Trey Hill

Trey Hill, The Quiet Between, 2019
The Quiet Between, 2019
Ceramic, underglaze, steel
77.5 x 27 x 14 ″
Trey Hill, The Quiet Between, 2019
The Quiet Between, 2019 (detail)
Ceramic, underglaze, steel
77.5 x 27 x 14 ″
Trey Hill, Ascent, 2017
Ascent, 2017
Ceramic, underglaze, metal leaf, steel
72 x 21 x 14 ″
Trey Hill, One and two, 2019
One and two, 2019
Ceramic, glaze, steel
57 x 17 x 12 ″
Trey Hill, One and two, 2019
One and two, 2019
Ceramic, glaze, steel
57 x 17 x 12 ″
Trey Hill, Slow Train, 2019
Slow Train, 2019
Ceramic, glaze, steel
69.5 x 16 x 16 ″
Trey Hill, Alice Creek, 2019
Alice Creek, 2019
Ceramic, underglaze, steel
79.5 x 22 x 22 ″
Trey Hill, Alice Creek, 2019
Alice Creek, 2019 (detail)
Ceramic, underglaze, steel
79.5 x 22 x 22 ″
Eventide, 2016
Ceramic, underglaze
56.5″ x 18.5″ x 12″
Trey Hill, The Drift, 2019
The Drift, 2019
Ceramic, wood stand
59.5″ x 17.5″ x 9.5″
Blush, 2019
Ceramic, wood stand
75″ x 28″ x 17”

For availability and pricing please contact the gallery.

Exhibitions

Biography

Trey Hill is a professional sculptor and Associate Professor at The University of Montana where he teaches in both the ceramics and sculpture. His colleagues include Beth Lo and Julia Galloway. He received his BFA from Bowling Green State University in 1999 and his MFA from San Jose State University in 2002. 

His work has been shown in galleries and museums throughout the United States and internationally. Trey has extensive travel and creative experiences through his vast artist residencies including: The Archie Bray Foundation in Helena, MT; the LH Project Joseph, OR; Da Wang Cultural Highlands, DaWang, China; HAP Studios, Beijing, China; Fule International Ceramic Art Museum, Fuping, China; and the Rojal Art Laboratory, Roja, Latvia.

Artist Statement

This body of work evolved from an exploration into the foundation of classical Greek and Roman sculpture. At the foot of these heavy yet delicate stone pieces often lies a tree, an unnoticed support, the solid foundation that allowed the sculpture to stand. It was often unnoticed, the unexplored, yet instrumental to the structure of the form. In this work it is used as a metaphor for what goes unseen but is essential to our existence.