Richard Hill

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I have lived in Belmont, now, for 20 years

My mother was an artist and creative dynamo. Growing-up in a home that was more like a workshop, with a project nearing completion or just under way in every room, was a sort of apprenticeship; but I have no formal training.  I didn’t take up painting in earnest until retiring from a lengthy career as a sometime attorney, financial manager and policy wonk.  Now, I’m eager to discover what develops when modest talent mixes with a whole lot of free time.  That is the journey I have chosen for the next phase of a life that’s already proven to be an extraordinary adventure.



The purest virtue of music, I think, is that it has the power to reproduce in the listener the exact mental state or mood of the composer.   Painting can do something similar: capture the beauty – or for that matter, ugliness – in the world with such fidelity that seeing the painting produces the same reaction as seeing the thing itself.  Abstract painting can convey these sensations without reference to nature at all. Music and Painting both achieve this directly, without reflection.

My paintings are not like that. They are more akin to literature. Just as literature can depend heavily on visual imagery, my paintings lean on thought and language. They oblige he viewer to reflect on the imagery in order to “get it.”   I’m not talking about deep or challenging brainwork. My ambition is to engage the mind not put a strain on it. I have serious artistic intentions, but I don’t take my art too seriously. Rather, I experience the creative process as playful tinkering at the intersection of two worlds –the visual world and the world of language, inviting viewers to meditate on or have a conversation about what they see.