Actor Matt Dillon launched his first solo exhibition at The Journal Gallery in New York on Friday, April 24, showcasing a body of work developed during and after filming in West Africa, per news.artnet.com.
The show, titled “Porto Novo to Abomey,” features spontaneous, gestural paintings that trace a 100-mile journey through Benin, documenting the actor’s observations of the region’s textiles, architecture and landscapes.
The series was conceived while Dillon was in Senegal filming Claire Denis’s 2025 production “The Fence,” in which he portrays an American overseeing a construction project. Following the shoot, Dillon travelled inland through Benin to the historic centre of the Kingdom of Dahomey. These experiences provided the primary source material for the collection, which includes works on black Masonite, repurposed notebooks and more.
Dillon’s style is characterised by bold, textured figures and recurring symbols, often incorporating found materials. One notable work focuses on voodoo motifs, layering masks and tools on notepad paper, while others, such as “Coastal Landscape,” evoke the historical weight of the coastline.
Despite having no formal training, Dillon was raised in an artistic household and has maintained a steady output of gallery contributions since renting his first studio in 2016.
The exhibition also reflects Dillon’s long-term engagement with the African creative landscape. He has previously explored these cultural themes through his study of rumba and his 2020 documentary El Gran Fellove, which focused on Afro-Cuban jazz pioneers. “Porto Novo to Abomey” remains on view at 45 White Street until May 23.
This exhibition is a significant milestone in Dillon’s decade-long transition from actor to visual artist. By moving away from literal depictions in favour of “the feeling behind the work,” Dillon joins a lineage of multidisciplinary creators using travel as a catalyst for narrative shift.
Michael Nevin, co-founder of The Journal Gallery, noted that the work is not meant to be a literal description of a place, but rather “the feeling behind the work.” Partner Julia Dippelhofer added that Dillon acts as a “sponge” on the road, constantly collecting and drawing on old newspapers and found textbooks.
•Featured image: Matt Dillon, Untitled (2025)/Courtesy of The Journal Gallery
