Gabrielle L’Hirondelle Hill (b. 1979, Comox, British Columbia, Canada) is a Métis artist and writer. Hill’s sculptural practice explores the history of found materials to enquire into concepts of land, property, and economy. Often, her projects emerge from an interest in capitalism as an imposed, impermanent, and vulnerable system, as well as in alternative economic modes. Her works have used found and readily-sourced materials to address concepts such as private property, exchange, and black-market economies. Hill is a member of BUSH gallery, an Indigenous artist collective seeking to decentre Eurocentric models of making and thinking about art, prioritizing instead land-based teachings and Indigenous epistemologies. Hill is Cree and English, with maternal roots in the Michel Band and Papaschase. She lives on the unceded territories of the Sḵwx̱wú7mesh, xʷməθkʷəy̓əm and səlilwətaɬ Nations.
Hill received her MFA from the California College of the Arts, and a BFA and BA from Simon Fraser University. Recent exhibitions include the Museum of Modern Art, New York; Hessel Museum of Art, Bard College, Annandale-on-Hudson; the 59th Venice Biennale; Le Magasin CNAC, Grenoble; the Vancouver Art Gallery, Contemporary Art Gallery, Vancouver; the College Art Galleries at the University of Saskatchewan, Saskatoon; Art Gallery of Alberta; Cooper Cole, Gallery TPW, Toronto, Ontario; amongst others. Her writing has been published in many places, most recently in Beginning With the Seventies (Helen Belkin, 2019). She is also the co-editor of The Land We Are: Artists and Writers Unsettle the Politics of Reconciliation (ARP 2009) and Read, Listen, Tell: Indigenous Stories from Turtle Island (Wilfred Laurier 2017).
