Dillan Marsh
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The_Rat 2015-02-22
Gunter Grass, The Rat, Translated by Ralph Manheim
Where man had been, in every place he left, garbage remained. Even in his pursuit of the ultimate truth and quest for his God, he produced garbage. By his garbage, which lay stratum upon stratum, he could always - one only had to dig - be known. For more long-lived than man is his refuse. Garbage alone lives after him.
[...]
Vast plains infested with garbage, beaches strewn with garbage, valleys clogged with garbage. Synthetic flakes on the move. Tubes that have forgotten their ketchup and never rot. Shoes of neither leather nore straw walk self-propelled with the sand and collect in pits full of garbage, where already yachtsman's gloves and droll inflatable animals are waiting. All these things speak of you, now and forever. You and your works wrapped in clear plastic, sealed in vacuum bags, moulded in synthetic resin, you in chips and clips: the human race that was.
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Bags 2013-09-08
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Castle and Elephant, Coventry, 2010 2010-07-02
the group exhibition Rumiko Hagiwara – Dillan Marsh – Elizabeth Rowe brought together three artists whose work encapsulated notions of distraction, futility and perseverance. Working with the aesthetics of mass media, Elizabeth Rowe’s practice merged images from printed material to regain an element of control over an overwhelming accumulation of information. In preparation for exhibition, Rowe produced F—k reason (2009) which singularly featured on the front image of the exhibition flyer. In line with ideas of ineffectuality, four new works were commissioned and intended for inclusion in The Coventry Telegraph. When the commissions were denied printing due to the ambiguous non-commercial content, an enlightening conversation between Rowe and the editor discussing ideas about the ephemeral in art, formed an integral part of the show. Displayed within the window frontage, the protagonist in Rumiko Hagiwara’s film Escalator (2003) performs a subtle passive aggressive act by walking the opposite way, on a downward flowing escalator. By drawing attention to the use of the public space, Hagiwara suggests that the viewer rediscover trivial elements around them. This was shown in conjunction with Dillan Marsh’s work Multiple Failures (2008), which documents futile attempts to inflate a self-constructed air-balloon. Marsh strives to realise a fantasy of escape, but the end result is a catalogue of short-lived unsuccessful endeavours. 
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