Biography and CV for selected solo, two-person, and group exhibitions, press, projects, and professional activities. 

Image © 2017 Nathaniel Willson.


Light is the beginning and end. It is a mystical medium illuminating the complexities of our shared human condition from the dark interior of the soul to the vast reaches of the universe. For me, light is an autobiographical ether, infinite source of contemplation, and aura of continuous transformation.

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. The sign was 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 got 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. From 2014-2015, I generated NEW FOLKLORE, made dual-site meditation space ABSOLUTE ZEROinstalled glyph-clad tower TRYLON at the University of Wyoming, and presented INTERFACE at Pulse Miami Beach Contemporary Art Fair. My dystopian 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, a selection from ELEMENTALS — my research with helium, neon, argon, krypton, and xenon — was featured in Rosetta at Unisex Salon in Brooklyn. I finished this series in mid-2017 and am completing a virtual reality memoir set for release in Winter 2018. 

My work is in private and institutional collections, and has appeared in City ArtsCreatorsBrooklyn Magazine, Artslant, Artsy, New American Paintings, artnet, The Huffington Post, The Wall Street Journal, Beautiful/Decay, WIRED, and VICE

From 2007-2016, I executed architectural glass commissions across North America, the United Kingdom, Europe, the Middle East, and Asia as a Project Manager with Chihuly Studio. I am currently the Creative Director at Western Neon, helped establish Western Neon School of Art, and live in Seattle.


1977  Born: Athens, Georgia.

2000  The University of Georgia: Athens, Georgia — BFA/Sculpture.

2013  SEASON: Seattle, Washington (2013-current).
2007  PUNCH Projects: Ellensburg, Washington (2007-2016).

2018  METANOIA, Oxbow: Seattle, Washington — curated by Ruth Lockwood and Robert Yoder.
2017  NEW FOLKLORE, Plexus Projects: Brooklyn, New York — curated by Laura Splan.
2016  NOT A HOLOGRAM, Glass Box: Seattle, Washington.
2015  CARS IN A CIRCLE, SEASON at PULSE Contemporary Art Fair: Miami, Florida.
2015  INTERFACE, Organic Produce: Seattle, Washington.
2015  ABSOLUTE ZERO, PUNCH Projects/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 Projects: Seattle, Washington.

2018  The Woods, Sarah Spurgeon Gallery/Central Washington University: Ellensburg, Washington — curated by PUNCH Projects.
2017  Out of Sight, The Schoenfelds' Building: Seattle, Washington — curated by Greg Lundgren.
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 Projects: 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.

2015  TRYLON, University of Wyoming: Laramie, Wyoming.
2014  JUST BE YOUR SELFIECity of Seattle: Seattle, Washington.
2012  NOWBumbershoot: Seattle, Washington.

2017  "The Future's So Bright," Rachel Gallaher, City Arts.
2017  "Out of Sight Is Big, Beautiful and Bright," Margo Vansynghel, City Arts.
2017  "Don't Slight Out of Sight," T. s. Flock, Seattle Weekly.
2017  "Seattle Art Fair and its little brother Out of Sight hop in the saddle for their third summer," Brendan Kiley, Seattle Times.
2017  "Dylan Neuwirth | A New Direction," Elena Parise and Nicola Wylie, MiND.
2017  "POV: Young Artists Fight an Uphill Battle in Seattle | #50StatesofArt," Julia Greenway, Creators.
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 Seattle.
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 Seattle.
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 Seattle.
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 Seattle.

2018  Lust For LightBerkley, California: Gingko Press — edited by Hannah Stouffer.
2015  College Art Association Directory of Graduate Programs in Visual ArtsNew York, New York/Internet: College Art Association — cover image.
2015  Library of the Printed Web #3New York, New York/Internet: Printed Web — curated by Paul Soulellis and in the collection of the Museum of Modern Art Library.

2011  King County Work Education Release Program: Seattle, Washington.

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 HOLOGRAMOlson 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, Seattle Art Museum/Olympic Sculpture Park: Seattle, Washington.

2015  DEEP WEB NEVERLANDJETLAG: Fahaheel, Kuwait/Internet — Curator.
2015  DISGUISE, Seattle Art Museum: Seattle, Washington — Digital Content Strategist.
2014  #SocialMedium, Frye Art Museum: Seattle, Washington — Social Media Coordinator.

2017  Western Neon: Seattle, Washington — Creative Director (2017-current).
2007  Chihuly Studio: Seattle, Washington — Project Manager (2007-2016).
2003  Consolidated Works: Seattle, Washington — Director of Visual Art (2003-2005).