Not to be overlooked is Hill’s ‘mark,’ a signature of her work. Hill has mastered a process involving the entire composition. Freehand sketches are turned into digital representations in Photoshop where they can be manipulated without mixing paint. She returns to her computer in a back and forth analysis of shape and mark. Her process almost entirely eliminates any automatism. Impulse and spontaneity are replaced by a deliberate deliberation of design.
Hill’s combination of mark and shape or mark on shape goes beyond the spatial and the decorative. Her paintings offer contrasting moods: pain and ugliness of the real with beauty and happiness of the ideal. Overall, her paintings suggest that paint on a flat surface is more specific than actual space because it can mean anything from inert materiality to intense sensations, dreams, and emotions. And what’s fun about Hill’s paintings is that she confesses neither while hoping for both.
Conceptually, Hill’s multi-paneled constellation-like-abstractions speak to the relationship of figure, background, and landscape, yet they remain unlinked to any exacting subjective form. They float in a flattened ambiguous space. It’s in this ambiguity that the work takes on Surrealistic themes and Symbolist narratives.