Soft Opening, London

Rhea Dillon

1/105 Rhea Dillon, Still waters, weeping 2026
Pana da costa, five monkey pod wood stools, freshwater, and hand-dyed hibiscus,74 cm × 33 cm X 26 cm

1/105 Rhea Dillon, Traces
Cooper Cole, Toronto, 2026

1/105 Rhea Dillon, A Sea Shanty (detail), 2026
Wooden cabinet and Wray & Nephew white overproof rum, 131.44 ×165.1 cm × 30.48 cm

1/105 Rhea Dillon, Trading Winds 2026
Concrete and glass, 27 cm × 19.99 cm × 15.01 cm

1/105 Rhea Dillon, Traces
Cooper Cole, Toronto, 2026

1/105 Rhea Dillon, IV: Severance From The Spliced Womb 2026
Anti-climb paint on metal, 46 × 4 × 61 cm

1/105 Rhea Dillon, Weather Stress Index
Hessel Museum of Art, Center for Curatorial Studies, Bard College, Annandale-on-Hudson, NY, 2026

1/105 Rhea Dillon, Gestural Poethics
Heidelberger Kunstverein, Heidelberg, 2025

1/105 Rhea Dillon, 71°67’55.4”94°06’40.2”25: VI 2025
Sapele mahogany, glass, resin, molasses

1/105 Rhea Dillon, 71°67’55.4”94°06’40.2”25: VI (detail), 2025
Sapele mahogany, glass, resin, molasses

1/105 Rhea Dillon, 71°67’55.4”94°06’40.2”25: I 2025
Sapele mahogany, glass, resin, molasses, 33 × 13.5 × 26 cm

1/105 Rhea Dillon, 71°78’10.6”23°52’17.3”25: II 2025
Sapele mahogany, glass, resin, soil, 34 × 13.5 × 26 cm

1/105 Rhea Dillon, Fractal Being
Cordova, Barcelona, 2024

1/105 Rhea Dillon, Gestural Poetics
Soft Opening at Paul Soto, Los Angeles, 2024

1/105 Rhea Dillon, Prayer. 2024
Sapele mahogany, oil stick and paper, 95.2 × 125 × 23 cm

1/105 Rhea Dillon, piercing space and parting seas 2024
Sapele mahogany, oil stick and paper, 95.2 × 125 × 23 cm

1/105 Rhea Dillon, Less than that; 2024
Sapele mahogany, oil stick and paper, 95.2 × 125 × 23 cm

1/105 Rhea Dillon, There’s so much air in the word for wishes for, wishes of. 2024
Sapele mahogany, oil stick and paper, 95.2 × 125 × 23 cm

1/105 Rhea Dillon, carried on the spirit air. 2024
Sapele mahogany, oil stick and paper, 95.2 × 125 × 23 cm

1/105 Rhea Dillon, Each now, is the time
Lismore Castle Arts, Lismore, 2024

1/105 Rhea Dillon, The Black Fold
Kunstverein Kevin Space, Vienna, 2023

1/105 Rhea Dillon, Left by Left, Left OutRight. (Fascist Aesthetics) 2023
Anti-climb paint on wood, 5 panels 70 x 54.5 cm each

1/105 Rhea Dillon, Atlas above all, else 2023
Ceramic and cut crystal, 113 x 18.5 x 18.5 cm

1/105 Rhea Dillon, An Alterable Terrain
Tate Britain, London, 2023

1/105 Rhea Dillon, Placing Her Within An Alterable Terrain 2023
Acrylic glass, 160 × 160 × 160 cm

1/105 Rhea Dillon, Flagging Visions Of Periphery 2023
Steel, polyester and resin, 104.5 × 130 cm

1/105 Rhea Dillon, Flagging Visions Of Periphery (detail), 2023
Steel, polyester and resin, 104.5 × 130 cm

1/105 Rhea Dillon, As Wata to Wine, Wine to Blood, Blood to Dirt, Dirt to Sand, Sand to Water; Wata (Bit) 2023
Iron, plastic and sand, 10.2 × 40.7 × 30 cm

