I definitely play in nostalgia…it’s where my imagination starts and I feel attached to the experience of escaping. ”
Especially in her early career, Gil was shocked by the art world, describing her as a surrealist. Pop or low-key doesn’t matter. It’s not true. It seems that the work in the world is incredible, describing her work as a reality.
But part of what made Gil’s work so successful over the years was her ability to pour her stories into painting. Using the term narrative escape from reality is her way of showing that these works involve vulnerability rather than being shared in the subconscious or rooted in vulnerability. She didn’t try to describe anything other than herself. Her work at home personal feelings, attachment, paranoidness. Although they are not entirely autobiographical, in a sense we have a feeling about Lola’s real or imagined world, but her work does portray the reality she is doing to understand her reality. Good moments, fewer moments, misunderstood moments. They don’t fall into a coma because they step on the side and take a different view.
She said: “Personal art is just healing for me. When it comes into the world and becomes world art, it becomes another thing. It’s the mid-2000s when I first started making a living as an artist, I was pigeoned in this surreal category. But I didn’t feel like I was creating more things. The scope of my efforts is mine, and I was actually my reality, and my reality is my reality, and my reality is my reality, and I was standing out in the narrative. Telling my work is surrealist, I wanted to find a place that makes sense.
Jill’s work inspired a journey to the question: What will make you happier? The problem is real. face value. Take or leave it, but no matter how hard you try, it is the question you end up going back to over and over and over to try to convince yourself that you are beyond this question or not worthy of a positive answer.
I make myself vulnerable and chase I myself need to be open, forgive my past relationships, and pass Transparent lens. ”
For yourself, the answer is empathy. Elegant, clean empathy. She described the glass figurine as a magnifying glass. They are also Bardo, a restraining space. Where we go between beings. Will we be good or bad after the journey?
The twists and twists of glass, where we can feel confused and lonely, or we can realize it portrays a person with very real hope and purpose. Her latest painting depicts the numbers just inconcentrated, what if we can change our eyes? Just a little bit, seeing the person on the other side of the character.
“What I hope is that it can make the glass depth behind the presenter behind the glass depth of a living life, just like you or me – probably different species,” Gill said. *
This article was originally featured in Hi-Fructose Issue 69 as a cover function. Get a copy of the question here. Thank you for reading and supporting our independent art publications.
