Gabrielle L’Hirondelle Hill (b. 1979, Comox, British Columbia, Canada) is a Cree and Métis artist and writer. Hill’s sculptural practice explores the history of found materials to enquire into concepts of land, property, and economy. Often, her works emerge from a curiosity about how land becomes legal property, and what the vulerabilites 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 decentre Eurocentric models of making and thinking about art, prioritizing instead land-based teachings and Indigenous epistemologies.
Hill received her MFA from the California College of the Arts, and a BFA and BA from Simon Fraser University. Most recently, her work has been exhibited at the College Art Galleries at the University of Saskatchewan, Saskatoon (2020); Stride, Calgary (2019); Cooper Cole, Toronto (2019); Burnaby Art Gallery, Burnaby (2019); Unit 17, Vancouver (2018; 2019) Gallery TPW, Toronto (2018); Art Gallery of Alberta, Edmonton (2018); SBC galerie d’art contemporain, Montreal with the Woodland School (2017); Gallery 44, Toronto (2016); and others. Hill has forthcoming solo exhibitions at the Museum of Modern Art, New York, and the Vancouver Art Gallery, Vancouver. Her 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.
Lives and works in Vancouver, Canada
MFA, California College of the Arts, Oakland, USA
BFA, Visual Arts, Simon Fraser University, Vancouver, Canada
BA with honors, English, Simon Fraser University, Vancouver, Canada
Solo and Two Person Exhibitions
Next: Gabrielle L’Hirondelle Hill, Vancouver Art Gallery, Vancouver, CA (forthcoming)
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)
Counterblast, Cooper Cole, Toronto, CA (forthcoming)
Loose Spells, Cooper Cole, Toronto, Canada
Money, Unit 17, Vancouver, Canada
Other-Portraits: Patrick Cruz and Gabrielle L’Hirondelle Hill, Stride, Calgary, Canada
Waste Lands, Sunset Terrace Gallery, Vancouver, Canada
Dancing with Tantalus, School of Art Gallery, University of Manitoba, Winnipeg, Canada
Boîte-en-valise, Office Baroque, Antwerp, Belgium
Where do we go from here?, Vancouver Art Gallery, Vancouver, Canada
Women’s Work: New Acquisitions, Burnaby Art Gallery, Burnaby, Canada
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
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
like an old friend, Gallery 44, Toronto, Canada
Custom Made, Kamloops Art Gallery, Kamloops, Canada
Lyres? Knives? Flowers? Bushes?, Dynamo Arts Association, Vancouver, Canada
Capture Photography Festival, Vancouver, Canada
Native American Film and Video Festival, Smithsonian Museum, New York, USA
The New Collage-raphers, Red Gate Gallery, Vancouver, Canada
152 E Hastings, 50/50 Gallery, Victoria, Canada
Amy Kazymerchyk, “Bush Gallery”, Wood Land School: Critical Anthology. Vancouver: SFU Galleries, Or Gallery (forthcoming)
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.
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.
Bélisle-Springer, Zoé. “The Gaze: Like An Old Friend.” IonMagazine. Web. October 4.
Bourcheix-Laporte, Mariane. “Acts of Spatialization: On Occupation, Settlement, and Ownership.” Decoy Magazine. Web. July 5.
Brown, Lorna, and Gabrielle L. Hill. “Collective Acts.” Beginning with the Seventies. Vancouver: Morris and Helen Belkin Art Gallery, 2019 (forthcoming)
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.
McCall, Sophie, Deanna Reder, David Gaertner, and Gabrielle L. Hill, eds. Read, Listen, Tell: Indigenous Stories from Turtle Island. Waterloo: Wilfred Laurier UP.
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.