Julie F Hill

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	<title>Julie F Hill</title>
	<link>https://juliefhill.co.uk</link>
	<description>Julie F Hill</description>
	<pubDate>Sun, 18 Oct 2026 04:40:16 +0000</pubDate>
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		<title>Research</title>
				
		<link>http://juliefhill.co.uk/Research</link>

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		<pubDate>Sun, 18 Oct 2026 04:40:16 +0000</pubDate>

		<dc:creator>Julie F Hill</dc:creator>
		
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		<description>Julie F Hill &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; Works &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; About &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; CV &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; Exhibitions &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; Contact &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; 


	©© Julie F Hill &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;    &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;Curatorial


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		<excerpt>Julie F Hill &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; Works &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; About &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; CV &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;...</excerpt>

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		<title>Calcareous Earth</title>
				
		<link>http://juliefhill.co.uk/Calcareous-Earth</link>

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		<pubDate>Fri, 16 Oct 2026 17:57:17 +0000</pubDate>

		<dc:creator>Julie F Hill</dc:creator>
		
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		<description>Julie F Hill &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; Works &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; About &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; CV &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; Contact &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;


	Calcareous Earth  Artistic responses to the Oral, Dental and Craniofacial collections at The Royal College of Surgeons Library &#38;amp; Archives.
	In progress: Gallagher Artist in Residence 2026, The Royal College of Surgeons of England Library &#38;amp; Archives. Residency and research commenced in June 2026 with planned end of residency presentation in April 2027 (tbc).


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Image: Early experimentation. Precipitated calcium carbonate from egg shells in glass.


Calcareous Earth looks at the materiality of teeth from a deep space-time perspective and extends my interest in calcium carbonate – and calcium – as a bridge between living and non-living systems and the complex entanglements between the human and the mineral. My research began with John Hunter’s treatise TThe Natural History of Human Teeth (1771), in which he describes experiments using madder dye to investigate tooth enamel and the boundary between living and non-living matter. Subsequent research has followed this debate through the centuries to contemporary science around bio-mineralisation processes involved in the laying down of tooth enamel, which is controlled by calcium signalling and operates according to circadian rhythms. The work of May Mellanby whose work around diet and tooth formation opens up questions around bodily processes, environmental conditions and public health. A relation between prisms, calcite and stellar spectra are also emerging and how lines register relationships between interlocking systems and scales. &#38;nbsp;


	© Julie F Hill &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;    &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;Curatorial


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		<title>Chemical Kinships</title>
				
		<link>http://juliefhill.co.uk/Chemical-Kinships</link>

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		<pubDate>Fri, 16 Oct 2026 17:54:04 +0000</pubDate>

		<dc:creator>Julie F Hill</dc:creator>
		
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	Chemical Kinship I, calcium carbonate crystals grown from egg shells, mirror, motorised plinth. 2026. &#38;nbsp;
	

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Calcium carbonate crystals grown directly from discarded egg-shells. Calcium carbonate serves as a foundational bridge, cycling between the organic and the inorganic, life and non-life. It is a primary building block for life’s structures (such as this egg-shell) and a major component of the Earth’s geological crust. It is one of the most common materials on Earth, found in rocks like limestone and chalk, as well as in shells, skeletons and teeth.A rotating mirror plinth echoes planetary motions, in contrast to the microcosm of the inner life-world of the egg it holds.


	© Julie F Hill &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;    &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;Curatorial

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		<excerpt>Julie F Hill &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; Works &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; About &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; CV &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;...</excerpt>

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		<title>Exophotography</title>
				
		<link>http://juliefhill.co.uk/Exophotography</link>

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		<pubDate>Fri, 16 Oct 2026 17:52:45 +0000</pubDate>

		<dc:creator>Julie F Hill</dc:creator>
		
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		<description>Julie F Hill &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; Works &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; About &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; CV &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; Contact &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;


	Exophotography Glass plate chemigrams, 4 x 5 inches, ongoing series,&#38;nbsp;2025–&#38;nbsp;
	A creative text Exophotography: Otherworldly Image Making featuring the first three vignettes is published in The Sustainable Darkroom's forthcoming anthology Bury After Reading (Oct 2026).