1/105 Rhea Dillon, Swollen, Whole, Broken, Birthed in the Broken; Broken Birthed, Broken, Deficient, Whole—At the Black Womb’s Altar, At the Black Woman’s Tale 2023
Sapele Mahogany, Calabashes, 25.4 × 160 × 25.4 cm

1/105 Rhea Dillon, C/leaning Figures 2023
Scent, soap, molasses and resin, Dimensions variable

1/105 Rhea Dillon, C/leaning Figures (detail), 2023
Scent, soap, molasses and resin, Dimensions variable

1/105 Rhea Dillon, We looked for eyes creased with concern, but saw only veils
Sweetwater, Berlin, 2023

1/105 Rhea Dillon, There the flawed became whole (Then the screen would light up, and I’d move right on in them pictures) 2023
Steel, 125.5 × 250

1/105 Rhea Dillon, Incomprehensible Sex Coming To Its Dreaded Fruition; nothing remains but Pecola & the Unyielding Earth 2023
Sapele mahogany and marigold seeds, 22.5 x 38 x 19 cm

1/105 Rhea Dillon, Pretty eyes. Pretty blue eyes. Big blue pretty eyes. Run, Jip, run. Jip runs, Alice runs. Alice has blue eyes. Jerry has blue eyes. Jerry runs. Alice runs. They run with their blue eyes. Four blue eyes. Four pretty blue eyes. Blue-sky eyes. Blue-like Mrs. Forrest’s blue blouse eyes. Morning-glory-blue-eyes. Alice-and-Jerry-blue-storybook- 2023
Anti-climb paint, paper, sapele mahogany, 91 × 91 × 6 cm

1/105 Rhea Dillon, She was washing dishes. Her small back hunched over the sink—a winged but grounded bird, intent on the blue void it could not reach. 2023
Brass and polyester, 21 x 9 x 12.5 cm

1/105 Rhea Dillon, An Unholy Trinity (the) Imaginary, Symbolic and Real 2022
Sapele mahogany, 117 × 87 × 87 cm

1/105 Rhea Dillon, An Unholy Trinity (the) Imaginary, Symbolic and Real (detail), 2022
Sapele mahogany, 117 × 87 × 87 cm

1/105 Rhea Dillon, Seeing from nowhere the place in between 2022
Concrete and glass, 31.5 × 13 × 13 cm

1/105 Rhea Dillon, Cup runneth over, runneth out, runneth raw—I forget my body is about me 2022
Concrete and glass, 19 × 23 × 29.5 cm

1/105 Rhea Dillon, Sole Responsibility: Aged 12, but above III 2023
Cut crystal, Dimensions variable

1/105 Rhea Dillon, Sole Responsibility: Aged 12, but above III 2022
Cut crystal, Dimensions variable

1/105 Rhea Dillon, Sole Responsibility: Aged 12, but above III 2023
Cut crystal, Dimensions variable

1/105 Rhea Dillon, Vexilla Sumpta 2022
Oil and anti-climb paint on canvas, 105 × 210 cm

1/105 Rhea Dillon, Vexilla Sumpta (detail), 2022
Oil and anti-climb paint on canvas, 105 × 210 cm

1/105 Rhea Dillon, The Mythic Silent black Woman in an Act of Folding 2022
Oil on canvas, 45.7 × 183 cm

1/105 Rhea Dillon, The Mythic Silent black Woman in an Act of Folding (detail), 2022
Oil on canvas, 45.7 × 183 cm

1/105 Rhea Dillon, 42 Oakley 77 2019, from b to B 2022
Oil on canvas, 30 × 80 cm

1/105 Rhea Dillon, In spite of false Winds 2022
Oil on canvas, 30 × 80 cm

1/105 Rhea Dillon, Real Corporeal
Gladstone Gallery, New York, 2022

1/105 Rhea Dillon, 9/3 or I know how to fall (3) and I was born to nights (9)
Bold Tendencies, London, 2022

