Katy Hillier

A shoe pressing into wet mud. Clay between your fingers. Pressing something. The satisfaction when it bounces back. Chubby Cheeks. Pillows. Blu-Tack. Jelly. A sponge. Bellies. Mouths. These are some of the infinite forms of Squish.

My practice explores what Squish is. I investigate how Squish can be used. My work envelops larger ideas of anxiety, connection and interaction with the overarching search for Squish.

I lose myself in it. Obsessing over every detail. Exploring, playing. I know it inside-out. It’s a compulsion. A habit I can’t break.

Squish is all around you. How big is Squish? What colour is it? Is

Squish the same as ‘Squash’ or ‘Squidge’? How does it feel? What makes you think of Squish? What do you do with it?

These are a few in the never-ending list of questions about Squish which I’m trying to answer.

I make Squish.

A mass of playdoh, outside, children playing on it

Squish v3.2 (A visualisation of installation view), 2020, homemade play-doh and cling film, dimensions variable.

Close up of a wax sculpture. Bubbled.

Flow (detail), 2020, wax, 8.3cm x 17.4cm x 10.5cm.

A mass of multicoloured netting ribbons, suspended

Train of Thought (installation view, front), 2019, Netting Strips, dimensions variable.


Noise, 2020, digital text.

A mass of blue-tac sculpted and squished

Squish-Tac, 2020, blu-tack, 8cm x 6cm x 5.5cm.

A lino print of a tangled form

Loopdeloop, 2020, lino print on paper,