D I L L Y W A R D B U N D Y
R E V I E W B Y M A G D A M A R Q U È S : 2 0 0 5
In her studies of the face Dilly’s own self-portraits are proving an absorbing interest,
as if the painter wants to concentrate on her own facial expressions to project emotions
and feelings. Using a mirror for practical purposes, her persistence as her own model
is beginning to yield both understanding and the facility to capture transient moments.
Dilly does not hide the imperfections of reality. Indeed she uses them as a means
to go deeper - to identify feelings and reveal them uncompromisingly. It is a trait
which pervades the work of Goya, Lucian Freud and Frida Kahlo, important influences
on her work. At the same time it seems to me that this study of the self reflects
Dilly’s restlessness and her desire for constant renewal.
She does not paint ideal, perfect, transparent faces like closed works. Her semi-obscured
faces emphasise the importance of searching within to see oneself as perhaps others
do. These masked faces intend to conceal but paradoxically they also awaken our interest.
Thus a mask reveals a thought-provoking glance and a fig leaf invites us to see just
one challenging eye. By hiding from us almost the whole face these drawings succeed
in making us look with greater intensity. In turn, a straw hat or spectacles, which
serves to protect from the sun, also acts as a mask. Even an earring can become significant,
playing down the importance of other facial features.
Dilly’s portraits set aside mere representation to encourage us to question what
is happening, how we feel and why. The curiosity of the artist is stamped on these
paintings and drawings which, surely, can leave no visitor to the exhibition unmoved.
Magda Marquès
