Gabrielle L’Hirondelle Hill (b. 1979, Comox, British Columbia, Canada) is a Cree and Metis artist and writer. Hill received her MFA from the California College of the Arts, and a BFA and BA from Simon Fraser University. Her sculptural practice explores the history of found materials to inquire into concepts of land, property, and economy. Often, her works emerge from a curiosity about how land becomes legal property, and what the vulnerabilities of this relationship are. Hill creates her works through weaving, tying and binding materials, which are all actions associated with casting spells. Hill is a member of BUSH gallery, an Indigenous artist collective seeking to de-centre Eurocentric models of making and thinking about art, prioritizing instead land-based teachings and Indigenous epistemologies.

Hill has two forthcoming solo exhibitions this year at the Museum of Modern Art, New York and the College Art Galleries at the University of Saskatchewan, Saskatoon. Most recently, her work has been exhibited at Stride, Calgary (2019); Cooper Cole, Toronto (2019); Gallery TPW, Toronto (2018); Art Gallery of Alberta, Edmonton (2018); Polygon Gallery, Vancouver (2017), SBC galerie d’art contemporain, Montreal (2017) with the Woodland School; Gallery 44, Toronto (2016); and others. Hill’s writing has been published in many places, most recently in Beginning With the Seventies (Helen Belkin, 2019). She is also the co-editor of The Land We Are: Artists and Writers Unsettle the Politics of Reconciliation (ARP 2009) and Read, Listen, Tell: Indigenous Stories from Turtle Island (Wildred Laurier 2017). Hill lives and works on the unceded territories of the Sḵwx̱wú7mesh, Musqueam, and Tsleil-Waututh peoples.

CV

Lives and works in Vancouver, Canada

Education

 2017
MFA, California College of the Arts, Oakland, USA

2014
BFA, Visual Arts, Simon Fraser University, Vancouver, Canada

2011
BA with honors, English, Simon Fraser University, Vancouver, Canada

Solo and Two Person Exhibitions

2020

Projects: Gabrielle L’Hirondelle Hill, Museum of Modern Art, New York, USA (forthcoming)

Gabrielle L’Hirondelle Hill: Four Effigies for the End of Property, College Art Galleries at the University of Saskatchewan, Saskatoon, Canada (forthcoming)

2019
Loose Spells, Cooper Cole, Toronto, Canada
Money, Unit 17, Vancouver, Canada

2017
Other-Portraits: Patrick Cruz and Gabrielle L’Hirondelle Hill, Stride, Calgary, Canada

2014
Waste Lands, Sunset Terrace Gallery, Vancouver, Canada

Group Exhibitions

2019
Women’s Work: New Acquisitions, Burnaby Art Gallery, Burnaby, Canada

2018
Apparitions, Unit 17, Vancouver, Canada
Coney Island Baby, Gallery TPW, Toronto, Canada
Li Salay, Art Gallery of Alberta, Edmonton, Canada
bust/boom, The New Gallery, Calgary, Canada
These Hands, Western Front, Vancouver, Canada

2017
N. Vancouver, Polygon Gallery, North Vancouver, Canada
Woodland School: Drawing a Line from January to December, SBC, Montreal, Canada
To Refuse/To Wait/ To Sleep, Morris and Helen Belkin Art Gallery, Vancouver, Canada

2016
like an old friend, Gallery 44, Toronto, Canada

2015
Custom Made, Kamloops Art Gallery, Kamloops, Canada
Lyres? Knives? Flowers? Bushes?, Dynamo Arts Association, Vancouver, Canada
Capture Photography Festival, Vancouver, Canada

2011
Native American Film and Video Festival, Smithsonian Museum, New York, USA

2010
The New Collage-raphers, Red Gate Gallery, Vancouver, Canada
152 E Hastings, 50/50 Gallery, Victoria, Canada

Bibliography

2019
Amy Kazymerchyk, “Bush Gallery”, Wood Land School: Critical Anthology. Vancouver: SFU Galleries, Or Gallery (forthcoming)

2018
Nurming-Port, Yasmin. “Deep Time: A national survey of 10 artists who work with changing environments.” Canadian Art, vol. 35, no. 3, Fall, p.111.

2017
Durey, Lucien. “A North Vancouver Institution Enters a New Era.” Canadian Art. Web. December 5.
Burham, Clint. “To refuse/ to wait/ to sleep.” Espace, Numéro 116, printemps, p. 99-101.
Laurence, Robin. “The economy meets engaging art in Belkin show.” The Georgia Straight. Web. January 18.
Brown, Lorna. To Refuse, To Wait, To Sleep. Vancouver: Morris and Helen Belkin Art Gallery.

2016
Bélisle-Springer, Zoé. “The Gaze: Like An Old Friend.” IonMagazine. Web. October 4.

2015
Bourcheix-Laporte, Mariane. “Acts of Spatialization: On Occupation, Settlement, and Ownership.” Decoy Magazine. Web. July 5.

Publications

2019
Brown, Lorna, and Gabrielle L. Hill. “Collective Acts.” Beginning with the Seventies. Vancouver: Morris and Helen Belkin Art Gallery, 2019 (forthcoming)

2018
Frei Njootli, Jeneen, Gabrielle L. Hill, Tania Willard. Coney Island Baby: A Cut-Up Text. Toronto: Gallery TPW.
Hill, Gabrielle L. “from Four Effigies for the End of Property: Preempt, Improve, The Highest and Best Use, Be Long.” The Capilano Review, 3.35, Spring, pp 26-31.
Hill, Gabrielle L., et al. “Coney Island Baby.” Site/ation, special issue of C Magazine, no. 136, Winter, pp 18-25.

2017
McCall, Sophie, Deanna Reder, David Gaertner, and Gabrielle L. Hill, eds. Read, Listen, Tell: Indigenous Stories from Turtle Island. Waterloo: Wilfred Laurier UP.

2009
Hill, Gabrielle L., Sophie McCall, eds. The Land We Are: Artists and Writers Unsettle the Politics of Reconciliation. Winnipeg: ARP.
Hill, Gabrielle L., Peter Morin, and Tania Willard. “Underlying States.” The Land We Are: Artists and Writers Unsettle the Politics of Reconciliation. Edited by Gabrielle L. Hill and Sophie McCall. Winnipeg: ARP.

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