The relationship between the unfolding of a story and the still image is very similar to that between poetics and journalism. They are perceived opposites and yet the curious bond between them has resulted in profound associations throughout the history of art. Brennan Hill mines these discrepancies with an almost obsessive pursuit of the right balance between stream of conscious, automatic intuition and premeditated aesthetic attention. Through a self-taught execution that varies in degrees of precision—or lack thereof—Hill’s static images attempt to fit as much inferred narrative into a composition as possible without the supposed need to hear the story from beginning to end. Context is for the birds.