In her sculptural works M Dillon uses materials including wax, silicone and steel to create objects that have both industrial and biological attributes.  Steel is bent into angular forms, invoking a sense of chaos and violence. This is the skeletal structure on which fleshy fragments precariously hang or are draped, appearing simultaneously absurd and obscene. This is viscera without boundaries, in freefall, spilling and collapsing. 


    The formless and seemingly organic parts of the sculpture are in conflict with the unyielding steel. The interplay between the dangling objects and elements of the work that appear solid is a commentary on the body as a place of disquiet; to inhabit a body is to inhabit fear and dread.  The body is on the brink of decay while our egos cling to consumption and technology in order to enhance and immortalise ourselves. It’s relationship with nature is fraught, it is no longer part of nature but at war with the biosphere that supports it. 


    The act of making the work can be painstaking, requiring an intricate layering of materials and a range of techniques, this in itself becomes a performative act, with the various processes being intrinsic to the finished piece.


    Some of the works become interactive in response to approaching viewers, their movement triggering the unstable and more fragile components to bob or sway. These unidentifiable body parts invite the viewer into an encounter which is abstract and visceral, eliciting a prurient fascination with objects that are familiar yet alien. 

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