Aron Hill’s latest exhibition, The Lake of Fire is a continuation of the artist’s reflections and meditations on the history of Christian evangelism and its links to masculinity and violence, particularly as it relates to colonialism within Canada. This work draws influence from late modernist Canadian painting and sculpture as well as early Greek and Roman motifs during the early church and universal iconography by way of masks and symbols. Hill looks to queer theorists in order to profane the dominant Christian masculine narrative and currents.