Justine Hill was born in Taunton, MA. She received her B.A. at the College of Holy Cross in Worcester, MA, and her M.F.A. at the University of Pennsylvania in Philadelphia, PA. Just finishing school in 2011, Justine’s recent move to New York has been formally announced in her first New York show titled No More Rock Stars. No More Rock Stars is a group show in Chelsea highlighting artists of varying disciplines who have worked in assistant roles throughout the art world.
Artist Statement:
Rooted respectfully in the history of painting, the current works derive from more understood renditions of landscape. The repetition of viewing and producing these “landscapes” furthered the concept that form/shape is symbol and learned. From that confirmation the forms became simplified to reveal only the most general and innate characteristics of said form. Mark or gesture as painting and art know it, or line as spoken by math and cartography, became the elementary tool used to chart movement and energy which are necessary in constructing a living landscape or Space. And in these Spaces constantly dealing with the frustration that even imagination is limited by personal knowledge of the world.
In the work, there is frequently a balancing act—a type of dance going on between all the disparate forms, perhaps yearning for a sense of equilibrium but the desire is rarely visible. Art, as a child of humanity, is susceptible to these real world limitations, but many choose to believe art could still be a vehicle to explore the déjà vu moment.
The “marks” in the work depend on the notion of entanglement where forms cannot individually describe their environment, but require another to bring any of sense of understanding. The notion of dependency, a word most despise, is often critical. I choose to work under the assumption that a composite image or exploration is always purer than the isolated individual components.
As a whole, the work is inspired by ideas of manipulated and multiple worlds, worlds composed by personal languages built on reference points and associations, imagery, and power.
