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Sol Hill

I am interested in exploring the space where art, science, and spirituality overlap. I do this by subverting digital photographic technology and exploiting the artifacts endemic to digital imaging to reveal energies we usually do not see. I call the camera-based work I make Metagraphs because, like a photograph, which is a recording of visible light, my work is a recording of all the energy a sensor sees. The artifacts produced by digital noise include cosmic noise, which is all the energy from outside the camera emanating from the cosmos, our planet, our built environment, and our bodies. Even the human body generates a measurable electromagnetic field that can register exposure on the sensor. The images are thus transformed into a
hyper-vision showing aspects of reality we do not see, metaphorically and literally. They reveal the unseen energetic thumbprint of the universe we inhabit.

Since we live in a non-material reality in which everything is a pattern of energy vibration, the boundary between the physical and spiritual worlds is essentially defined only by our perceptions. This boundary is called into question in my work, where everything begins to merge in a cloud of interconnected artifacts. In From Where I Stand, I combine visual typologies of human bodies as metagraphs with multiple overlays of tessellated patterns derived from ancient and contemporary cultures, which use repetitive geometry as a visual language to express a higher order of truth that both our perceptions and our words fail to express. In this combination, I seek to unite the two visual languages of my process and sacred geometry to express my belief that our perception of duality is inaccurate; instead, everything is connected in a resonating matrix of energy.

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