Lisa Hilli is a contemporary artist living in Narrm (Melbourne). Through her practice she prioritises indigenous knowledge and matrilineal systems to subvert colonial and Western histories contained within ethnographic and archival material. The representation of the black female body and the politics of hair are ongoing themes that allow her to explore, combine and disrupt the confines of photographic and textile practices. Through gender discourses she often portrays the theme of visibility and invisibility through landscape and social environments.
HIAP | Helsinki International Artist Residency Program
Lisa is currently artist in residence from 03 June – 29th August on Suomenlinna | Sveaborg. You can see what she’s up to on her Instagram profile here.
More information can be found on the HIAP website.
This residency is supported by the Australia Council for the Arts.
Capital | Ballarat International Foto Bienniale
Trade beads or slave beads, were used globally by European colonists as a mechanism for the exploitation of labour and goods, they were also used by missionaries for building rapport with indigenous people of the land. Artist Lisa Hilli explores the impacts and transformative effect that trade beads had upon her own people the Gunantuna (Tolai), during a precarious and hostile era of the late 1800’s and how materiality became a language, which was understood and valued by all. For Capital, Lisa will present photographic work taken from her 2018 solo exhibition Trade & Transfomation .
Capital is curated by Naomi Cass and Gareth Syvret
National Centre for Photography, Ballarat
23 August – 20 October 2019
Video produced by Blak Dot Gallery
Transits & Returns | Vancouver Art Gallery
Sisterhood Lifeline explores the visibility and invisibility of black women’s bodies, voices and identities in Western cultural institutions. A creative response to institutional racism, Lisa’s most recent body of photographic work and audio installation portrays how women and queer identifying people survive and thrive in culturally and psychologically challenging spaces. This work was lovingly supported and curated by Léuli Eshraghi and was commissioned for the co-curated group exhibition The Commute, Institute of Modern Art 2018.
Transit & Returns curated by Sarah Biscarra Dilley, Freja Carmichael, Léuli Eshraghi, Tarah Hogue, Lana Lopesi
Vancouver Art Gallery
28th September 2019 – January 26th 2020
A Tinata Tuna exhibition text by Lisa Hilli and Léuli Eshraghi – pdf
Dress Code Museum of Brisbane
The Commute Institute of Modern Art Brisbane
Mother Tongue Gertrude Contemporary Melbourne
Melbourne Art Fair presented by Blak Dot Gallery
Trade & Transformation solo exhibition, Blak Dot Gallery
An Unorthodox Flow of Images Centre for Contemporary Photography
A Bit Na Ta: Story of the Gunantuna Melbourne Museum
No 1 Neighbour: Art in Papua New Guinea 1966-2016 Queensland Art Gallery | Gallery of Modern Art
Fifty Shades of Blak Blak Dot Gallery
Solomon Islands: Re-enchantment and the Colonial Shadow Anthropology Museum, University of Queensland
Weaving Worlds Australian Tapestry Workshop
Vai Niu Wai Niu Coconut Water Caboolture Regional Art Gallery
Embodied Spaces Framer Framed, Tolhuistuin, Amsterdam
Where We’re At! Other voices on gender Bozar, Centre for Fine Arts, Brussels
Meleponi Pasifika Indonesian Contemporary Arts Network, Yogyakarta
Meleponi Pasifika Contemporary Festival of Pacific Arts, Footscray
2016 Best Use of Natural Light, CCP Salon, Centre for Contemporary Photography
2016 Best Visual Arts – Melbourne Fringe Festival, Fifty Shades of Blak participating artist
2016 Museums Victoria 1854 Scholarship
2019 Helsinki International Artist Program – Australia Council Artist in Residence
2018 Testing Grounds, Melbourne
2015 Australian Tapestry Workshop
2008 University of Goroka, Papua New Guinea
2016 Masters of Fine Art by Research RMIT University
2008 Bachelor of Fine Arts RMIT University