Nationally exhibited, Hollis Hildebrand-Mills has received much critical acclaim. Her work was chosen for exhibition by Anne Umland, Curator of the Painting and Sculpture Department, Museum of Modern Art, New York, as well as by Jerry Saltz, Senior Art Critic, New York Magazine, 2018 Pulitzer Prize Winner For Criticism. Mr. Saltz has given her continuous criticism and praise for the paintings she has posted on his world renowned Instagram account. Among numerous group shows, Hildebrand-Mills has had nine solo shows in New York City and Atlanta. Her art has been featured in The Village Voice, Long Island Press, WHERE Magazine (New York), and New York Magazine, the Atlanta Journal-Constitution and Creative Loafing (Atlanta, GA). Hollis Hildebrand-Mills is based in Atlanta, Georgia.
Throughout several decades I have been making art, collage has attracted me because of its
ability to give the process of creating the art and the process of viewing the art a similar experience. I
guess I am like the abstract expressionists in that way. Ripping a piece of torn paper and placing it over a
line drawn, creates a lift in the picture plane. As I place the paper there when I make the collage, others
can view it the same way. It’s physical.
Even when I paint, I chop off sides of heads and butt them up against something else cut on the same
angle. Painting requires more planning, but I still enjoy the cut and paste quality that painting- as- collage
brings. The surprise, the shock, the placement cannot look planned.
I feel very lucky, in that I don’t get stuck very often. Or at a loss of what to do next. I was in advertising
for a while before I began my career in art. A lot of my imagery is taken from the direct symbols in
advertising. And the format of the wide-screened TV has woven its way into my work, too, several times.
I think this has a subliminal effect on people. People are always staring at their screens. Looking at my art
becomes friendly to them even if I have painted a skull or an explosion.
By using the trademark Divine Imagery Is Everywhere. ™, I subscribe to a belief that ideas flow through
me. I don’t claim them as something personal to me after they are executed as “mine”. My startling
imagery channeled through me must mean that ideas are accessible and are not that far away.
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!…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