Daniel G. Hill

Post-in-Progress
A Brief Description

The series of relief paintings made between 1985 and 1989 are visually and structurally complex. They quickly evolved into a standardized shape, which is a slicing of a cube. Typically, the painting support is made from two triangular planes joined along a vertical edge. The lower edge of each plane rests against the wall while the upper vertex is at a distance from the wall approximately two-thirds the width of the painting.

The form of most of the relief paintings is a slicing of a cube. If one were to place a cube on the wall and rotate it 45º, the 3D diagonal of the cube would be the vertical edge of the painting. The two lower edges would be edges of the cube. And the two upper edges would be diagonals of faces of the cube.  From certain angles and distances, the image of the painting flattens to a diamond as if it were flat on the wall.

The experience of the paintings hover or fluctuate between the perception of a three-dimensional surface, a two-dimensional image, and a fusion of the two, which locates color in an indeterminate space somewhere in between resulting in film color as described by German-born Swedish gestalt psychologist David Katz.

—Daniel G. Hill, 2025

Exhibitions: #8901 and #8902 were exhibited at Soho Center for Visual Artists in March 1990 in the exhibition Geometry on Site. The exhibition was curated by Bruce Wall and included three other artists. More info to come.
From 1990 until 2025, #8901 was in the collection of Joel and Sherry Mallin. It is, once again, in the collection of the artist.