1/105 Rhea Dillon, The Sombre Majesty (or, on being the pronounced dead)
Soft Opening, London, 2022

1/105 Rhea Dillon, A Caribbean Ossuary 2022
Wooden cabinet and cut-crystal, 42 × 208 × 161.5 cm

1/105 Rhea Dillon, A Caribbean Ossuary (detail), 2022
Wooden cabinet and cut-crystal, 42 × 208 × 161.5 cm

1/105 Rhea Dillon, Every Ginnal Is A Star 2022
Plastic, 193 × 193 × 10 cm

1/105 Rhea Dillon, The Sombre Majesty (or, on being the pronounced dead)
Soft Opening, London, 2022

1/105 Rhea Dillon, New Wor(l)d. 2022
Sapele mahogany, oil stick and paper, 95.2 × 125 × 23 cm

1/105 Rhea Dillon, Both Low Hanging Fruit And The Scavenged High Rise – Either Way: Suspension. So, Slackening The Hold Here I Ask Through The Poethics Of Suspense, ‘How Can You Rest When Still Strung Up?’ 2022
Sapele mahogany crosier, bus seat moquettes and thread, 311 × 110 × 93 cm

1/105 Rhea Dillon, The Sombre Majesty (or, on being the pronounced dead)
Soft Opening, London, 2022

1/105 Rhea Dillon, Nonbody Nonthing No Thing
V.O Curations, 2021

1/105 Rhea Dillon, From Landing to arriva(L) In Clear Waters Only I Can Paint Black 2021
Foam, bus seats, non drying anti-climb paint, plastic, acrylic paint & bleach, 135 × 88 × 72 cm

1/105 Rhea Dillon, From Landing to arriva(L) In Clear Waters Only I Can Paint Black (detail), 2021
Foam, bus seats, non drying anti-climb paint, plastic, acrylic paint & bleach, 135 × 88 × 72 cm

1/105 Rhea Dillon, Painting (D-o-u-b-l-e-P-e-n-d-u-l-u-m) 2021
Acrylic on bamboo, 142 × 2 × 4 cm

1/105 Rhea Dillon, Painting (D-o-u-b-l-e-P-e-n-d-u-l-u-m) (detail), 2021
Acrylic on bamboo, 142 × 2 × 4 cm

1/105 Rhea Dillon, Faeces I 2021
Polyester backing and foam, 45 × 55 cm (59 × 73 cm framed)

1/105 Rhea Dillon, The Myth Of The Noble Savage, A Hoodlum Afar And A Saint At Her Desk 2021
360° dome mirror, Jamaican coins, chain and non drying anti-climb paint, 60 × 60 × 134 cm

1/105 Rhea Dillon, The Myth Of The Noble Savage, A Hoodlum Afar And A Saint At Her Desk (detail), 2021
360° dome mirror, Jamaican coins, chain and non drying anti-climb paint, 60 × 60 × 134 cm

1/105 Rhea Dillon, Incomplete Lysis 2021
Concrete and glass, 43 × 15 × 29 cm

1/105 Rhea Dillon, Incomplete Lysis (detail), 2021
Concrete and glass, 43 × 15 × 29 cm

1/105 Rhea Dillon, Faeces II 2021
Polyester backing and foam, 45 × 55 cm (59 × 73 cm framed)

1/105 Rhea Dillon, Ffaeces I 2021
Polyester backing and foam, 45 × 34 cm (59 × 73 cm framed)

1/105 Rhea Dillon, Ffaeces III 2021
Polyester backing and foam, 45 × 34 cm (59 × 73 cm framed)

