Rhea Dillon Delves Into Black Britishness and Her Debut Solo Exhibition

is a sublime series of deconstructions and reconfigurations that form a poetic exploration of Blackness through a total of seven paintings and sculptures. “People often ask me what it means to make Black art but to me, that is essentially asking me what it means to exist as myself,” says Dillon. “Being Black British is part of my ontic and ontology so it’s always present in my work because it is me.

This type of profound metaphoric storytelling has always been at the core of Dillon’s work, though the exhibition is a creative shift for the artist, who first gained prominence for her work in fashion photography and filmmaking. In 2018, while still studying fashion communication and promotion at Central Saint Martins, Dillon created a film in conjunction with Nowness titledThe Name I Call Myself

, another multilayered film that provides a loving insight into the Black British Queer community. “I love fashion and filmmaking as a medium but I have always been more drawn to other forms of art,” Dillon admits. “That’s not to say I will never make film or photography again, I’ll always do what feels right for me.”That being said, Dillon, who is second-generation British-Jamaican, is aware of the institutionalised classism still prevalent in the art world.

This is reflected in Dillon’s work, which often blends mighty references to the likes WEB Du Bois, Vanley Burke and Audre Lorde, with her own modern experiences and observations of society and what Blackness looks and feels like today. In

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