Though working in multiple forms Dyson describes herself as a painter whose compositions address the continuity of movement, climate change, infrastructure, and architecture. For Dyson these subjects in relationship to each other produce abstractions that explore the history and future of black spatial liberation strategies and environmental racism.

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.

Dyson builds the paintings slowly, accumulating washes and configuring minimal geometric elements through a process of improvisation and reflection. The paint-handling producing various surfaces using brushwork and other tools is made poetic by a juxtaposition of dense marks and scored, diagrammatic lines. This compositional rigor imbues the works with an architectural presence and optical gravity.

In Dyson’s work the residue of grids and the evidence of hand moving in space creates a productive tension. This precarious arrangement along with subtle use of atmospheric color, contour lines, scale shifts in the paintings invite the eye to consider the conceptual and corporeal knowledge of space in real time.

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