“Mr. Dorman’s “flattened lands” are constantly turning back in on themselves, forever unwilling to give in to the logic of a single vantage point. (Fledgling Lament) is a haunting and elegiac piece, as rich and as spare as a Chinese landscape painting or a still life by Morandi.”

New York Observer, Mario Naves, 2004

“In Dorman’s literal reworking of the topography of recollection, we find not only a celebration of our memories, but a release from them; in summoning the past, we also destroy it. Dorman is a cartographic zealot, not only correcting the misapprehensions of memory, but mapping the New World Order.”

ArtForum , John Reed, 2004

“It is as if energies, objects and enigmatic creatures were all journeying together on a secret quest. Equally intimate and obsessive, his vistas taunt, tease and intrigue.”

Art in America, Lance Esplund, 2004

“Dorman loosens the maps’ symbology -he literally throws away the key- so that they can be read in multiple contradictory ways.”

Los Angeles Times, Leah Ohlman, 2005

“Dorman’s paintings depict the dream territory of ocean trenches filled with sunken boats, or translucent, geometric cityscapes rendered in hot colors. Lest the drama of such imagery suffocate its wit, Dorman paints on top of old maps, which he collages into Borgesian countries of the imagination.”

The New Yorker, Goings on About Town, 2004

“There is no solution to the mystery. So much is going on in them that we feel compelled to look for a narrative, as if by “reading” the images before us we could finally grasp them in all their complexity. But the story I will read is not the same story you will read.”

Paul Auster, From CUE exhibition catalogue, 2004