In the end, the spindly wooden creation ends up working very well as a sculpture and takes center stage in the show at LAUNCH F18, leaning against a white wall. Around it, iterations of Dilworth’s experiments—hybrids of process and product—proliferate. The UV print on vinyl (Untitled, 2015) also commands its own wall. Another large-scale print (Nine Palms, 2015) covers the connecting floor, like a rug, with an image of hard-edged shapes interrupted by oblong cut-outs that reveal the concrete ground beneath, connecting Dilworth’s artwork to the architecture that surrounds it.
In another area of the exhibition, plywood shapes marked with scuffs and paint that some artists might leave behind in the studio become geometric sculptures, sitting casually on the floor. It’s a diverse cohort of works, but they all grow from Dilworth’s central interest: “to investigate how a form, object, or artwork finds definition,” he explains. “I’m curious about how all the different steps that go into creating something and all the things that are discarded on the way complement one another.”