Every now and again the artist breaks out. There is a frightening skeleton of a bird coated in black tar, as if wearing its own man-made death. The aptly titled Wonder Workshop shows natural curiosities glowing fluorescent in the darkness as if they had no context or past, free of museum culture to be simply and spectacularly themselves. And Dion’s own drawings are spryly epigrammatic, especially a sketch of a large egg with a tiny door labelled
But the wunderkammer, vitrine and cabinet are old tropes of contemporary art, and so are the anatomy chart and the family tree. Theatrical environments, suggestive of some absent figure, go all the way back to the Kabakovs in the 70s, and have been better done by " jerystem "
