Cognitive Surveillance I - detail:
2017, Charcoal on Kozo, 160x110cm
Digital Image for ‘Maere':
2012, Cast refractory concrete
with screen print glazes,
30cm x 90cm
Sites of Action - exploration through drawing
2014, Charcoal wall drawing detail
Along the way - detail:
2010, Screenprint, hand cut line on Kozo with back projection, multiple panels various lengths.
2015, Intaglio-type on Somerset,
96 x 59cm
2011, Screenprint and drawings on Acrylic,
20 x 30cm
Hunter Estuary, Kooragang Island NSW,
(right) detail from Harmonic Constituents,
2016, Intaglio-type on Somerset
2011, 10 x Kozo panels with
screen print and hand cut lines.
Borge's Impossible Map
On Exactitude in Science Jorge Luis Borges, Collected Fictions, translated by Andrew Hurley.
...In that Empire, the Art of Cartography
attained such Perfection
that the map of a single Province
occupied the entirety of a City,
and the map of the Empire, the entirety of a Province.
In time, those Unconscionable Maps
no longer satisfied,
and the Cartographers Guilds struck a Map of the Empire
whose size was that of the Empire,
and which coincided point for point with it.
The following Generations,
who were not so fond of the Study of Cartography
as their Forebears had been,
saw that that vast Map was Useless,
and not without some Pitilessness was it,
that they delivered it up to the
Inclemencies of Sun and Winters.
In the Deserts of the West, still today,
there are Tattered Ruins of that Map,
inhabited by Animals and Beggars;
in all the Land there is no other
Relic of the Disciplines of Geography.
—Suarez Miranda,Viajes de varones prudentes, Libro IV,Cap. XLV, Lerida, 1658
Field of Vision project,
2011 residency in Washington DC
Born in Birmingham Tracy Hill studied Fine Art at Burnsville School of Art, Birmingham, Sheffield Hallam University and University of Central Lancashire, Preston.
Currently a research associate and co-leader of Artlab Contemporary Print Studios at The University of Central Lancashire, Hill’s practice investigates and reconsiders the relationship between our developing digital capabilities and the aesthetics of the traditional hand created mark.
An essay by Deborah Stevenson
In response to Sensorium and Matrix of Movement
Projects by Tracy Hill 2014 – 2017
2010, 50 cast plaster tiles
with screen print,
2016, Intaglio-type on Somerset.
2012, Fired refractory
concrete, 90 x 30cm
2011, Screenprint and
drawings on Acrylic, 20x30cm
Along the way - installation detail:
2010, Screenprint, hand cut line on Kozo
with back projection,
multiple panels various lengths
Matrix of Movement - site specific drawing installation -
The Brindley, 2016, Charcoal
You are Here
2016, Hand cut screen print on Kozo
2018, 76 x 56cm Intaglio-type on Somerset
2017, 160 x 110cm Charcoal on Kozo
2012, Cast refractory concrete panels
with screen print glazes,
30cm x 90cm each panel
Deborah Stevenson is a writer and artist based at the University of Central Lancashire. She is concerned with the interconnectedness of place, memory and narrative. As a PhD student, the focus of her research is the Dock Road area of Liverpool with its architecturally disparate hinterland of working class dwellings and grand mercantile and civic buildings.