Dyson was born on 18 November 1982 in Paris, into a cultured family open to every form of artistic expression. Very early on, his mother, particularly well-read, wanted to develop his aesthetic sensibility and enrolled him, from the age of 7 and against his will, at the Claude Monet art school in Aulnay-sous-Bois. This multidisciplinary school offers discovery and refinement across a wide range of applied-arts workshops. But the young Dyson gradually became attached to the practice of ceramics — even though at first it seemed to him that this practice was not for him, since it was perceived as feminine. In the end he let himself be inhabited by it until the age of 21, in that same workshop. His teachers, Francis Geoffreoy and Bettina Beylerian, taught him the various techniques of ceramics: from the wheel to modelling by way of glazing, on different kinds of clay, working on all sorts of objects. But Dyson quickly decided to work only by modelling, as his hand is more instinctive there. This is how he treated the themes the school set for its end-of-year exhibitions: at 12 he showed a ladybird for an insect theme; at 20 he shaped a head of Freud, intended for his uncle, a child psychologist.
But at 21 Dyson had to move to Bordeaux for law studies that hardly inspired him. He soon turned to business, where he began a promising career. His work, however, left him little time to practise his passion for clay. Then, in 2009, he decided without regret to devote himself exclusively to his art and left his quiet life as a salesman. He quickly looked for a studio to join in Bordeaux but found none that suited him, or at least none that could accommodate what he envisaged for his work. He preferred to work at home. First of all, after the loss of artistic bearings of those last few years, he began a rediscovery of identity. In terms of form, he directed it towards the head, a form he had enjoyed making before stopping his practice. He then focused on facial expressions, which would in a sense be the guiding thread of this rebirth. But this rebirth passes above all through a purifying stage — an obligatory stage, which became obsessive for him. Fairly quickly, violence, chaos and destruction settled into his work. Here Dyson sculpts his fears, fantasies that have lain dormant in him since adolescence. He gives them form so as to exhort them, mummify them, master them. This storm nonetheless allowed him to test his technical mastery. And even though the reception of this work in progress remained positive, Dyson felt a void of presentation in his works. It was only in June 2010 that he began to integrate metal, first as a support and then as part of the work. He studied this metalwork with Jean-François Buisson, who opened his workshop to him thanks to the Art-Mada association, which has followed Dyson since early 2010. Thanks to J.F. Buisson, he managed to formulate his idea of metal, but also encountered the figure of the artist, in his individualism and also in his milieu, with other artists belonging to the association Les Vivres de l’Art.
Finally, this formulation of chaos, this almost pathological vision of evil, is for Dyson the means of making a clean sweep of the past. It has also allowed him to experiment with highly expressive forms by working with new, often unexpected materials to sharpen his point. Experiments that are obviously enriching and promising for the work to come. So, after this storm, we await the first rays of a serene sun that should not be long in brightening our minds, still in shadow.
