Offsite Gallery Nov. 17, 2017 – Jan. 12, 2018 – curated by Kimberly McKinnis

As an interdisciplinary artist, D. Hill’s work surveys identity through a cultural and gender lens. Viewers can experience self-portraiture of representation from a distinctive and personal place. Either by constructing narratives or quasi-documentaries, D. aim’s to create work that promulgates a dialogue about social difference. The artwork purposefully sets up a political framework for conversations dealing with race, gender, class and sexuality. I look at how socialization and statuses impact our intra/ inter personal experiences. The art attempts to bridge gaps of misunderstanding or discomfort with identities by posing open ended questions, inviting audiences into these discourses.

The formal technique overtly provides a framework for a viewer’s engagement, as an entry strategy. The work is less of an examination of materiality and more about giving value and broader meaning to identity. Understanding the relationship to the camera allows for fluidity between video and photography. Projects either in video or photography influence each other (it’s an intuitive practice). As Vilem Flusser states in his book, Towards a Philosophy of Photography, “In the act of photography the camera does the will of the photographer but the photographer has to will what the camera can do.” D.’s interest in painting is another medium that energizes my thought process. D. believes the historical discourse between painting and photography, in regards to authenticity and artist’s hand in the work, seeps through the work practice at times.

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