1/105 Rhea Dillon, Nonbody Nonthing No Thing
V.O Curations, London, 2021

1/105 Rhea Dillon, Vexilla Maurus 2021
Oil on canvas, 206 × 106 cm

1/105 Rhea Dillon, Vexilla Maurus (detail), 2021
Oil on canvas, 206 × 106 cm

1/105 Rhea Dillon, Janus
Soft Opening, London, 2021

1/105 Rhea Dillon, Janus *pause* leaking fortified enclaves 2020
Sapele Mahogany, steel and fluids, 100 × 100 × 18 cm

1/105 Rhea Dillon, Cellar Door (A Litany) 2020
Anti climb paint, oil and newsprint on board, 86 × 51.5 cm

1/105 Rhea Dillon, Cellar Door (A Litany) (detail), 2020
Anti climb paint, oil and newsprint on board, 86 × 51.5 cm

1/105 Rhea Dillon, No Man Is An Island
Almine Rech, London , 2020

1/105 Rhea Dillon, Angels Die So Pigs Can Fly And Other Folks Tales 2020
Oil and acrylic on canvas, 40 × 30 cm

1/105 Rhea Dillon, Icarus! Icarus! Icarus! 2020
Oil and acrylic on canvas, 45.5 × 35.5 cm

1/105 Rhea Dillon, Dishwater and No Images
Peak Gallery, London, 2020

1/105 Rhea Dillon, These words took years to arrive *pause* leaking fortified enclaves 2020
Ink and acrylic paint on paper mounted onto felt noticeboard, 60 × 90 cm

1/105 Rhea Dillon, UdderAngel 2020
Acrylic on canvas, 100 × 150 cm

1/105 Rhea Dillon, Golgotha 2020
Thread on Barbie blanket mounted on rusted steel cross, 196 × 120 × 30 cm

1/105 Rhea Dillon, Atlas’ Duppeee Whoopeee Seat: women should stop cleaning faeces, everyone should clean faeces 2020
balloon, disinfectant, body oils & found object, 98 × 54 × 64 cm

1/105 Rhea Dillon, (Working Title) Browning 2025 2021
Video, colour, sound, 28 min

<p><em>Still waters, weeping</em></p> — *Still waters, weeping*, 2026

<p><em>Traces</em></p> — *Traces*,
Cooper Cole, Toronto, 2026

<p><em>A Sea Shanty</em></p> — *A Sea Shanty* (detail), 2026

<p><em>Trading Winds</em></p> — *Trading Winds*, 2026

<p><em>IV: Severance From The Spliced Womb</em></p> — *IV: Severance From The Spliced Womb*, 2026

<p><em>Weather Stress Index</em></p> — *Weather Stress Index*,
Hessel Museum of Art, Center for Curatorial Studies, Bard College, Annandale-on-Hudson, NY, 2026

<p><em>Gestural Poethics</em></p> — *Gestural Poethics*,
Heidelberger Kunstverein, Heidelberg, 2025

<p><em>71°67’55.4”94°06’40.2”25: VI</em></p> — *71°67’55.4”94°06’40.2”25: VI*, 2025

<p><em>71°67’55.4”94°06’40.2”25: I</em></p> — *71°67’55.4”94°06’40.2”25: I*, 2025

<p><em>71°78’10.6”23°52’17.3”25: II</em></p> — *71°78’10.6”23°52’17.3”25: II*, 2025

<p><em>Fractal Being</em></p> — *Fractal Being*,
Cordova, Barcelona, 2024

<p><em>Gestural Poetics</em></p> — *Gestural Poetics*,
Soft Opening at Paul Soto, Los Angeles, 2024

<p><em>Prayer.</em></p> — *Prayer.*, 2024

<p><em>piercing space and parting seas</em></p> — *piercing space and parting seas*, 2024

<p><em>Less than that;</em></p> — *Less than that;*, 2024

<p><em>There’s so much air in the word for wishes for, wishes of.</em></p> — *There’s so much air in the word for wishes for, wishes of.*, 2024

<p><em>carried on the spirit air.</em></p> — *carried on the spirit air.*, 2024

<p><em>Each now, is the time</em></p> — *Each now, is the time*,
Lismore Castle Arts, Lismore, 2024

