Though working in multiple forms Dyson describes herself as a painter where compositions  are constructed to address the continuity of space, movement, scale, geography, and architecture. For Dyson these subjects in relationship to each other produce questions of abstraction that point to ideas of autonomy, environmental liberation and perception.  

Dyson builds the paintings slowly, accumulating washes, building surface and configuring minimal geometric elements that lend a productive tension between image and object.  The paint-handling producing various visual qualities using brushwork and other tools is made poetic by a juxtaposition of delicate marks and scored, diagrammatic lines. This compositional rigor imbues the works with an architectural presence and optical gravity.

Dyson considers spatial relations an urgent question both historically and in the present day. Through abstract paintings, Dyson grapples with ways space is perceived and negotiated particularly by black and brown bodies. Explorations of how the body unifies, balances, and arranges itself to move through natural and built environments become both expressive and discursive structures within the work.

 

Looking for the People (Water Table Ocular #3), 2017
Polymer gravure on Hahnemühle Copperlate White paper
Edition of 10

Published by Brodsky Center, collaborating master printer Randy Hemminghaus. 17-311.
39 ½ x 29 inches