Q&A: An Interview with Connor Dillman

What appeals to you about depicting private everyday moments in your paintings?

In my opinion, the work of a painter revolves around paying a devotional amount of attention to the particular details of one’s life and personal curiosities. For me that starts with looking closely at what calls out to me from my everyday environment as visually odd, incongruous, or charming in some way as I move through my daily routine. I’ve lived across LA and London for the better part of my adulthood, so I’m acutely aware of how it feels when the speed of a big city causes one’s senses to blur in the process of just trying to survive. I think of my painting practice as a counter to that feeling during which I can slow down my vision, focus, and expand the moments that make up my experience rather than letting them compress into something monolithic. My hope is that the work does enough to hold this impulse to protect and nurture my own perceptual sensitivity, and in the best cases maybe a bit of that impulse can be transferred to those who view the work.

Has your experience interviewing emerging artists for your podcast evolved your personal practice in any specific or unexpected ways?

Absolutely. It has fostered and strengthened my artistic community, which in my opinion is perhaps the single most important ingredient for a healthy practice. And while contextualizing my work is not the main goal of my podcast, naturally that is a by-product of literally being in dialogue with other painters. Every conversation I facilitate is focused on honoring, with sustained attention, the work of artists from my community and/or generation who I think are developing important work. So spending time absorbing and digesting that work has helped me hone in on what I want my own to convey.

Can you elaborate on the relationship between painting and drawing in your work? Is there a particular effect from one medium that you like to carry over into the other?

I’ve been drawing since before my earliest memories, which is probably why it has always been much more conducive to experimental mark-making for me than painting. But in the last couple of years, I have slowly realized that the distinction I was makingbetween the two mediums was an arbitrary one. Which has transformed my painting practice into something way more exploratory (and fun). I think approaching representation in paint from a drawing perspective helps me play around with formal tensions while also retaining a sense of accumulated touch in my work, which I personally love seeing paintings prioritize.

Are you ritualistic or chaotic when it comes to creating art and maintaining a studio

practice?

Ritualistic. For me, creating the conditions for meaningful art to happen basically depends on systematically maintaining an equilibrium between work, play, sleep, exercise, friends, family, my relationship, and admin. Which is a delicate and volatile balance in my experience, so I’m pretty stubbornly committed to preserving it through consistency.

What are some of your favourite galleries to visit?

The National Gallery (inexhaustible, always edifying) and Raven Row

Are there any shows you’re looking forward to or artists you’re excited to see?

Ruba Nadar at Pipeline in London. I’m also making a short trip to New York soon, and I’m looking forward to seeing the new Paul Thek show that will be on at Galerie Buchholz by the time I’m there.