<p><em>The Black Fold</em></p> — *The Black Fold*,
Kunstverein Kevin Space, Vienna, 2023

<p><em>Left by Left, Left OutRight. (Fascist Aesthetics)</em></p> — *Left by Left, Left OutRight. (Fascist Aesthetics)*, 2023

<p><em>Atlas above all, else</em></p> — *Atlas above all, else*, 2023

<p><em>An Alterable Terrain</em></p> — *An Alterable Terrain*,
Tate Britain, London, 2023

<p><em>Placing Her Within An Alterable Terrain</em></p> — *Placing Her Within An Alterable Terrain*, 2023

<p><em>Flagging Visions Of Periphery</em></p> — *Flagging Visions Of Periphery*, 2023

<p><em>As Wata to Wine, Wine to Blood, Blood to Dirt, Dirt to Sand, Sand to Water; Wata (Bit)</em></p> — *As Wata to Wine, Wine to Blood, Blood to Dirt, Dirt to Sand, Sand to Water; Wata (Bit)*, 2023

<p><em>Swollen, Whole, Broken, Birthed in the Broken; Broken Birthed, Broken, Deficient, Whole—At the Black Womb’s Altar, At the Black Woman’s Tale</em></p> — *Swollen, Whole, Broken, Birthed in the Broken; Broken Birthed, Broken, Deficient, Whole—At the Black Womb’s Altar, At the Black Woman’s Tale*, 2023

<p><em>C/leaning Figures</em></p> — *C/leaning Figures*, 2023

<p><em>We looked for eyes creased with concern, but saw only veils</em></p> — *We looked for eyes creased with concern, but saw only veils*,
Sweetwater, Berlin, 2023

<p><em>There the flawed became whole (Then the screen would light up, and I’d move right on in them pictures)</em></p> — *There the flawed became whole (Then the screen would light up, and I’d move right on in them pictures)*, 2023

<p><em>Incomprehensible Sex Coming To Its Dreaded Fruition; nothing remains but Pecola & the Unyielding Earth</em></p> — *Incomprehensible Sex Coming To Its Dreaded Fruition; nothing remains but Pecola & the Unyielding Earth*, 2023

<p><em>Pretty eyes. Pretty blue eyes. Big blue pretty eyes. Run, Jip, run. Jip runs, Alice runs. Alice has blue eyes. Jerry has blue eyes. Jerry runs. Alice runs. They run with their blue eyes. Four blue eyes. Four pretty blue eyes. Blue-sky eyes. Blue-like Mrs. Forrest’s blue blouse eyes. Morning-glory-blue-eyes. Alice-and-Jerry-blue-storybook-</em></p> — Pretty eyes. Pretty blue eyes. Big blue pretty eyes. Run, Jip, run. Jip runs, Alice runs. Alice has blue eyes. Jerry has blue eyes. Jerry runs. Alice runs. They run with their blue eyes. Four blue eyes. Four pretty blue eyes. Blue-sky eyes. Blue-like Mrs. Forrest’s blue blouse eyes. Morning-glory-blue-eyes. Alice-and-Jerry-blue-storybook-, 2023

<p><em>She was washing dishes. Her small back hunched over the sink—a winged but grounded bird, intent on the blue void it could not reach.</em></p> — *She was washing dishes. Her small back hunched over the sink—a winged but grounded bird, intent on the blue void it could not reach.*, 2023

<p><em>An Unholy Trinity (the) Imaginary, Symbolic and Real</em></p> — *An Unholy Trinity (the) Imaginary, Symbolic and Real*, 2022

<p><em>Seeing from nowhere the place in between</em></p> — *Seeing from nowhere the place in between*, 2022

<p><em>Cup runneth over, runneth out, runneth raw—I forget my body is about me</em></p> — *Cup runneth over, runneth out, runneth raw—I forget my body is about me*, 2022

<p><em>Sole Responsibility: Aged 12, but above III</em></p> — *Sole Responsibility: Aged 12, but above III*, 2023

