In a cowslip's bell I lie, 2022 fluent, Santander, Spain
Profound—precarious Property— Possession, not optional— Double Estate—entailed at pleasure Upon an unsuspecting Heir— Duke in a moment of Deathlessness And God, for a Frontier.
I am Afraid to Own my Body, Emily Dickinson.
In a cowslip’s bell I lie, the title of this exhibition, is taken from Ariel’s poetic verses inShakespeare’s The Tempest. Throughout the play, Ariel is presented as the airiest character,a spirit whose voice fluctuates in rhythm and movement. An invisible entity, whose subtlepresence shifts the narrative.
Considering the invisible impact of logistics, Hill’s installation unfolds as a haunting spacerevealing the structural dimension of life and its systemic infrastructures. Featuring two recentseries of sculptures where the friction between the precarious and the commodified are broughtinto conversation, it is in their possible interactions where meanings emerge. It articulates apossibility of space for bodies’ resilience and theircontinuous interplay of intimacy within theviolence of logistics, access and mobility in a white supremacist patriarchy.
Building on subtlety as a possible path, three gates open and close in a studied choreographybringing you across the possibility of a new narrative. Taking on the appearance of commodifiedobjects, their movement reveals them as a source for identity and orientation entangled withmultiple social, political and symbolic significations. As they seem to be dancing upon thepunctuation of partiality and social dispossession, they question ornamentation and fortificationas tools that help us renew our habits of assembly.
Even though she is interested in the circulation of materials, in her installation, Hill creates anopposition of experience by confronting the gates to a series of cardboard and flower sculpturesand a glass piece appealing to another rationale. The multiple connections of precarious matter,life and decay are sung through the transitory nature of things and their dissonant temporalities:dying flowers, industrial manufacturing and craft labor in a fleeting encounter. As a way to reflect distributed intimacy, the poetic line in Ariel’s voice refers to the relation between things—an unconditional love... an atmosphere overflowing in the smell of rain on heat-soaked rotten petals. Precious in the land of endless shipment, wet cardboard boxes disintegrate precariousness into poetic sovereignty.
Text by Alex Alonso Díaz
'47, 42, 21', (2021) Steel, arduino, motor shield and linear actuator Variable dimensions
'In a cowslip’s bell I lie (1)', (2022) Cardboard boxes, clocks and flowers Variable dimensions
'In a cowslip’s bell I lie (2)', (2022) Stained glass and solder 22 x 31 cm