Elizabeth Hill is a Dallas-based artist whose body of work is centered around experimentation with various surfaces and textures and is driven by intuitive process, dimensional dialogs, and color theory. Hill graduated from the University of North Texas in 2019 where she earned a B.F.A. in Studio Art with a concentration in Painting & Drawing, as well as a double minor in Women’s & Gender Studies and Art History.
Her work has been shown throughout North Texas at galleries such as 500X, Ro2 Art, Denton ARThaus, and Art Room. She made an appearance in the 2017 publication of the North Texas Review, and she was recently featured in Voyage Dallas for their Local Stories series. She is currently one of sixteen artists-in-residence at The Cedars Union.
My work serves as a personal exploration of containment and connectivity in two-dimensional and three-dimensional space. I have always been drawn to works of art that have some sort of three-dimensional element, and I explain this in my work by including textural components such as wire, fabric, string, found objects, or wood. (I want people to feel the urge to touch my art!) The objects I incorporate into my pieces are reduced to their basic, formalist qualities. As someone whose thoughts are hyperactive and entangled at any given hour of the day because of mental health issues, I see the simple act of placing shapes within shapes as an exercise in healthy mental compartmentalization. Layering 2-D and 3-D forms on top of and within one another is my way of sorting out the scrambled ball of static that inhabits my mind. By creating physical manifestations of this internal process, I feel that I’m investigating the connection between abstraction and my own humanity.
My style also plays on themes of control and vulnerability. As a Black woman in America, I am stuck at the crossroads of my Blackness and my womanhood. This intersection within my identity has played a very crucial role in how I navigate life because it’s directly correlated to the amount of power I hold systemically. This is made evident in my body of work by the fluctuations between clean lines and geometric shapes and more loose, organic forms. I cope with feelings of powerlessness by inserting more structure into my pieces. However, constantly grasping at the need for control can be quite draining--in regards to making art and just living life-- so I tend to balance out this structure by making room for spontaneity and impulsivity in my process.