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Titles such as “Popham Run at Etlan Road, January 3, 2004, 4:45 pm.’’ and “Snow fields near Etlan, December 7, 2003, 9:25 a.m.” lock the prints into a certain time and space. Hill manages to avoid any sentimentality about his landscapes vet at the same time, to increase their poignancy through the exact use of date and time which emphasizes the fleeting nature of time, light and of life.
Hills’ work is closely related to photography, and indeed, upon first glance, one might think that the prints are actually photographs. Yet upon closer examination, there is an obvious painterly quality, and a softness of light that is quite arresting.
The prints seem to reveal a play of reflection and refraction that can evade the camera’s lens. Hill is a great fan of photography—he credits the great American photographer Edward Steichen, 1879-1973, as being one of his primary sources of inspiration—and uses photography to achieve his vision, -to recreate the world the way he sees.
Hill’s technique involves the use of a digital camera with which he gathers the inspiration and material for his art on morning and evening walks in ^nd around his house and studio in Etlan. From the photographs, he proceeds to make gesture
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