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Ongoing series of photographic glass plates chemigrams made  using chemical solutions informed by the composition of various exoplanets. Knowledge of exoplanetary composition is typically informed by detection techniques involving spectroscopy, a current research interest. The plates are reminiscent of the sliced polished agates from Roger Caillois collection of ‘dreamstones’, and evoke inorganic agency through the uncontrolled traces of chemical reactions. 
An accompanying text Exophotography: Otherworldly Image Making sets out a speculative approach to planetary encounter that decentres photography as a purely earth bound, human practice.&#38;nbsp;


	© Julie F Hill &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;    &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;Curatorial


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		<excerpt>Julie F Hill &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; Works &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; About &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; CV &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;...</excerpt>

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		<title>First Contact</title>
				
		<link>http://juliefhill.co.uk/First-Contact</link>

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		<pubDate>Fri, 16 Oct 2026 17:33:34 +0000</pubDate>

		<dc:creator>Julie F Hill</dc:creator>
		
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		<description>Julie F Hill &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; Works &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; About &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; CV&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;Exhibitions&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;Contact &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;


	First Contact&#38;nbsp; Artistic research and responses to Harvard Plate Stacks, 2024– Image details from work-in-progress and artefacts including glass spectra plates  from Harvard Plate Stacks and and prisms from linked collections.
	Supported by Arts Council England Developing Your Creative Practice Grant 2025–26. New works in development for 2028.


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First Contact is an artistic research project, resulting in several new works that respond to the Harvard Plate Stacks, a leading repository of materials that document the work of hundreds of women working in the field of astronomy in the 19th and early 20th centuries. 


Multiple artworks explore the materiality of glass plates and the work of the women ‘computers’ whose intimate labour helped shape our knowledge of the cosmos, with a particular focus on the spectra plates and the historical and contemporary significance of spectroscopy.&#38;nbsp;


In his recent book on the James Webb Space Telescope, Richard Panek describes the ability of spectroscopy – the atomic fingerprint of matter in light – to ‘collapse the distance between a faraway place and your hands’. It has the ability to tell us about the composition of distant worlds and stars – essentially what the cosmos is made of. This has driven my thinking around the photographic (via astronomical imaging technologies) as our first contact with outer space and how this can be imagined with attention and care, especially given the rapid expansion of human activity in outer space.&#38;nbsp;


Several new works in development include: a large-scale silver-work embroidery; silver crystal blooms; assemblages incorporating replica photographic glass plates, calcite prisms (Iceland spar), water (the first prism), silver knotwork and small-scale embroideries. Together the works look at the relationship between light and darkness as well as the complex entanglements between the human, the mineral and the technological.


This research builds on my earlier DYCP award, Through Machine &#38;amp; Darkness (2019–), which explores the growing use of machine learning and AI in examining astronomical datasets, and what this changing landscape means for attention and our ways of knowing the cosmos.&#38;nbsp;


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	© Julie F Hill &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;    &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;Curatorial


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		<excerpt>Julie F Hill &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; Works &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; About &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; CV&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;...</excerpt>

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		<title>Testing Ground</title>
				
		<link>http://juliefhill.co.uk/Testing-Ground</link>

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		<pubDate>Wed, 03 Jun 2026 21:54:14 +0000</pubDate>

		<dc:creator>Julie F Hill</dc:creator>
		
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		<description>Julie F Hill &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; Works &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; About &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; CV &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; Contact &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;


	Testing Ground&#38;nbsp; Installation: two-way mirror, Exolith Lab Lunar Highlands planetary surface simulant. Dimensions and specific design are variable depending on the exhibition context. Concept developed as part of Land Art Agency's Sustainable Futures: Outer Space residency. Dimensions variable. 2021.
	Images: 3d maquette: two-way mirror, Exolith Lab Lunar Highlands planetary surface simulant.


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Testing Ground is a sculptural installation of a landscape made from planetary surface simulants and informed by dialogue with Dr Daniel Britt &#38;amp; Prof Valerie Olson. The landscape acts as a stage for the unfolding of a series of interventions crossing sculpture, text and performance that ask questions around the agency of and our kinship with 'non-living', extraterrestrial planetary bodies, which are looming targets for human expansion and resource extraction beyond Earth.


The work references large scale Earth Science experiments such as the Landscape Evolution Observatory in Arizona, where abiotic soil is rigged up to multiple scientific sensors for monitoring its chemical composition as it evolves – as well as a response to the NASA Mars Yard, where surface simulants are used to test scientific instruments and equipment such as rovers, prior to their deployment in outer space environments. Testing Ground however, provides a space for speculative encounters, for testing how we as humans, can and should relate to other worlds.


The installation walls are constructed from two-way mirror, so depending on the viewer’s position and focus, they are met with illusory and layered perspectives. Experientially, this aims to open a liminal zone of contact for the viewer/participant. It can be experienced and interacted with in different ways throughout the course of an exhibition. In its simplest gesture, through encounter the installation asks what it means to make contact – to place a hand or foot – on alien terrain. 


