeper level, commenting not just on large-scaleinstallation art as a genre, but also on the way we frequently perceive suchart- as often through websites or books as actually visiting anexhibition.  The fantastical, dream-likeeffect of a figure isolated in a cavernous hall, surrounded or even overwhelmedby art, is also somehow an unsettling one. Partly this is due to the heightenedreality of DiMichele’s dioramas, where he is able to precisely manipulate lightand perspective, but it is also something more.There is love here- love of art,love of drama, love of architecture- but a certain coldness too. Just as theart is so much bigger, elevated, the human figure is inversely smaller, morevulnerable and subservient to the human vision embodied in art."      
JamesLee Tullis, Platinum Magazine, Winter 2010