Phoebe Dickson is a multidisciplinary artist based between North Wales and London.

Her daily work is based in-between London and North Wales. The majority of her practice is centered around the creation and development of painting portals to her dreams called: "Dreamscapes". The other section of her practice focuses on person specific works that concentrate on economically ‘feminine’ labour dynamics and how they can fit into community-centric art forms. A radical-love-based community practice based on the teachings of Bell Hooks that she started threading through her various works after working with artist-lead NGOs in the UK and US.

"Dreamscapes" are memories of the architectural spaces experienced in her dreams. First they are reimagined repeatedly through different 2D mediums (pencil, watercolour, oil) to embed the act of memory into the process. After that, conceptual footnotes are added in different mediums. Poetry is often performing this role as it adds mythos, develops the abstract experience, and allows the work to adapt to space. This allows the art to reflect its' ruminatory quality both in process and in existence.

Memory as an outcome is paralleled in the person specific artworks. In these exchanges the Artist and Perceiver become giver and receiver through an exhibit of actions and the art is memory itself. It is the creation of an economy through the process of performance. The performance is then memorialised through the left over objects of the work.

Fabrics act as coded tissue in her work. They are ‘coded’ in reference to Sadie Plant’s writings on looms being the first coded instrument. Her quote: “…when computer was a term applied to flesh and blood workers, the bodies which composed them were female”, subsequently influenced her use of fabric manipulation as representation of feminine labour. This concept weaves itself through all her processes to represent the idea of the ‘economics of the unseen’. They are represented by mending techniques, sewing scrap fabrics together, and incorporating clothes patterns into canvases.

Her poetry practice is anchored in the same concepts as her fine art practice. After reading Maggie Nelson's "Bluets" she became enthralled with the idea of poetry as footnotes to art and existence. This area of her practice is still experimental. Most recently she has been using poetry to develop a storytelling aspect within her Dreamscapes.