Rhea Dillon

  • , Cellar Door (A Litany), 2020
    Anti climb paint, oil and newsprint on wood
    86 x 51.5 cm
    33 7/8 x 20 1/4 in
  • , Angels Die So Pigs Can Fly And Other Folks Tales, 2020
    Oil and acrylic on canvas
    40 x 30 cm
    15 3/4 x 11 3/4 in
  • , Icarus! Icarus! Icarus!, 2020
    Oil and acrylic on canvas
    45.5 x 35.5 cm
    17 7/8 x 14 in

'Free from the constraints of one singular discipline, my work examines and amplifies representations of blackness and its relationship to queer thought and feminist theory; all of which are relevant to my personal existence. I’m very interested in something I term ‘Humane Afrofuturism’ as an analysis of the science-fiction alienating Black existence into a practice of more humane and equal perspective of how we visualise Black bodies and Blackness within this white supremacist society. My research-based practice frequently examines the playing with ‘rules of representation’ to undermine people’s myths of contemporary Western culture, references the power of harnessing Black people’s natural abstracted existence, and refracts embedded assumptions concerning gender and racial inequalities. Recently I’ve been looking to the schools of abstract expressionism and conceptual thought to work on a series of paintings and assemblages that explore diasporic movement and its relation to the capitalocene. Through Françoise Vergès’ take down of society's sustanation of black feminine invisibility for capital visibility juxtaposed by Glissant’s concept of opacity I’ve been expressing both past and present fictions as realities of black people in transit.'

- Rhea Dillon

Rhea Dillon graduated from Central Saint Martins in 2019 and recently completed a course at the Institute of Art and Olfaction in Los Angeles, California, USA. Dillon works with mediums such as video, painting, photography, installation & olfaction.


Exhibitions