When I was a child, my mom’s second husband gave her a custom made neon sign illustrating her name in red cursive letters. It hung above the door in our kitchen with ripple glass windows overlooking the woods. It’s where I first saw Blade Runner on a small black and white TV and heard Bowie's “Space Oddity” on the college radio station. Where I told someone, I loved them with no idea what that meant.
The sign was like a beacon for me, and I could turn it on by pulling a brass chain on the transformer hidden in a cabinet by the stove. Across from this was a black hole under the sink where my mom kept her bourbon. It could get complicated in my house. The truth was fluid, and nothing seemed real.
But I always knew I could escape my sense of confusion by turning on the neon sign.
I combine these early memories of alienation, subconscious violence, and systemic addiction with digital culture motifs to create multi-platform tableaus that point toward cycles of searching, belief, and transcendence. Knowing these subjective concepts are vital yet impossible to define, my hubristic efforts to resist the limits of control have nonetheless evolved into an obsessive endeavor driven by a profoundly foolish pursuit of freedom.
After two decades in a self-induced coma, I created THE CONVERSATION in 2011. I followed this with TIME'S ARROW, each acting like sides A and B of a concept album about emerging from the ice of a wasted life into a weird new world. My 2012 architectural intervention NOW unified this discursive line of inquiry to compress the past, present, and future into a single luminous form. I sampled and remixed the generative language of Web 2.0 to create the synthetic tone poetry of MMXIV in 2013. Commissioned by the Seattle Office of Arts and Culture in 2014, my massive neon meme JUST BE YOUR SELFIE transformed a city park into an active work of real-time internet art while my solo exhibition PRIVACY SETTINGS revealed personal details held tight beneath the surface. In 2015, I made dual-site meditation space ABSOLUTE ZERO, installed glyph-clad tower TRYLON at the University of Wyoming, and presented INTERFACE at Pulse Miami Beach Contemporary Art Fair. My post-apocalyptic project NOT A HOLOGRAM debuted in early 2016, and I was in Northwest Art Now at the Tacoma Art Museum curated by Juan Roselione-Valadez of the Rubell Family Collection. Later that same year, one of my experiments with helium, neon, argon, krypton, and xenon was featured in Rosetta at Unisex Salon in Brooklyn, New York. I'm building on this new direction to realize OMNIA — a series of interconnected vignettes that trace the narrative of light from the cosmic to the personal through an algorithmically controlled video projection of deep space footage sourced from NASA, three noble gas installations, and a virtual reality memoir set for release in Fall 2017.
My work is in private and institutional collections, and has appeared in Brooklyn Magazine, Artslant, Artsy, New American Paintings, artnet, The Huffington Post, The Wall Street Journal, Beautiful/Decay, WIRED, and VICE.
I live and work in Seattle, Washington.
1977 Born: Athens, Georgia.
2000 The University of Georgia: Athens, Georgia - BFA/Sculpture.
2013 SEASON: Seattle, Washington (2013 - Current).
SELECTED SOLO AND TWO-PERSON EXHIBITIONS
2016 NOT A HOLOGRAM, GLASS BOX: Seattle, Washington.
2015 CARS IN A CIRCLE, PULSE Contemporary Art Fair: SEASON: Miami, Florida.
2015 INTERFACE, Organic Produce: Seattle, Washington.
2015 ABSOLUTE ZERO, PUNCH/NewHive: Seattle, Washington/Internet.
2014 GO WHERE NEW EXPERIENCES TAKE YOU, Two Shelves: Seattle, Washington.
2014 PRIVACY SETTINGS, Prole Drift: Seattle, Washington.
2014 MMXIV, Vermillion: Seattle, Washington.
2012 TIME'S ARROW, Interzone: Seattle, Washington.
2011 THE CONVERSATION, PUNCH: Seattle, Washington.
SELECTED GROUP EXHIBITIONS
2017 (in)compatible, Interstitial: Seattle, Washington.
2017 Now Burning, Border Patrol: Portland, Maine.
2016 ROSETTA, Unisex Salon: Brooklyn, New York - Curated by Doppelganger Projects.
2016 Northwest Art Now, Tacoma Art Museum: Tacoma, Washington - Curated by Juan Roselione-Valadez.
2015 Seattle Art Fair, SEASON: Seattle, Washington.
2015 Seattle Art Fair, PUNCH: Seattle, Washington.
2015 Black Box Festival, Aktionsart: Seattle, Washington/Internet.
2015 DEEP WEB NEVERLAND, JETLAG: Fahaheel, Kuwait/Internet.
2015 FR€€ ₮HI₦G$, STCFTHOT: Leeds, United Kingdom/Internet - Curated by Jack Fisher.
2015 IT'S MY BONE AND MY ONLY DELIGHT, SEASON: Seattle, Washington.
2014 Art Basel Mukwonago, Bahamas Biennale Gallery: Mukwonago, Wisconsin - Curated by Sean J. Patrick Carney.
2014 Out of Office, Colony Projects: Cardigan, United Kingdom/Internet.
2014 UP EVERY EVENING, SEASON: Seattle, Washington.
2017 "POV: Young Artists Fight an Uphill Battle in Seattle | #50StatesofArt," Julia Greenway, The Creator's Project.
