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08 June / 14 July 2024
GUILLAUME DILLEE
Dystopia (Selected Works)
“The title Dystopia refers to the dreamlike quality of my works, a conceptual world where the relationship between Man and Nature is perpetually at odds. My creations reflect the limits of mankind concerning the expansive biodiversity around him. I delve into this paralleled concept through the exploration of man’s relationship with their natural environment, interpretations of plant organics, and the ambiguous relationship between botanical toxic beauty and danger.
Upon my arrival to Australia ten years ago I was exposed to a whole new world of natural environments and complicated intertwinings between man and nature. The Australian environment was a revelation of a unique palette of colours, light, shapes, biodiversity, flora, fauna, and natural disasters. I found myself intrigued by the contradictory beauty yet ferocity of Australian flora and fauna. This dichotomy became a central theme in my work, prompting me to examine the delicate balance between attraction and danger inherent in the botanical world.
Challenged by climate change more than most places, Australian land and people are frequently confronted with the destructive forces of natural disasters. In this context, I explored the complexities of coexistence between man and nature, focusing on the power dynamics that naturally arise between the two forces. On one side is man, who exploits natural resources, and on the other is nature, which, despite everything, regenerates beyond all expectations.
As a self-taught artist, I view my studio as a laboratory for experimentation between various mediums, techniques, and contrasts to create unusual visual compositions. I draw on what I observe, what I hear and what I feel to create elements that find their place in my creative subconscious. Successive layers of various mediums build upon each other, crafting the desired effect. Enamel or ink are applied in a spontaneous, definitive gesture, like Japanese Shodo (calligraphy technique), embracing the irreversibility of each mark.”
- Guillaume Dillée, 2024
