Terri Dilling is painter and printmaker who explores the beauty and complexity of the natural world with a focus on its structures, patterns and cycles. Terri received a BA from Indiana University, a BFA Georgia State University, and has also studied visual arts in England, Spain, and Italy. Travels abroad have been very influential on her work. After being awarded a 2005 residency at the Caversham Centre in South Africa, she revived printmaking in her own practice, and was also inspired to become more active in her community. She joined the effort to found the Atlanta Printmakers Studio, and currently serves as president.

Terri has received numerous grants and awards, including two Center for Chemical Evolution project grants, Art on the Beltline project grants, a Hambidge Center Residency Fellowship, and an Atlanta Office of Cultural Affairs collaborative artist grant. She has been featured in a variety of publications including Fresh Paint Magazine, Studio Visit Magazine, New American Paintings, and FORM: Artistic Independence. Her work is in many collections around the world, including the Museum of Contemporary Art of Georgia, Fulton County Arts Council, Fidelity Investments (Boston), UPS (Atlanta), Four Seasons Hotel (Marrakech, Morocco), Conrad Hilton (Hong Kong), JW Marriott (Ankara, Turkey), and ANA Okayama Hotel (Okayama, Japan). Terri is represented in Atlanta by Mason Fine Art.


As an artist, I am interested in the beauty and complexity of the natural world, with a focus on its structures, patterns and cycles. Germination has become a prominent theme, as I create a simple mark that builds upon itself to become a more complex structure. Dots and lines are among the most basic visual marks, and I see them as metaphors for the elemental particles and molecules that make up everything. This is the starting point of my painting vocabulary, and during the creative process I become absorbed with the flow of lines. My compositions contain gestural forms that each have their own mood and energy. Some are a burst of growth and movement conveying the vitality of life, while others are more relaxed, exuding the ephemerality of a passing moment. The forms are abstract, although they can evoke plants, birds, figures, or other biological systems. Boundaries are blurred between micro and macro realms as I allow for multiple layers of meaning in the work.

I am intrigued by the evolution of an artwork during its creation, with actions and reactions that occur along the way. Each medium I choose has a resonance that I find relevant, whether it be charcoal, paint or ink. As I work, colors and layers change, and some elements get pushed back or covered over, while others get pulled to the forefront. When the painting is finally resolved, it contains a rich and complex history. The cyanotype process is more direct, yet these works on paper still embody layers of exposure and alteration. There is an intellectual approach to my work, but also an intuitive one. The results are very personal, and reflect the way I attempt to find order and balance in the chaotic flow of my own life.

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