VICTORIA BRILL
ABOUT THE ARTIST
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victoria j brill was born in 1996 in Oregon City, Oregon. From a young age, brill’s splintered family and nomadic upbringing moved her across the western US; the near-constant displacement left her without deep ties nor a familiar environment to identify with. This lack of place is expressed through her work through the spaceless and timeless settings her figures inhabit. In 2008, her parents finally set root in East Texas, where brill completed high school and attended college. In 2018 she received her BA in Visual and Performing Arts and a Minor in Art History from the University of Texas at Dallas. Her work has been exhibited at local venues throughout the Dallas/Fort Worth metroplex, including Pencil on Paper Gallery, 500X Gallery, The MAC Gallery, Ro2 Art, and the Fort Worth Community Arts Center.
In 2018 she was the recipient of the Clare Hart DeGoyler Memorial Fund awarded by the Dallas Museum for Art and was nominated in 2021 by Erin Cluley Gallery to participate in the 8th Annual Rising Star Exhibition at the Turner House. Her work is held in the private collection of UT Dallas and the esteemed Elcock family. Alongside her creative practice, brill is an active professional in the arts community. Through her roles in nonprofit arts education and service on volunteer committees at The Cedars Union, brill is dedicated to removing barriers and providing the community with meaningful engagements with the art of our time. brill currently lives and works in Dallas, TX. |
ARTIST STATEMENT
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victoria j brill paints luminous, larger-than-life figures adrift in swaths of clean canvas. Within these quiet, dream-like landscapes, she pulls together vibrant visions of her innermost self in flux, embodying deeply human themes of mortality and a search for belonging. With reflections of herself as companions, brill grapples with the mutability of memory and her identity under construction. As a student of art history and antiquity, brill’s compositions are purposefully executed with vivid color and detail, subtle symbolism, and tight brushstrokes reminiscent of Pre-Raphaelite and religious Renaissance imagery. Her work toes the line between reflecting the real and expressing the ethereal and indefinite. Her fascination with the convergence of science and the fantastical provides the perfect grounds for reconsidering the “real,” the possible, and the future of the individual.
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