Rhea Dillon (based in London) is an artist, writer and poet. Using video, installation, images, painting and olfaction, she examines and abstracts her intrigue of the “rules of representation” as a device to undermine contemporary Western culture. She is particularly interested in the self-coined phrase ‘Humane Afrofuturism’ as a practice of bringing forward the humane and equality-led perspectives on how we visualise Black bodies. Her work has been featured at a number of art and film institutions internationally, including The British Film Institute, 198 Gallery, Somerset House, Mimosa House, Blank 100 (London); Red Hook Labs, Aperture Gallery (New York); Red Bull Film Festival (Los Angeles); Sanam Archive (Accra, Ghana). She is an Associate Lecturer at Central Saint Martins (London) and the co-founder and curator of ‘Building The Archive: Thinking Through Cultural Expression’, a talk series that celebrates Black creative practitioners and their contributions to visual culture within arts and design higher education.
The Name I Call Myself (2019), Process (2018), Black Angel (2018)