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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, Umbrella Gallery, and Art Room Fort Worth. She was also featured in Voyage Dallas for their Local Stories series in 2020. 


While her main focus is painting and drawing with a slight sculptural element, she recently began exploring installation art in 2021 through her solo show 'word vomit' at Terrain Dallas and an Earth Day installation for Novak Fort Worth.


My work serves as a personal exploration of containment and connectivity in two-dimensional and three-dimensional space. I've 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. The objects I incorporate into my pieces are reduced to their basic, formalist qualities. As someone whose thoughts are typically hyperactive and entangled due to mental illness, I see the simple act of layering 2-D and 3-D forms on top of and within one another as a cathartic way of organizing 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 autonomy and 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 damaging for the psyche, so I tend to balance out this structure by making room for spontaneity and impulsivity in my process.

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