Luzene Hill facts for kids

Luzene Hill (born 1946) is a Native American multimedia artist and citizen of the Eastern Band of Cherokee Indians. She combines performance with installation to reflect on violence against women, using lyrical abstraction to approach difficult topics. She is best known for her 2011-2015 work Retracing the Trace, an installation reflecting on the prevalence and pain of ... through the lens of Hill's own experience. Her works primarily explore themes of the trauma and shame produced by various types of violence enacted against women and indigenous cultures and the transformative healing powers of art. Beyond the United States, Hill's art has exhibited internationally in Canada, Russia, Japan, and the United Kingdom.

Early life and education

Caroline Luzene Hill received the name "Luzene" through her paternal Cherokee grandmother. She grew up in Atlanta with her European mother and her family. Hill explained that because her father's parents were sent to Carlisle Indian Industrial School in Pennsylvania where they faced severe punishment for speaking their native language, her grandparents never spoke or taught Cherokee to their own children or grandchildren, despite teaching them to have pride in their heritage.

Hill began studying art in her early thirties, but did not pursue her art in earnest until her late forties, due to familial obligations. In 2006, she moved to Western North Carolina in order to focus on art, deepen her understanding of her Cherokee heritage, and learn more about the endangered Cherokee language.

Hill completed a Master of Fine Arts degree at Western Carolina University in 2012, and Retracing the Trace was part of her Master's project. In developing Retracing the Trace, Hill found inspiration in the work of a handful of other women artists who, similarly, explored themes of abuse and trauma, including Suzanne Lacy, Kara Walker, and Tracey Emin as well as the ideas of Jacques Lacan.

Artistic works

Hill's work explores trauma, violence against women, and the healing power of art. Her first exhibit, In de Soto's Path, happened in 1997 at the Santa Fe Indian Market.

..... The installation featured Hill laying in the middle of thousands of red cords tied into quipu knots. ..... Over the course of ten days, Hill returned to the gallery, rearranging and affixing each knotted cord to a new position on the gallery walls until a new trace, this one of her own creation, encircled the space.

Hill uses carmine to dye her works the signature crimson red that features so prominently in many of her works. In addition to being reminiscent of blood, the production of this particular dye by female cochineal insects to deter predators, also resonates with the major themes of Hill's work. Indigenous South American cultures used this dye during pre-colonial times in protection ceremonies and in creating protective objects. .....

After receiving a Eiteljorg Museum Contemporary Art Fellowship and First Peoples Fund Fellowship in 2015, Hill collaborated with Frank Brannon of Speakeasy Press to produce a fine art book, called Spearfinger, printed solely in Cherokee syllabary. Hill discovered the story of Spearfinger, a frightening character from Cherokee myth who eats the livers of children, in James Mooney's History, Myths and Sacred Formulas of the Cherokee.

Hill met Cherokee Nation artist Brenda Mallory in 2015 and, two years later, they co-exhibited Connecting Lines at the Portland Art Museum's Center for Contemporary Native Art.

In 2019, Hill received the Ucross Fellowship for Native American Visual Artists.

Personal life

..... The details of this event later informed Hill's art and particularly her most notable work, Retracing the Trace.

Hill is an enrolled member of the Eastern Band of Cherokee Indians. She lives in Atlanta, Georgia.