DIMIN presents, Everywhen, a new series of non-rectangular paintings by Justine Hill. Everywhen marks Hill's first presentation of a single recurring form: the bend. The bends were first exhibited in Omphalos at the gallery in 2023. The series extend Hill’s long-standing engagement with cosmological imagery, dramatic scale shifts, circles and orbits, and further emphasizes human appendages as a structural framework. The bends consolidate these concerns into a singular, elastic form: a female-shaped-threshold with an expanse.
The bend series is composed of two interrelated elements: a curved, humanoid silhouette—sometimes articulated with limbs or anatomical cues—and an expansive field patterned with polka-dotted constellations that evoke starry skies, atmospheric depth, and the Pattern and Decoration Movement which Hill's artwork has amplified over the past decade. Scale is deliberately unsettled: figures and environments operate on equal footing, collapsing distinctions between inhabitant and world. This action correlates to Hill’s continued effort to create worlds in which their inhabitants are not minuscule props or actors but equally scaled conscious beings. She poses the question, “how do you connect the cosmos with the journey of humankind?”
In Bend 15 (2026), Hill’s material process—layering individually painted, cut-fabric shapes into dense chromatic structure—reaches a new level of complexity. Gradient bands of orange, yellow, pinks and earth tones accumulate into a suspended arch whose contours feel increasingly bodily: a torso-like curve, a weighted stance, a sense of balance under strain. The dotted field, built up wet-on-wet, reads as atmospheric and graphic, suggesting duration embedded in surface. Compared to earlier works in Hill’s practice, Bend 15 continues a shift toward more overt anthropomorphism, where abstract structures begin to behave like figures without diminishing their cosmological scale. Through its layered construction and colorful repetition, Bend 15 reifies time not as linear progression but as something folded, slowed, and continually renewed.
The inspiration for the bends followed Hill’s encounter with ancient tomb paintings in Luxor, Egypt where the goddess Nut is depicted as a long yellow rectangle, outlined in black with red orbs and black asterisks floating inside, arching across ceilings as a conductor for celestial cycles. As goddess of the sky, Nut was the personification of the Heavens, each evening swallowing the sun and giving birth to it every morning. Hill absorbed Nut's structural logic: the arched body as a vessel for time, space, and renewal.
The exhibition title, Everywhen, reflects Hill’s interest in temporal elasticity. Borrowed from speculative fiction and resonant with Indigenous Australian conceptions of an eternal present, everywhen signals time understood not as a straight line but as a space that can be entered and revisited. With Everywhen, Hill brings together concerns that have shaped her practice over the years—cosmic cycles, human architecture, and the tension between fragility and infinity—into a singular exploration of form. The bend becomes both a visual anchor and a conceptual device through which human presence and cosmic scale are continuously and non-hierarchically rebalanced.
Justine Hill (b. 1985) is based in New York City. In 2025, Hill presented, The Travelers, a monumental installation at Art Basel Miami Beach featured in Art Net and Family Style. Her previous solo exhibitions include Omphalos at DIMIN in New York (2023), Alternates at MAKI Gallery in Tokyo (2022), and Touch at Denny Dimin Gallery in New York (2020) which was reviewed in The New York Times. In 2023, Hill participated in the Elizabeth Murray Artist Residency (EMAR). Other projects include organizing the exhibition Fringe at Denny Dimin Gallery (2021), featured in The New Yorker and Interior Design; and collaborating on a ballet duet titled Shapeshifters with choreographer Michelle Thompson Ulerich (2019). Her work has been featured in The New York Times, Art in America, Hyperallergic, New York Magazine, The New Yorker, and Two Coats of Paint. Selected public collection include the Parrish Art Museum, Davis Museum, Art Museum of West Virginia University, and the Columbus Metropolitan Library in the US; AMOCA Wales; Abstract Room, France; Oketa Collection, Tokyo; and Fidelity Investments International. She holds an MFA from the University of Pennsylvania and a BA from the College of the Holy Cross.
DIMIN is located in Tribeca at 406 Broadway, Fl. 2, New York, NY. For all inquiries, please contact gallery@dimin.nyc.
