Steve Dilworth was born in 1949 and studied sculpture at Maidstone College of Art. Steve Dilworth currently lives and works on the Isle of Harris, Scotland.
A selection of group and solo exhibitions includes: The Shamanism of Intent, Goldmark Gallery; Worlds in a Box, Southbank Centre for the British Arts Council; Thinking Big at the Peggy Guggenheim Collection, Venice; Evolution, an exhibition with Peter Randall–Page, Damien Hirst and Jon Buck, at Pangolin Gallery and Acts of Faith, toured throughout Scotland (1992). Dilworth has also exhibited internationally, in Chicago, Illinois, Hawaii, Switzerland and Germany.
The majority of Dilworth’s work belongs to permanent collections, such as the Scottish Arts Council Collection and the Knox Collection in Suffolk. He has also undertaken both private and public commissions for various institutions including Scotia Pharmaceuticals and Dundee City Council. He experiments widely with both form and material but consistently retains his own style and content. Dilworth’s work has featured in a wide range of publications, television programmes and films, including a joint exhibition and film entitled Great Book of Gaelic. In 1990, Dilworth’s work was included in a BBC1 programme entitled Excess and was featured in the Alternative Turner Prize Late Show on BBC2 in 1991.
Steve Dilworth cites the rugged, beautiful and extreme landscape of eastern Harris as one of the main inspirations for his work. It is the energy and presence of these landscapes which Dilworth finds most stimulating and inspirational. He will often incorporate objects found on the Isle of Harris, that were once living, into his sculptures and in this sense his work resonates with an historical energy. The solid remains of animals and birds are often enclosed in his sculptures, like the heart in a living body or the engine in a static vehicle, they empower the sculpture in both conceptual and symbolic ways. Dilworth's work's are both open and closed and exposes the internal and external facades of the work simultaneously. Many of Dilworth's sculptures are also containers, holding other elements which are sometimes visible and sometimes not. There is a ritualistic and shamanistic element to his work, observable in its construction, which he understands as a cathartic, working through of a problem; "I want to retrieve that moment of understanding, not by describing, but by making. Of course I'll fail, but in the chemistry of making another moment will appear. These objects are drawn from an internal landscape, of shifting sands. Connections are constantly being discovered". This spiritual element is smashed together with more clinical, modernist aesthetic, culminating in original works that resonate with different historical tropes and worldly influences.