<p><em>Vexilla Sumpta</em></p> — *Vexilla Sumpta*, 2022

<p><em>The Mythic Silent black Woman in an Act of Folding</em></p> — *The Mythic Silent black Woman in an Act of Folding*, 2022

<p><em>42 Oakley 77 2019, from b to B</em></p> — *42 Oakley 77 2019, from b to B*, 2022

<p><em>In spite of false Winds</em></p> — *In spite of false Winds*, 2022

<p><em>Real Corporeal</em></p> — *Real Corporeal*,
Gladstone Gallery, New York, 2022

<p><em>9/3 or I know how to fall (3) and I was born to nights (9)</em></p> — *9/3 or I know how to fall (3) and I was born to nights (9)*,
Bold Tendencies, London, 2022

<p>The Sombre Majesty (or, on being the pronounced dead)</p> — *The Sombre Majesty (or, on being the pronounced dead)*,
Soft Opening, London, 2022

<p>A Caribbean Ossuary</p> — *A Caribbean Ossuary*, 2022

<p>Every Ginnal Is A Star</p> — *Every Ginnal Is A Star*, 2022

<p>New Wor(l)d.</p> — *New Wor(l)d.*, 2022

<p>Both Low Hanging Fruit And The Scavenged High Rise – Either Way: Suspension. So, Slackening The Hold Here I Ask Through The Poethics Of Suspense, ‘How Can You Rest When Still Strung Up?’</p> — *Both Low Hanging Fruit And The Scavenged High Rise – Either Way: Suspension. So, Slackening The Hold Here I Ask Through The Poethics Of Suspense, ‘How Can You Rest When Still Strung Up?’*, 2022

<p>Nonbody Nonthing No Thing</p> — *Nonbody Nonthing No Thing*,
V.O Curations, 2021

<p>From Landing to arriva(L) In Clear Waters Only I Can Paint Black</p> — *From Landing to arriva(L) In Clear Waters Only I Can Paint Black*, 2021

<p>Painting (D-o-u-b-l-e-P-e-n-d-u-l-u-m)</p> — *Painting (D-o-u-b-l-e-P-e-n-d-u-l-u-m)*, 2021

<p>The Myth Of The Noble Savage, A Hoodlum Afar And A Saint At Her Desk</p> — *The Myth Of The Noble Savage, A Hoodlum Afar And A Saint At Her Desk*, 2021

<p>Incomplete Lysis</p> — *Incomplete Lysis*, 2021

<p>Ffaeces III</p> — *Ffaeces III*, 2021

<p>Vexilla Maurus</p> — *Vexilla Maurus*, 2021

<p>Janus</p> — *Janus*,
Soft Opening, London, 2021

<p>Janus *pause* leaking fortified enclaves</p> — *Janus *pause* leaking fortified enclaves*, 2020

<p>Cellar Door (A Litany)</p> — *Cellar Door (A Litany)*, 2020

<p>No Man Is An Island</p> — *No Man Is An Island*,
Almine Rech, London , 2020

<p>Angels Die So Pigs Can Fly And Other Folks Tales</p> — *Angels Die So Pigs Can Fly And Other Folks Tales*, 2020

<p>Icarus! Icarus! Icarus!</p> — *Icarus! Icarus! Icarus!*, 2020

<p>Dishwater and No Images</p> — *Dishwater and No Images*,
Peak Gallery, London, 2020

<p>These words took years to arrive *pause* leaking fortified enclaves</p> — *These words took years to arrive *pause* leaking fortified enclaves*, 2020

<p>Atlas’ Duppeee Whoopeee Seat: women should stop cleaning faeces, everyone should clean faeces</p> — *Atlas’ Duppeee Whoopeee Seat: women should stop cleaning faeces, everyone should clean faeces*, 2020

<p>(Working Title) Browning 2025</p> — *(Working Title) Browning 2025*, 2021

Soft Opening

Exhibitions