Brandon Hill

Practice & background

Brandon Hill works across murals, public art and sculpture. In Who Art You, he describes his roots in Baltimore, his home in Washington, DC, and his Baltimore studio. Through All Day Projects, the public-art studio he founded, he brings art into neighborhoods and everyday infrastructure. The studio records his work in the permanent collection of the Reginald F. Lewis Museum.

His practice also involves organizing collaborations: All Day Projects records his co-founding of No Kings Collective (2010–2023) and Please Bring Chips. He has painted murals for DC WALLS and during Art Basel Miami. Studio production and public-space collaboration remain closely connected.

His Cig Series transforms cigarette packs into sculptures made with steel and resin, finished with automotive-grade enamel and clear coat. Crushed forms preserve the marks of consumption and handling, turning overlooked street litter into objects that demand sustained attention.

Oz & Kansas (2024), in Crystal City, Virginia, combines murals and dimensional forms across two transit construction enclosures. Inspired by The Wizard of Oz, it connects imagined places with the idea of home. In his interview, Hill describes a lifelong attraction to materials and making, and urges his younger self to start sooner rather than let outsiders define what a real artist should do.

Cig Series also examines packaging as a promise of identity. Kill’ Em’s (2021) invents a cigarette brand to place attractive marketing beside harm; ALFA “Crushed” (2022) fixes compression, torn surfaces and exposed lining in sculptural form. Typography and creases offer parallel ways to read the object’s journey from commodity to litter.

Looking at the work

His methods extend from observing street objects to reconstructing their forms in durable materials, and from painting surfaces to adding projecting elements. The work offers two scales of attention: the traces of use on an object and the atmosphere of a public place.