The New Yorker, 16 April 2007, p. 24
16 April 2007
Celebrated for bravura renderings of little girls in frilly dresses and violent moods, the Los Angeles artist Dingle stopped painting for a number of years while a modest coffeehouse that she founded, called Fattys, became an exhaustingly successful restaurant. Now shes back with Studies for the Last Supper at Fattys, muralish oils on gridded sheets of vellum, in which terrible tykes eat, drink, whip up enormous pastries, and generally gourmandize their wicked little brains out. Dingles Soutine-like panache is wilder and catchier than everin, as well as about, excellent taste.