Victoria Gil has lived and worked in Seville since graduating from the School of Fine Arts in 1987. She and some of her contemporaries from the school became known as the Figuración sevillana (Sevillian Figuration). The register of her visual language varies greatly. She is attracted by the de-objectualisation of the artistic object and the symbolic power of materials to explore the relationship between the tactile and the retinal. Her series of paintings Two-Dimensional Realities, presented at Galerie Ascan Crone (Hamburg, 1990) and the Andalusia Contemporary Art Centre (Seville, 1998) was an early example of the potential of the pictorial gesture, chromatic force and the freedom of treatment with which she disrupts the order of canonical discourses, producing shifts in meaning, in constant exercises of recoding and embodiment of painting. In addition to the plastic elements of her work, she also questions gender from epistemological orientations arising out of feminist discourses, the use of advertising images and a search for knowledge in spheres of non-rational vision, in works created for The Artist and the City at the Luis Cernuda Foundation (Seville 1992) and 100% at the Museum of Contemporary Art (Seville, 1993). Central to her work is a representation of the mechanisms of concealment and the apparatus by which the gender roles imposed by the patriarchal model are allocated. She has also carried out important collaborative work with the collectives Agencia de Viaje and Gratis, with which she made Cordoba Time Capsule in Plus Ultra, Expo '92 (Seville, 1992), Copyright Island in Puente de Pasaje (Bilbao Estuary, 1995)and Copiacabana in Além da Água, River Guadiana at the Extremadura and Ibero-American Museum of Contemporary Art (Badajoz, 1996). These arose out of the time she spent in New York in the early 1990s, where she participated in group exhibitions at The New Museum of Contemporary Art and other alternative spaces, including Thread Waxing Space and Printed Matter. Over the last decade she has expanded her iconographic sources, embracing literary and postcolonial feminist works and various techniques of drawing or embroidery on textile, as a political act and a means of reinterpreting peripheral histories and memories from the domestic sphere. These works have been shown at Múltiplo de 100. Salomé del Campo, Victoria Gil, Pepa Rubio, Centre for Cultural Initiatives at Seville University (Seville, 2014), Tratado de paz (Donostia/San Sebastian, 2016) and Colección XVIII: Textil, 2 de Mayo Art Centre (Madrid, 2020-2021). Her works can be found in the collections of CA2M, Museo Nacional Centro de Arte Reina Sofía, MOMA-Museum of Modern Art, Fundación Coca-Cola España, Extremadura and Ibero-American Museum of Contemporary Art and the Andalusia Contemporary Art Centre, among others.
Victoria Gil has lived and worked in Seville since graduating from the School of Fine Arts in 1987. She and some of her contemporaries from the school became known as the Figuración sevillana (Sevillian Figuration). The register of her visual language varies greatly. She is attracted by the de-objectualisation of the artistic object and the symbolic power of materials to explore the relationship between the tactile and the retinal. Her series of paintings Two-Dimensional Realities, presented at Galerie Ascan Crone (Hamburg, 1990) and the Andalusia Contemporary Art Centre (Seville, 1998) was an early example of the potential of the pictorial gesture, chromatic force and the freedom of treatment with which she disrupts the order of canonical discourses, producing shifts in meaning, in constant exercises of recoding and embodiment of painting. In addition to the plastic elements of her work, she also questions gender from epistemological orientations arising out of feminist discourses, the use of advertising images and a search for knowledge in spheres of non-rational vision, in works created for The Artist and the City at the Luis Cernuda Foundation (Seville 1992) and 100% at the Museum of Contemporary Art (Seville, 1993). Central to her work is a representation of the mechanisms of concealment and the apparatus by which the gender roles imposed by the patriarchal model are allocated. She has also carried out important collaborative work with the collectives Agencia de Viaje and Gratis, with which she made Cordoba Time Capsule in Plus Ultra, Expo '92 (Seville, 1992), Copyright Island in Puente de Pasaje (Bilbao Estuary, 1995) and Copiacabana in Além da Água, River Guadiana at the Extremadura and Ibero-American Museum of Contemporary Art (Badajoz, 1996). These arose out of the time she spent in New York in the early 1990s, where she participated in group exhibitions at The New Museum of Contemporary Art and other alternative spaces, including Thread Waxing Space and Printed Matter. Over the last decade she has expanded her iconographic sources, embracing literary and postcolonial feminist works and various techniques of drawing or embroidery on textile, as a political act and a means of reinterpreting peripheral histories and memories from the domestic sphere. These works have been shown at Múltiplo de 100. Salomé del Campo, Victoria Gil, Pepa Rubio, Centre for Cultural Initiatives at Seville University (Seville, 2014), Tratado de paz (Donostia/San Sebastian, 2016) and Colección XVIII: Textil, 2 de Mayo Art Centre (Madrid, 2020-2021). Her works can be found in the collections of CA2M, Museo Nacional Centro de Arte Reina Sofía, MOMA-Museum of Modern Art, Fundación Coca-Cola España, Extremadura and Ibero-American Museum of Contemporary Art and the Andalusia Contemporary Art Centre, among others.