All of Dillon’s photographs are made in camera, on film, using a variety of color gels, filters, handmade masking devices and multiple exposures. Utilizing both photographic strobes and natural light, he constructs compositions of simple objects and shoots them using techniques he finds in the technical manuals of early photography. The resultant images could be mistaken for film stills from B-horror or science fiction films. This is a search for an iconography, a set of symbols that suspends, or tries to defeat – if momentarily – the fixed laws of nature. In doing so, the work cultivates the strangely beautiful, and develops an atmosphere of otherness, of groundless dread, of breathless wonder, as well as an unsettling reverie for both the mundane and the fantastic. These are photographic transgressions, striving to break the rules of photography, subverting ideas of representation, truth, potent surfaces, stillness; through these transgressions, the work seeks to make visible the uncanny, the weird, the unfamiliar, the aura, and to overturn, to upset, to undermine rules and conventions.