Award-winning multidisciplinary artist Jil Guyon works across visual art, performance, film, and digital media, developing a distinctive visual language rooted in movement, rhythm, repetition, and meticulously constructed form.

Her performance and moving-image work has been presented internationally at theaters, cinemas, museums, galleries, and concert halls, including Lincoln Center, Symphony Space, the Queens Museum, the Museum of the Moving Image, La MaMa, and Crystal Bridges Museum of American Art. Her work is held in the collections of the Centre National de la Danse and La Maison de la Danse de Lyon, and she has received numerous awards in experimental film.

In her digital print practice, Guyon translates her longstanding exploration of movement into intricately woven vector compositions that bring organic gesture into conversation with geometric precision. Emerging technologies become tools for drawing and experimentation, producing abstract works characterized by depth, rhythm, structure, and an underlying sense of motion.

Created for both private and public spaces, Guyon’s works are available as fine art prints on paper, canvas, metal, and acrylic, with selected works offered in multiple scales and colorways. Custom sizing and color options are available for residential, hospitality, and commercial projects.

Guyon holds an MFA in painting and art history from Hunter College, where she studied with art critic and theorist Rosalind Krauss and sculptor Robert Morris. She was previously Curatorial Associate at Neue Galerie New York, where she designed and wrote the Schiele and Contemporary Culture section of the Egon Schiele catalogue raisonné.

ARTIST’S STATEMENT

My work explores movement, rhythm, and the relationship between organic gesture and geometric precision. Working across visual art, performance, film, and digital media, I investigate how form can convey energy, emotion, and a sense of transformation.

My digital compositions emerge from algorithmic processes and intricately woven vectors. Through layering, repetition, and manipulation, these structures develop into images that move between the architectural and the biomorphic, the ordered and the unpredictable. The work draws on my longstanding engagement with the body and movement, translating qualities of gesture, duration, and spatial experience into abstract visual form.

I am interested in the intersection of the technological and the intuitive—how systems of precision and calculation can generate unexpected expressions of fluidity, depth, and atmosphere. Emerging technologies become tools for drawing and experimentation, opening possibilities that extend beyond their original functions.

Across mediums, my practice remains an exploration of the expressive potential of form and the spaces between structure and spontaneity.