FEINT
City Gallery Wellington Te Whare Toi, 2013
Gus Fisher Gallery, Tāmaki Makaurau Auckland, 2014
Embraced restraint might lead to strange and paradoxical empowerment. There’s a tingle of this as you step up close to observe the technical restrictions at work. Hill delights in making solid structures responsive, even submissive, to arbitrary pattern. Take the die-cut precision of the juxtaposed furniture pairs of Back to Back, Semi-Supine View, Boudoir Studio and Feint (mounted on the back-left wall like a final fillip to our engagement). In their confounding tangle the superimposed shapes at first seem ascendant. But on closer inspection they are dictated by the forms beneath.
Anna Smaill
Back to Back (Eileen Gray Non Conformist Chair with Ruhlmann Defenses Chair), 2013, watercolour and graphite on paper, 397 x 330 mm
Boudoir Studio (Eileen Gray Stool with Ruhlmann Vanity Seat), 2013, watercolour and graphite on paper, 415 x 320 mm
Feint, (Two Ruhlmann Chairs), 2013, watercolour and graphite on paper, 380 x 280 mm
Pale Fictions (Viewpoint #1), 2013, watercolour and graphite on paper, 452 x 385 mm
Pale Fictions (Viewpoint #2), 2013, watercolour and graphite on paper, 452 x 385 mm
Semi-Supine View (Eileen Gray Transat Chair with Chaise Longue by Le Corbusier, Charlotte Perriand and Pierre Jeanneret - The Machine for Resting), 2013, watercolour and graphite on paper, 452 x 385 mm