Robert Burnier’s folded and twisted aluminum wall sculptures draw attention to spatial relationships and corresponding visual language, with meaning inadvertently following form. Each of Burnier’s works are titled in the manufactured utopian language Esperanto, which was conceived in the late 19th century in what is now Poland, in order to create a universal linguistic bridge between peoples. Materiality, manipulation, and chance come together in Burnier’s work, presenting both question and axiom.

 

The line between landscape and figure, painting and collage, foreground and background is crossed over and back again in Justine Hill’s enigmatic works. Hill’s irregularly shaped canvases burst with colors and textures, emphasizing gesture and intuitive mark making. Occupying a fluctuating space between loose representation and pure abstraction, Hill’s mixed media paintings act individualistically as distinct characters.

 

Together, Burnier and Hill bring new takes on color, form, texture, and dimension. Contrast and convergence underscore chance relationships between works, where shapes and shadow echo and mimic one another, moving forward and back through layers and spaces, never seeking or arriving at a conclusion.