Rhea Dillon is an artist, writer, and poet based in London. Examining and abstracting her intrigue of the “rules of representation” as a device to undermine contemporary Western culture, Rhea questions what constitutes the ontology of race and power versus the ontic.

Rhea’s first institutional solo exhibition, An Alterable Terrain, was recently held at Tate Britain as part of the Art Now series. To accompany this major exhibition, a book of the same title was recently published by Tate Publishing.

Current exhibitions include Gestural Poetics at Soft Opening at Paul Soto, Los Angeles (2024); a solo presentation curated by The Kitchen, New York, in tandem with the group exhibition Janus at Palazzo Diedo, Berggruen Arts & Culture, Venice; and Each now, is the time, the space at Lismore Castle Arts, Lismore (2024).

Recent exhibitions include The Black Fold at Kevin Space, Vienna (2023); We looked for eyes creased with concern, but saw only veils at Sweetwater, Berlin (2023); The Sombre Majesty (or, on being the pronounced dead) at Soft Opening, London (2022); Real Corporeal at Gladstone Gallery, New York (2022); Love at Bold Tendencies, London (2022); an online screening at The Kitchen, New York (2022); Janus at Soft Opening, London (2021); Pressing at Division of Labour, Salford (2021); Dishwater and No Images as part of Distant Peak at Peak Gallery, London (2020); and Uchronia et Uchromia online at External Pages (2020).

Rhea was an artist in residence at Triangle - Astérides, Marseille, and previously at V.O. Curations, London, which culminated in a solo exhibition, Nonbody Nonthing No Thing and the publishing of poetry chapbook, Donald Dahmer (both 2021). The artist presented Catgut – The Opera as part of Park Nights 2021 at the Serpentine Pavilion, a publication of the same title was published in 2023.