Early in Dill?s career he was employed as a printer at the infamous Gemini G.E.I. in Los Angeles. Jasper Johns and Robert Rauschenberg were some of the people he encountered during the time that he worked there. In fact, when Dill moved to New York in the early 70s he lived with Jasper Johns for a few months. He learned from Johns to never discard anything. He discovered from this that when things from his older pieces were left lying around his studio, the energy from these works just seemed to seep into the new pieces he was working on. His first break came in 1971 when he was asked to do a one-man show at the legendary Illeana Sonnabend Gallery in New York. Since this time Dill has exhibited in cities as diverse as Paris, Nogoya, Japan, Helsinki, Finland, New York , Seattle and Kansas City. His work is included in the collections of Corcoran Gallery of Art, the Smithsonian Institution, the Chicago Art Institute, the Los Angeles County Museum of Art and many more museums throughout the United States and abroad. Dill developed a dialogue amongst artists during the 70s that resulted in experiments formerly not used traditionally to make art. His influences were Rauschenberg, Keith Sonner, Robert Smithson, Dennis Oppenheim and Robert Irwin, all of whom were using materials from the earth to make their pieces as opposed to easel painting. This abstract triptych by Dill was created from non-traditional art materials. He placed a board right into the work and then removed it. The mark left behind after the removal leaves an expressive mark similar to the gestural markings made by the color field painters. Metaphors associated to the earth can easily be found in this triptych since the materials it is composed of imply the effects of time.