moray hillary's Page

Website

http://www.axisweb.org

Relationship status

in a relationship

College / University

The School Of The Art Institute of Chicago

Program

M.F.A

Member type

Artist, Curator

If you're an artist, what kind of art do you make?

Conceptual, Installation, Painting, Sculpture

I am...

living and working in Glesgow,




EDUCATION

1990-1992 Masters of Fine Art, School of the Art Institute of Chicago
1986-1990 Bachelors of Fine Art, Glasgow School of Art


SOLO EXHIBITIONS

2009 "Licking Wounds" with Agnes Nedregard, Whitehouse Gallery, Glasgow
2008 "Quarantine" Atelier Am Eck, Dusseldorf
2007 "The Afterlives of George Forster" USF, Verftet, Bergen
2005 Patriothall Gallery, Edinburgh
2005 David Livingston Centre, Blantyre
2005 East Kilbride Art Centre, Glasgow
2004 Generator Projects Space, Dundee
2004 Patriothall Gallery, Edinburgh
2004 Amber Arts Gallery, Edinburgh
2003 Royal Infirmary, Glasgow
2003 East Kilbride Art Centre, Glasgow
2002 Intermedia Gallery, Glasgow
2002 Patriothall Gallery, Edinburgh
1999 The Blue Gallery, London
1997 The Blue Gallery, London
1993 Illinois Centre, Chicago
1993 Vermont Studio Centre, Vermont


SELECTED GROUP SHOWS

2009 "Whole place is dark, we see vol 2" Wroklaw castle Wroklaw, Poland
2009 "From Life", Collins Gallery, Glasgow
2008 "Live Art, Art Live", Beznnadzienjna Gallery, Warsaw
2008 Kunstpunkte, Dusseldorf
2008 Icebreaker Festival 08, Kabelvag, Lofoten, Norway
2008 Islington Art Fair, London, Compass gallery.
2008 Scottish Connection, St. George’s society, New York City
2007 Florence Biennale, Fortezza da Basso, Florence
2007 A Scottish Connection, Lyme Arts, Connecticut
2006 Wasps Artists’ Open Studios Weekend, Dovehill Studios, Glasgow
2006 Decorative-Ornament, Curated display, Axis website (www.axisweb.org)
2006 Body Navigation, Elagin State Museum, St. Petersburg
2006 House of a thousand pleasures, Østre Skostredet, Bergen
2005 Stipendutstillingen, Oslo
2005 Generating form, Rutherglen Town Hall, Glasgow
2005 Kevin Reid Jamboree Show, Rutherglen Town Hall, Glasgow
1999 Blue Gallery, London
1997 RCA Bridge Gallery, Strathclyde
1997 Islington Art Fair, Blue Gallery, London
1996 Fuse ’96, McLennan Galleries, Glasgow
1994 Mostyn Open, Oriel Mostyn Gallery, Wales
1994 Fuse ’94, Italian Centre, Glasgow
1994 Chicago Art Institute, Alumni Show, Chicago
1993 Watson and Philip INC., Dundee
1992 Pakula Space, Chicago
1992 Contemporary Workshop, Chicago
1992 Chicago Art Institute, Thesis Exhibition, Chicago
1991 Ewan Munday Gallery, Glasgow
1991 Gallery 2, Chicago
1990 Kilmarnock Art Museum, Kilmarnock
1990 Compass Gallery, Glasgow



PUBLIC COLLECTIONS

Strathclyde University, Glasgow
Watson and Philip INC., Dundee

SCHOLARSHIPS, FELLOWSHIPS AND EMPLOYMENT

2009 "Painting Rebranded", workshop, Kunstakademiet, Bergen
2008 Prasentation, Onamato, Dusseldorf
2008 Work presentation for Nordland Kunst-og Filmskole, Kabelvag, LOFOTEN,Norway
2008 Glasgow- Dusseldorf residency award, Kulturamt der Landeshaupstadt
2007 Hope Scott Trust award
2006 Bergen Kommune artists grant, working with Agnes Nedregard
2006/7 Visiting artist, Kunstakademiet, Bergen
2005 Member of Unge Kunstneres Samfunn, Oslo
2005 David Livingstone Centre residency, Blantyre
2005 Curator, ‘Generating form’, Rutherglen Town Hall, Glasgow
2005 Assistance Grant, Scottish Arts Council
2004 Generator projects residency, Dundee

About my artwork

Since graduating from the MFA programme at the School of the Art Institute of Chicago, I have been mining a particular seam in painting that revolves around the visceral and the exploration of external manifestations of psychological trauma. Initially this occurred through the depictions of graphic images of wounds, which then subsequently evolved, to turn the genre of tattooing central themes inside out.

Having always been intrigued by the juxtaposition of abstract and figurative elements, the new work, during the last few years, has involved the cross- fertilisation of aesthetic concerns; a kind of alchemy in which complex sculptural elements can be transformed into intricately layered painterly surfaces.

In the exploration for a new way of working that involves a variety of visual languages, the sense of belonging to a particular painting tradition becomes sometimes confused and disorientated. Yet it is only through this rigorous research in a troubled terrain that a pertinent and viable currency might be created