

Aron Hill
Aron Hill currently lives and works in Calgary, Alberta. He graduated from Alberta College of Art and Design in 2000 with a BFA in Interdisciplinary studies. He then completed his MFA at Goldsmiths College, University of London. His work there evolved into installation based projects using traditional drawing and painting methods alongside formal sculptural elements, large format photography and text based work. He has recently been focused on formalist paintings that recall aspects of minimalism and color field paintings though with references to the figure throughout. He finds conceptual company in the late Modernist paintings produced particularly in Canada. The choice of a restricted medium, acrylic ink washes on prepared raw canvas, forces restraint. The work's graphic nature relies on the sheer flatness this medium produces. Aron has exhibited internationally, occasionally lectures, and writes.


Aron Hill
Aron Hill currently lives and works in Calgary, Alberta. He graduated from Alberta College of Art and Design in 2000 with a BFA in Interdisciplinary studies. He then completed his MFA at Goldsmiths College, University of London. His work there evolved into installation based projects using traditional drawing and painting methods alongside formal sculptural elements, large format photography and text based work. He has recently been focused on formalist paintings that recall aspects of minimalism and color field paintings though with references to the figure throughout. He finds conceptual company in the late Modernist paintings produced particularly in Canada. The choice of a restricted medium, acrylic ink washes on prepared raw canvas, forces restraint. The work's graphic nature relies on the sheer flatness this medium produces. Aron has exhibited internationally, occasionally lectures, and writes.
Viewing Room
Renée Duval
BLOOM
May 7– June 18, 2022


My work has long been concerned with perceptions of the natural world. In Western culture we tend to see it as somehow outside of ourselves, and we struggle with the idea that we are intrinsically interconnected—that we are it and it is us.
In my recent work, I use digital collage to create chimerical “portraits” of human faces fused with plants and flowers. These images are meant to feel slightly destabilizing or hallucinatory. I also use symmetry to give the images an impression of iconography, and to evoke a sense of idealized and preternatural beauty. Working with this imagery has allowed me to explore my ideas and preoccupations with concepts of beauty, gender, nature and spirituality.
Amid the many collage images I produce, there are some that I feel compelled to develop further by transforming them into large format paintings. The shift in scale, the painting process and the language of painting itself allow me to further articulate and explore points of transition and perpetual shifts in awareness.
The faces I use in my work are those of drag performers. Already in state of metamorphosis through make-up, costume and characterization, these faces undergo additional transformations when I merge them with botanical growth. In this process, I am aiming for a kind of alchemy where the faces and plants come together and become something greater than the sum of their parts. They are neither fully human nor plant; they may be plant life mutating into human form or vice versa.
My interest lies in points of transition; the shift from one perception to another where meaning is flexible and boundless.









Digital Prints



