Hilary Doyle is an artist, teacher and curator from Worcester, MA. She will have a physical solo show with Taymour Grahne Projects in June 2022.
Hilary’s work includes painting, drawing, printmaking and sculpture about gender, class and psychology. She recently exhibited at spaces such as Public Swim, Monya Rowe Gallery, and Field Projects in NYC. Solo shows include Metrapolis with Taymour Grahne (online, 2020), as well as shows at One River School (NJ), The Active Space (NYC) and Brown University (RI). Her work has received press coverage in Hyperallergic, Bushwick Daily, and New American Paintings Blog.
Hilary is faculty at Rhode Island School of Design. She has taught for the last 8 years at various schools including Purchase College and a three year appointment with Brown University. Doyle founded and co-directs NYC Crit Club with co-director Catherine Haggarty which was just included in observer magazines Arts Power 50: Change makers in the art world. She is also a gallery co-director and curator at Transmitter gallery in Brooklyn. She received an MFA from Rhode Island School of Design and a BFA from the Massachusetts College of Art and Design. Currently lives and works in Worcester, MA.
'' Worcester, MA, where I grew up, is one of many downtrodden, postindustrial cities across the US, filled with dilapidated factory buildings, joblessness, and overgrown yards. In New York City, everyone travels through similarly distressed spaces daily: the streets and subways full of zoned-out people caught up in the daily grind, staring with purple rings under their glassy eyes. This work examines contemporary working-class life. Focusing on the conditions in which people live helps us examine the rituals, psychology and emotions of daily life.
The work starts with mundane moments observed while commuting or at home: a man staring at his phone while laying in bed or a woman with a strange expression passes by on the street. From these moments I make sketches, videos, iPhone drawings, or sculptural models to inform drawings and paintings. I experiment to discover relevant marks for each subject: a quick mark for the view out a window of a speeding bus, or a slick mark for tiles on the wall of a subway station.
Strangers, although unknown to us, are always leaving evidence about themselves as we catch a glimpse of them. People reveal their disposition
in their folded arms, baby carts, laughing eyes, tightly clutched bags, or work uniforms. These clues spark imaginary narratives about peoples lives in each work. For example in several works a man texts in eerie light, exposing feelings of vulnerability and alienation. To examine fragments of peoples lives, brings attention to the joys and struggles of others.''