Planned interventions and performances would also be staged. For instance, as part of Land Art Agency Sustainable Futures residency a live choral work was devised that provides a speculative listening to the regolith. Inspired by Elizabeth Povinelli’s remarks in Geoontologies about ‘the movement of the experience of noise (phonos) into the experience of sense (logos)’: How might we attune to or come to hear the ‘voice’ of the extra-terrestrial non living?


	© Julie F Hill &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;    &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;Curatorial


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		<excerpt>Julie F Hill &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; Works &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; About &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; CV &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;...</excerpt>

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		<title>Ocean Chasm</title>
				
		<link>http://juliefhill.co.uk/Ocean-Chasm</link>

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		<pubDate>Wed, 17 Dec 2025 18:33:49 +0000</pubDate>

		<dc:creator>Julie F Hill</dc:creator>
		
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		<description>Julie F Hill &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; Works &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; About &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; CV &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; Contact &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;

Ocean Chasm&#38;nbsp; crystallised&#38;nbsp;soy-ink print of RAW telescope data, clay and spirulina pigments. 2024.


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A wall-based sculptural work that explores the entanglements of earth and space, the organic and the inorganic, life and non-life through bio-geo-chemical relationships, particularly those that happen in the ocean. RAW telescope data manually processed using scientific software and then printed in soy inks, coloured with clay and spirulina (cyanobacteria) pigments and left in solutions to crystallise.


	© Julie F Hill &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;    &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;Curatorial


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		<excerpt>Julie F Hill &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; Works &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; About &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; CV &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;...</excerpt>

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		<title>The Eye at the Stone's Interior</title>
				
		<link>http://juliefhill.co.uk/The-Eye-at-the-Stone-s-Interior</link>

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		<pubDate>Wed, 17 Dec 2025 18:03:16 +0000</pubDate>

		<dc:creator>Julie F Hill</dc:creator>
		
		<category><![CDATA[]]></category>

		<guid isPermaLink="false">458761</guid>

		<description>Julie F Hill &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; Works &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; About &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; CV &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; Contact &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;

The Eye at the Stone’s Interior&#38;nbsp; Calcium carbonate residue on chromed stainless steel. Diameter 403 mm. 2025.


&#60;img width="6720" height="4480" width_o="6720" height_o="4480" src_o="https://cortex.persona.co/t/original/i/c0e3a78e7654ec0371a3310de8fccd3659f44c1804671613438db8a1901d268f/Julie-F-Hill_Eye-at-the-Stone-s-Interior_2R9A8697_Ed.jpg" data-mid="1427499" border="0" /&#62;
&#60;img width="6720" height="6720" width_o="6720" height_o="6720" src_o="https://cortex.persona.co/t/original/i/d75eb49512491c5f37fcc5974f3f865d33743088463f1be6eb10970b07337b59/Julie-F-Hill_Eye-at-the-Stone-s-Interior_Flat.jpg" data-mid="1434568" border="0" data-scale="55"/&#62;


A remnant from the installation Parent Body. In the installation a drop of water was set up to continuously fall  into a reflective tray on the ground, over the course of the exhibition. As the pool filled and evaporated, residues of calcium carbonate and a patina left their traces, evoking planetary processes and&#38;nbsp; geological memory.


© Julie F Hill &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;    &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;Curatorial
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		<excerpt>Julie F Hill &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; Works &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; About &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; CV &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;...</excerpt>

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		<title>Parent Body</title>
				
		<link>http://juliefhill.co.uk/Parent-Body</link>

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		<pubDate>Thu, 04 Sep 2025 16:49:19 +0000</pubDate>

		<dc:creator>Julie F Hill</dc:creator>
		
		<category><![CDATA[]]></category>

		<guid isPermaLink="false">457775</guid>

		<description>Julie F Hill &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; Works &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; About &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; CV &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; Contact &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;


	Parent Body&#38;nbsp; Physically manipulated soy-ink print on tissue, chalk and clay pigments, chrome metal, water, clamp. 
c. W3 × H2.2 × D2.5m. 2025.
	Installation views: The Geological Unconscious, Hypha HQ, London. 2025.


