Toni Morrison saw writing as a way of worlding, of opening up embodied experiences and removing the boundaries of blinkered perspectives. Interested in Blackness from the archive of her own body, Rhea Dillon draws directly upon Morrison’s first novel, The Bluest Eye (1970) – a book so essential in its exploration of racism, child abuse and incest that there were numerous attempts to ban it – for her debut exhibition with Sweetwater. Using greasy, anti-climb paint, Dillon covers copies of the ‘Dick and Jane’ and ‘Alice and Jerry’ series of educational children's stories, with thick pigment, leaving only snippets of text legible, such as: ‘See me, Mother, see me!’ The surrounding large mahogany frames recall shallow graves – an image reinforced by a work in the shape of a small coffin, filled with marigold seeds (Incomprehensible Sex Coming to its Dreaded Fruition; Nothing Remains but Pecola & the Unyielding Earth, 2023). It echoes a passage in the novel (also used as the show’s title) in which news of the protagonist’s pregnancy from rape spreads throughout the town. As her adoptive family plant marigold seeds that will sprout at the baby’s birth, they notice: ‘We looked for eyes creased with concern but saw only veils.’ Dillon reclaims this veil by directing where the viewer’s focus should fall: onto what she wants you to see.