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Responding to the vastness of nature as represented by modern science, Julie F Hill employs an expanded approach to photography and image-making, creating sculptural installations that explore conceptions of deep-space and cosmological time. The astronomical image is shaped into formations that resemble uncanny meteorological or geological phenomena, creating immensities that we can walk amongst, and enter into. Enigmatic and illusory materials such as smoke or mirror act as conduits or portals, inviting us to cross a threshold to experience the unknowable. Through such environments she questions scientific images and the technologies used to construct them. 

Mirrors expand the possibilities of space, hinting at other dimensions. In particular she looks to their dual nature as both scientific instruments and objects of magic and illusion. For example, they are the primary light gathering component within telescopes – yet also objects of illusion in folklore and fiction. For instance, the Pillars of Creation takes the renowned image of the M16 Eagle Nebula taken by the Hubble Space Telescope and reforms it into a sculptural installation with monolith-like mirrors. This sculptural configuration provides an imaginative experience of cosmic encounter, whilst alluding to the fallacies built into perception and the construction of knowledge. 

She finds inspiration in imaginary environments and encounters in film and literature, in particular the writings of Jorge Luis Borges and H P Lovecraft. Linked elements of writing, performance and intervention are often devised as accompaniments to her installations.



Julie studied at Central Saint Martins (BA, 2004) and the Royal College of Art (MA, 2006), and am currently a Fellow in digital print at the Royal Academy Schools (2017–). Her Solo and duo  exhibitions include The Space Out of Time, Terminal Creek Contemporary/Capture Photography Festival, Vancouver, CA (2019); Of Stars and Chasms, ArthousSE1, London (2019); Deserts on the moons of other planets, Passen-gers, London, UK (2017); Mirror Darkness, Lumen Studios, London, UK (2017) and A Rake’s Progress, Dimensions Variable, Miami, USA (2012) as well as group shows at In Search of Darkness, Grizedale Sculpture (2018); LCN/SPACE Art & Technology, London (2018); Pokey Hat, VERBureau at Glasgow International Festival, Glasgow, UK (2016); Crying Out Loud, Guest Projects, London, UK (2012); Single-Shot, Tate Britain, London, UK (2007). Residencies include Lumen, Atina, Italy (2016) and London (2018); The Florence Trust, London, UK (2013–14).

She has been awarded funding for her artistic and curatorial projects including Passen-gers (Arts Council, 2016–17), a continuing site-specific exhibition series which looks at the social, historical and material contexts of various sites and architectures, as well as Cartographies of Life & Death, curated for Artakt and London School of Hygiene & Tropical Medicine (Wellcome Trust/Arts Council, 2012–13).