	&#60;img width="4480" height="6720" width_o="4480" height_o="6720" src_o="https://cortex.persona.co/t/original/i/c50afbdfb8a2fb457a29bbfccbf12c7b9347a07cbe8cad114fd5b930969f73c5/2R9A8157-ed.jpg" data-mid="1418045" border="0" /&#62;
	&#60;img width="4480" height="6720" width_o="4480" height_o="6720" src_o="https://cortex.persona.co/t/original/i/a672216d66b88a5be1c0e1f5bd3ecde8c7b52ac183c14571a16ba571fcabe64c/2R9A8448_Ed.jpg" data-mid="1418050" border="0" /&#62;

&#60;img width="6720" height="4480" width_o="6720" height_o="4480" src_o="https://cortex.persona.co/t/original/i/aaeb903733e4f9051afd3d3d1f46cb4dc9736016a8f89b022248daf5ef01c180/2R9A8305-Enhanced-NR_ed.jpg" data-mid="1418051" border="0" /&#62;

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	&#60;img width="6100" height="4880" width_o="6100" height_o="4880" src_o="https://cortex.persona.co/t/original/i/ddcf8f276cc090f8e09f695d655a4234b085f681d2079c97c0f2d72155f057b8/2R9A8545_ED_4-5.jpg" data-mid="1418222" border="0" /&#62;
Hill’s sculptural print installation Parent Body uses scanning electron microscope data of samples recently returned from asteroid Bennu. The data features details of carbon-rich and organic ‘nano-globules’ which are theorised as being ‘proto-cells’ and speak to astro-geological-biological material lineages across deep space
and cosmological time. Sentience is evoked via Gaston Bachelard’s idea of water being the eye of the landscape. A drop of water falls into a pool on the ground, whose reflection extends the interior space of the sculpture into a hydrous, rippling mirror world: an eye at the stone’s interior, looking into its parent-body water world. (Current evidence suggests Bennu is a fragment of a larger, parent body water world). The cavernous formation invites a looking into – evoking the inner space of memory. 


In the sense that stony entities&#38;nbsp; store a memory of deep, cosmic time, brain&#38;nbsp; cells are perhaps not the only things that hold memories, or respond to stimuli or thought. The sculpture provides an embodied experience of the data and invites intimate contemplation of expanded scales. The ambiguous rock-like yet flowing forms echo the words of Jeffrey Jerome Cohen ‘stone is fluid when viewed within its proper duration’. 
Hill's large-scale sculptural installations evolve and adapt to various architectures and contexts.


	© Julie F Hill &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;    &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;Curatorial


</description>
		
		<excerpt>Julie F Hill &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; Works &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; About &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; CV &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;...</excerpt>

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		<title>Water &#38; Night</title>
				
		<link>http://juliefhill.co.uk/Water-Night</link>

		<comments></comments>

		<pubDate>Thu, 04 Sep 2025 16:41:43 +0000</pubDate>

		<dc:creator>Julie F Hill</dc:creator>
		
		<category><![CDATA[]]></category>

		<guid isPermaLink="false">457774</guid>

		<description>Julie F Hill &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; Works &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; About &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; CV &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; Contact &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;

Water and Night, Metal work embroideries, various sizes
&#60;img width="4480" height="6720" width_o="4480" height_o="6720" src_o="https://cortex.persona.co/t/original/i/02291d87c3f99022eabcd590cc41ee29f99cfc3610eb6c01707637861011cf4a/2R9A0054-ED.jpg" data-mid="1445475" border="0" data-scale="70"/&#62;&#60;img width="4480" height="6720" width_o="4480" height_o="6720" src_o="https://cortex.persona.co/t/original/i/94d60cc422c1d5a2283df69507f8cd627bc5155559fd902dd24c50528b0c6e80/2R9A0058-ED2.jpg" data-mid="1445476" border="0" data-scale="70"/&#62;Water and Night III, embroidery, silver passing thread, 100 x 127 mm


&#60;img width="4480" height="5600" width_o="4480" height_o="5600" src_o="https://cortex.persona.co/t/original/i/4a0e5d4aa1a07a984be78996c985a59da7d6c2c4458a07fafca2d455ad5a954c/Julie-F-Hill_Water-and-Night.jpg" data-mid="1418044" border="0" data-scale="70"/&#62;Water and Night II,  embroidery, silver metalicised thread, 5.3 x 11 cm


Embroidery works (part of an ongoing series) based on observational studies of celestial light on water. The series explores Bachelard's idea of water as the eye of the landscape and considers how water might mobilise alternative ways of knowing the universe. The reflective surface of water is presented as an alternative to the mirrors within telescopes that gather the light from which form our images of the cosmos.&#38;nbsp;I came to embroidery as a counterpoint to working with digital data and computer coding, finding in it an intimate process that encourages meditation and cultivates a different perception of time.&#38;nbsp;II. This particular embroidery is based on observational studies of the ‘glitter path’ of the moon on water at night, as it extends towards the horizon. 2025.
III. Moon ‘circles’, studies made whilst on a residency with The Bothy Project on the Isle of Eigg&#38;nbsp; in 2025. 


</description>
		
		<excerpt>Julie F Hill &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; Works &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; About &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; CV &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;...</excerpt>

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