Internationally exhibited, Hollis Hildebrand-Mills has received much critical acclaim. Her work was chosen for exhibition by Anne Umland, Executive Curator of the Painting and Sculpture Department, Museum of Modern Art, New York.
Jerry Saltz, Senior Art Critic, New York Magazine, 2018 Pulitzer Prize Winner For Criticism has given her continuous praise and criticism for the paintings she has posted on his world renowned Instagram account.
Among numerous group shows, Hildebrand-Mills has had ten solo shows in New York City and Atlanta. Her art has been featured in The Village Voice, Long Island Press, WHERE Magazine (New York), the Atlanta Journal-Constitution and Creative Loafing (Atlanta, GA).
Hollis Hildebrand-Mills is based in Atlanta, Georgia.
“An artist earns the right to call himself a creator only when he admits to himself that he is but an instrument.”
– Henry Miller
Hollis Hildebrand-Mills’ art is a reflection of what is going on in the world at the time of process. The internal structure of her work is derived from Renaissance paintings. Some symbolism comes from that era also. But these things are conscious. Like Henry Miller says, the subconscious is absorbing the space surrounding the act of creation and puts forth work, apart from what the conscious mind “knows.” The mystery of creation.
Her goal is to make paintings (or collages) that resonate with timeless art as well as reflect the time in which she is living.
She gets her craft from being fortunate enough to have attended several excellent art schools. Moore College of Art and Design, where she earned a BFA and studied with photographer Dave Heath. She also took degree program post-graduate classes at the Atlanta College of Art with Fred Gregory, a Joseph Albers disciple, who proofed Albers’ book on color. She studied classical drawing at the Pennsylvania Academy of Fine Arts. She also mentored with Peter Forakis, notable sculptor, founder of the Park Place group in NYC. Hollis exhibits in galleries around the world, focusing on Atlanta and New York.
Hollis is represented by Ceres Gallery in New York.
ATLANTA JOURNAL CONSTITUTION
"...These are works that are easy to love....they are not so much about disaster as about the ability of color to represent both chaos and a way out of it." - Jerry Cullum, Author at Burnaway, Author at ArtsATL, and the 2020 winner of the prestigious Rabkin Prize Award.
CREATIVE LOAFING, ATLANTA GA
"Hildebrand-Mills is in love with an assaultive, stand-back color palette that underscores the violent doings in her canvases. Colliding colors.. which hover between abstractions and representation- into miasmas of conflicting forces." - Felicia Feaster
NEW YORK MAGAZINE
“BOLD…Goooood work…Strong work!” Jerry Saltz, Senior Art Critic, New York Magazine and Pulitzer Prize Winner for Criticism, 2018
LONG ISLAND PRESS
"Hildebrand-Mills takes the terror out of the terrifying, making light of the future's mystery and the grief out of the past."
"For me "Bread in the Sky" is particularly funny as well as an example of what I would call good art, albeit strangely morose (Hildebrand-Mills loves the aesthetics of disaster!) This work updates the crude brilliance of old-fashion collage with the application of very simple video technology. I thought that it was oddly elegant." - Karen Tauches
"I had the pleasure of reviewing Hollis' work while curating for the Rhonda Schaller Studio Gallery... She depicts her spiritual narratives that are engaging for the viewer. I find her work intriguing. Just when you think you understand the painting, something new comes through. This is a special quality that not many painters possess." - Rhonda Schaller - Professor, Lecturer, VP for Student Affairs
"... The torn paper collage is used as an abstract element like a brush stroke or area of color would be used and not for its narrative content. The integration of symbol, material, painting and mark gives the work a remarkably cohesive quality generally difficult to achieve." - Stefany Benson, Director
"…the collage work is very subtle…have to get close to see even that it’s collage…uses all kinds of abstraction; monumental scale is powerful…" - Jerry Cullum