Beth Dillon is an interdisciplinary artist working across performance, video, installation, curation, costume and scenography. Her practice approaches everyday life as a site of artistic and social experimentation. Often created in collaboration with other artists, friends, and family members, her works weave together humour, storytelling, and craft to explore how labour, intimacy, and care are performed in contemporary culture.

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The roots of her practice lie in Sydney’s queer and artist-run scenes, where she co-founded the collective 110% with Kieran Bryant and Lachlan Herd. From 2013-2018, Dillon lived between Australia and Europe, undertaking collaborations and residencies that shaped her Master’s research at UNSW Art & Design on nomadic practices and mobility politics in the global art market.

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In 2018, six months pregnant, Dillon relocated to Switzerland. Advised by migration authorities to list “housewife” instead of “artist” on her residency application, she began transforming the paradox of the artist-mother into material for her work. Over the past six years, she has produced miniature bricks made from her children’s excrement, sculptures in plastified breast milk, installations of fermented yeast, performances about the surveillance of reproductive bodies, and videos featuring her family in chroma-key costumes inside a dreamlike suburban villa. Recently, she developed a series of performances and installations centred on Trix, a she-wolf mother and her pups, tracing her life cycle from birth to menopause. Currently, Dillon is developing an experimental methodology she calls "weirding the family', in which the nuclear family becomes the site, subject, and medium of artistic experimentation and critique. 

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Alongside her artistic practice, Dillon co-directed Espace libre (Biel/Bienne, 2021–2023) with Vera Trachsel and has realised numerous curatorial and publication projects across Switzerland.