Julie Hill is a British artist who works with photography in her sculptural installations exploring astronomical and cosmological representations and the technologies used to construct them. She finds  inspiration in science-fiction and horror to conjure imaginative environments of cosmic encounter. 

Sources of fact and fiction combine in installations that merge objects, texts and interventions to explore the divide between the objective and the subjective, the real and the imagined. Enigmatic materials such as smoke, fabric and mirrors act as portals, or conduits between the known and the unknown. These materials come together to encourage the suspension of disbelief, much like when we submit to the imaginary of literature and film.

Recent work has been looking at the use of mirrors and how they are the primary light gathering component within most major reflecting telescopes, yet conversely they are magical and illusory objects in folklore and fiction. For instance her work Pillars of Creation took the renowned image of the M16 Eagle Nebula taken by the Hubble space telescope and reformed it into a sculptural installation with monolith-like mirrors. This sculptural configuration provided an imaginative experience of the cosmos that alluded to the fallacies built into perception and the construction of knowledge.  

Julie studied at Central Saint Martins and the Royal College of Art and is currently a Fellow in digital print at the Royal Academy Schools. Exhibitions include Passen-gers, London, UK (2017); Pokey Hat: Glasgow International Festival, Glasgow, UK (2016); Dimensions Variable, Miami, USA (2012), Guest Projects, London, UK (2012), Tate Britain, London, UK (2007). She has also made a number of informal interventions in communication networks and public space. Her work has been featured in The Miami Rail, The Independent, the Guardian, Artreview.com, IDEA, Aesthetica, NYLON and Modern Painters amongst others Residencies include Lumen, Atina, Italy (2016) and The Florence Trust, London, UK (2013–14).

She was awarded funding for her artistic and curatorial project including Passen-gers, a site-specific exhibition series at The Brunswick Centre (Arts Council, 2016–17), Cartographies of Life & Death, curated for Artakt and London School of Hygiene & Tropical Medicine (Wellcome Trust/Arts Council, 2012–13) and Crying Out Loud, a platform she co-founded that uses exhibitions and events to explore notions of femininity in contemporary culture (Arts Council, 2012, 2016).