2017 "This Week in Net Art," Cecily Feitel, NewHive.
2016 "What We Have Left: The Best in Art This Weekend," Rachel Miller, Brooklyn Magazine.
2016 "Wednesday Web Artist of The Week: Dylan Neuwirth," Christian Peterson, Artslant.
2016 "Game Art: Dylan Neuwirth's NOT-A-HOLOGRAM.MMXVI (2016)," Matteo Bittanti, Gamescenes. Art in The Age of Videogames.
2016 "The Revenge of The Real: Dylan Neuwirth's NOT A HOLOGRAM," T. s. Flock, Vanguard.
2015 "This Week in Net Art," Cecily Feitel, NewHive.
2015 "Painting Highlights from the Seattle Art Fair and Out of Sight," Erin Langner, New American Paintings.
2015 "The First Seattle Art Fair Attracts Local Tech Royalty," Sheila Farr, artnet.
2015 "Zero Divided by Two is Still Zero," T. s. Flock, Vanguard.
2014 "Museum Shows Its Most 'Liked' Paintings In Crowd-Curated Exhibition #SocialMedium," Priscilla Frank, The Huffington Post.
2014 "Everybody's an Art Curator," Ellen Gammerman, Wall Street Journal.
2014 "Provocative Neon Art Speaks to Web Slang," Lindsey Rae Gjording, Beautiful/Decay.
2014 "Here's What Happens When You Let The Internet Curate an Art Museum," Graeme McMillan, WIRED.
2014 "POST: A Glance at Dylan Neuwirth's Posthuman World," T. s. Flock, Vanguard.
2014 "Dylan Neuwirth's Facebook Proposal," Laura Cassidy, Seattle Met.
2014 "Sketchbook Porn: Dylan Neuwirth," Amanda Manitach, City Arts.
2014 "We Watched New York's Sexiest Drug Princess Smoke Weird Shit," Mitchell Sunderland, VICE.
2014 "Dylan Neuwirth at Season," Suzanne Beal, International Sculpture Center/re:sculpt.
2014 "Interview Series: Dylan Neuwirth," The Fashion Law.
2014 "Escape from New York," Alex Teplitzky, Tout Petite La Planète.
2014 "Messages in Gas Under Glass," Jeremy Buben, Art Nerd Seattle.
2014 "The Stranger Suggests," Jen Graves, The Stranger.
2014 "Provoked by the Provocative," Jen Graves, The Stranger.
2014 "Dylan Neuwirth," Nancy Guppy, Art Zone.
2014 "Cold Fire," T. s. Flock, Vanguard.
2015 College Art Association Directory of Graduate Programs in Visual Arts: New York, New York/Internet - Cover.
2015 Library of the Printed Web #3: New York, New York/Internet - Curated by Paul Soulellis.
2015 University of Wyoming School of Art: Laramie, Wyoming - Visiting Artist.
2015 University of Wyoming School of Art: Laramie, Wyoming.
2015 Private Collection: Seattle, Washington.
2014 Private Collection: Los Angeles, California.
2014 ART404: New York, New York.
2012 Private Collection: Seattle, Washington.
2016 METANOIA, PNCA: Portland, Oregon.
2016 NOT A HOLOGRAM, Olson Kundig: Seattle, Washington.
2015 NOT A HOLOGRAM, University of Wyoming: Laramie, Wyoming.
2014 Social Media and the Internet as a Medium, Frye Art Museum: Seattle, Washington.
2014 Social Media, Identity, and The Next Wave, Microsoft: Seattle, Washington.
2014 SEA PKN v. 54 - Technology + Art: Cultural Disruption & Innovation, Olympic Sculpture Park: Seattle, Washington.
2015 DEEP WEB NEVERLAND, JETLAG: Fahaheel, Kuwait/Internet - Curator.
2015 DISGUISE, Seattle Art Museum: Seattle, Washington - Social Media Advisor and Creative Direction.
2014 #SocialMedium, Frye Art Museum: Seattle, Washington - Social Media Advisor and Creative Direction.