Robin Hill is an Artist, Visualizer, Facilitator, Gleaner, Agitator, Conduit, Re-arranger, Host, Fermenter, Forager Optimist, Collaborator, Educator, Seed-Bag-Carrier, and Transmitter whose work focuses on the intersection between drawing, photography, and sculpture. Her recent work takes on a collaborative sensibility, where objects and materials which have been rejected by others have served as starting points for acts of transformation.
The underlying conceptual thread that moves throughout her work is her interest in collection, extraction, and re-presentation, and in transforming seemingly inconsequential matter and into meaningful statements about matter itself, which ultimately becomes a mediation on time. She strives to give shape to nuance and to relocate familiar things in an unfamiliar order. While handmade might best describe her early work, hand-altered is a more apt description for the work she is doing today.
Robin Hill was represented in New York by Lennon-Weinberg, Inc. until its closing in 2019. Her work has also been shown in New York at Flipside, Smack Mellon Studios, Pierogi Gallery, The Rotunda Gallery, The Sculpture Center, PS 1/MOMA, ES Van Dam, and the Lesley Heller Workspace; in the Bay Area at Don Soker Gallery, the Richard L. Nelson Gallery, the Crocker Museum, Jay Jay Gallery, The San Francisco Center for the Book, SOMARTS, Art Space 1616, and the San Jose Institute of Contemporary Art; in LA, at the Brewery Project and Another year in LA; In Houston at Project Row Houses and Fotofest. Hill is the founder of S.E.E.P. (Society for Education and Exchange with Potluck) which showcases the research of critically engaged peers in the arts. She is a contributing writer for Two Coats of Paint.
Hill is the recipient of two Pollock-Krasner Foundation Awards, two New York Foundation for the Arts Fellowships in Sculpture, a National Endowment for the Arts Sculpture Fellowship., and has been a two-time Anonymous Was a Woman nominee. She has been an Artist-in-Residence at the Sanskriti Foundation in Delhi, India. Her work has been reviewed in the New York Times, Art Forum, Art in America, Arts, Sculpture Magazine, Zettel, Art and Antiquities, Review Magazine, the Village Voice, New York Magazine, New Yorker, Other Voices, National Public Radio, Yale University Radio, and KDVS-Davis and has been the subject of catalog essays for the exhibitions Case Discussions by Kristin Koster, Multiplying the Variations by Raphael Rubinstein, Emergence and Structure by Jonah Lehrer.
Hill divides her time between Woodland, California, New York City, and Cape Breton, Nova Scotia. She is on the faculty of the Studio Art Program, Department of Art and Art History, at the University of California at Davis.