Miranda Hill

Miranda is an independent curator, writer and researcher based between the UK and Germany. She has worked on a variety of projects at varying scales that have involved hosting, writing, researching, curating, building, and designing. 

My work revolves around the concept of postnature and explores how approaches to the study of human-altered  environments can inform contemporary projects to deepen
our understanding of life’s interconnectedness. I do this  through practices that nurture care, curiosity, encounters, and collective sharing.

I am interested in the mediation and construction of   publics - particularly peripheral and fluid environments where knowledge and space are collectively and continually
redefined. I have worked with locally sourced materials such as earth and clay on building-based projects, developed performance programmes addressing wetland
conservation, and co-curated exhibitions focused on water and saltmarsh ecosystems. 

Miranda is Associate Curator at Art Gene where her work sits across site-specific installations, public art, exhibitions, and events with a focus on sustainability, heritage, place,
and community. She has worked with artists across commercial, public and independent sectors to help realise their ideas.  She studied History of Art at the University of  Manchester and completed her Masters in Curating Contemporary Art at the Royal College of Art.

For enquiries and collaborations please get in touch:

mirandaflorencehill@outlook.com
+44 7907099600

CV / Portfolio upon request
Instagram




2025/26
Remember Nature: Intra-actions
Deluge exhibition
Moonscreen

2024
Transitional Botijos
Narcissus Dreams
Lost  Shops

2022/2023
Mud Club
Ecologies of Care: Rethinking Wetlands
Pidgin, Royal College of Art

PIDGIN

Index

2023
Royal College of Art
Team: Annabel Miller, Kun Sun, Michela Prencipe, Yizhi Zhang, Wenxi Liao
Collaborators: Beatrix Pang, Divya Sharma, Yu-Ting Chung



<sup>Pidgin explored different ways of communicating that transcend linguistic barriers, particularly among people who don't speak English as their first language. Situated in London, we considered how this approach could be used in other global contexts. We asked, how can we stimulate critical thinking to reimagine inclusive forms of communication that operate beyond conventional linguistic modalities?

The project explored multilingualism through the idea of ‘pidgin’ - a blend of languages that often develops naturally among people speaking different native languages - and challenged the predominantly monolingual culture within the Royal College of Art that can often be complex and exclusive.

Pidgin offers a way to think and speak about art critically while foregrounding the cultural diversity of the community that inhabits this international institution. How can we pidginise and decentre International Art English, and multilingualise the art school?

Artists and creative practitioners Yu-Ting Chung and Divya Sharma explored this question with us in a zine making workshop and public facing display that included printed matter and ephemera - key forms of visual communication. The project questioned how multilingualism can be activated in the current system of art education, and how linguistic barriers can be transcended to envision a linguistically diverse community of students. Click here for more information.</sup>

© Copyright Miranda Florence Hill 2026