Rhea Dillon, Peter Spanjer, Oscar yi Hou
Curated by Koye Odejinmi
pressing as in urgent
pressing as in getting to the core of things
pressing as in squeezed to within an inch of its life
pressing as in leaving a mark
pressing as in the click of a button
pressing as in continuing on the long open road to resolution
pressing explores the work of three artists: Rhea Dillon, Peter Spanjer and Oscar yi Hou. They each explore different means of expressing selfhood and dealing with the ways their work is often compressed and understood. Exploring issues of agency that are intertwined with their own identity each artist has been invited to present their work for Division of Labour’s new virtual environment.
Rhea Dilon (b.1996, London) is an artist, writer and poet based in London. Using painting, sculpture, video, images and olfaction, she examines and abstracts her intrigue of the ‘rules of representation’ as a device to undermine contemporary Western culture. She is particularly interested in the self coined phrase ‘humane afrofuturism’ as a practice of bringing forward the humane and equality-led perspectives on how we visualise Black bodies. Her work has been exhibited at 198 Gallery, The British Film Institute, Mimosa House, Red Hook Labs, NY, Aperture Gallery and Sanam Archive, Accra Ghana.
Peter Spanjer (b.1994, Germany) is a Nigerian artist, currently working and living in London. His work is often framed around the idea of resistance; resisting the emotional stereotypes put on black men; resisting the need to perform his blackness to others and allowing room for self exploration which he extends to his audience as a piece of visual art. Throughout his practice Spanjer challenges the viewer to reimagine the black male existence, often placing himself at the centre of his work, attempting to rewrite the existing overdetermined narrative with his own intimate body of work. His work has been exhibited at Saatchi Gallery, London, and Kristin Hjellegjerde, London.
Oscar yi Hou (b.1998, Liverpool, UK) Lives and Works in New York City. Influenced heavily by his own diasporic upbringing yi Hou’s work explores concepts of hybridity, interrogating the binaries of this/that, here/there, Orient/Occident, he refuses any essentialising narratives. Working mainly in painting, yi Hou’s work is oriented by a deep desire for humanness and relationality; painting as a practise of dignity. Utilising the decorative and the symbolic, yi Hou’s exhibits a sustained focus on marginal space and the poetic possibilities that lie within them. His work has been exhibited at Asia Society, NYC and Kohn Gallery, LA.