'After Serpentine' is a study of the dialogue between abstraction and representation, inspired by the 1891 performance of Serpentine Dance by American performer Loie Fuller.

The logic of Alex Dillon's paintings follows Fuller's avant-garde 'free dance' practice, which incorporated theatrical devices, synaesthesia, and unencumbered movement to invent an aesthetic spectacle.

The images from 'After Serpentine' are cultivated and juxtaposed from an archive of botanical studies, film stills, documentary photography, and Dillon's own personal collection of family history.

Each painting is rendered first in charcoal, then translated with oil paint onto wooden blocks.

Dillon's process is driven by a curiosity for curatorship, theatricality, the representation of nature, and the themes of temporality and spectatorship. The combined paintings are stages to be evocative and atmospheric, constructing their own improvisational interpretations.

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