October 5, 2012 – December 28, 2012
Lee Albert Hill grew up in West Texas and after living and working in the Connecticut/New York area for many years, came back to Texas to make his home in Fort Worth. In addition to his work as a painter, Hill is also an architect and Associate Principal at Hahnfeld Hoffer Stanford Architects, one of the top design firms in the Dallas/Fort Worth area. Hill’s architectural contributions to local landmarks include, Temple Beth-El, Arborlawn United Methodist Church and the Will Rogers Ticket and Visitor’s Center. Hill has maintained an active art studio for many years and his paintings have recently been featured in the pages of INDULGE MAGAZINE and shown in several local and regional galleries including the K-Space Contemporary in Corpus Christi. In addition, his work has also been shown in curated group exhibitions from New Orleans, Houston and San Francisco to Berlin Germany and Moscow Russia.
Through his paintings Lee Albert Hill has been exploring the process of abstracting man’s relationship with nature after being exposed to the work of contemporary Asian artists during a trip to study art and architecture in Japan. Many Asian artists, particularly those in Japan, have started to express a clear and close relationship to the natural world. Through their art they believe nature is a force that should be felt rather than rationalized. Hill has been exploring this force himself through his paintings which start out by being placed outdoors among the extremes of weather in his native state of Texas. These works emphasize permanence over the ephemeral and are an expression of the time and place in which they are created.
This exploration continues in Hill’s “Bluestem Series. Bluestem is a native prairie grass and can be found all across the North Texas region where Hill's home and studio are located. Work in the series is produced in several steps. Bluestem is carefully selected for its potential to create impressions in acrylic paint on canvas while exposed to the weather. After weathering, the work is then brought into his studio where forms and patterns are discovered, taped off and painted over. Through a process of adding and subtracting, an under-and-over-painting is created. The result is a unique visual language of reductive contrasting patterns which express secret forms and space.