Greenfeld’s work has been exhibited in  London, Singapore, Korea, New York, Israel, Slovenia and Amsterdam. Recently she had a solo exhibition  at Bradwolff Projects, Amsterdam in cooperation with with BijlmAir CBK Zuidoost where she was a resident. She was an artist in residence at Lasalle College of the Arts in Singapore (2012), and a residence at Tobačna 001 Cultural Center Ljubljana, a collaboration with the Centre for Digital Art in Holon, where she had a solo show (2016). Greenfeld received the Rabinovich Foundation grant in 2015 and in 2017 for solo exhibitions. She received a grant from the Resisim Association for 'Snow Table' at Hansen Gallery Bezalel (2015) and was awarded research grants from Asylum Arts, Via Sabra LTD for ‘The Sweet Water Canal’ solo exhibition that was exhibited at Art Cube Gallery in Jerusalem (2017). From 2016 through 2018 she received the Artist-Teacher Scholarship for teaching art at the Center for Arab-Jewish Youth at Risk in Jaffa. In 2018 she exhibited, at The Museum of Islamic Art and at Architect House, Jaffa both supported with grants for a new artwork, at the 10th Fresh Paint Art fair and at the Gamma International Invited Exhibition, Yonsei University, Seoul. Greenfeld holds an MFA (2013) and a BFA from Bezalel Academy of Arts and Design, Jerusalem, where she received the Presser Award (2007). She also studied at Slade School of Fine Arts in London (2006), and later in the Literature Department at Tel Aviv University (2010).

In her art, Hili Greenfeld connects fragments of private memory to cultural narratives in shrine-like installations. These installations consist of imitations of relics – objects that testify both to our desire to capture time through the objects that persist through it, and our inability to finally make peace with the change and decay that time brings. We can perceive and handle time only indirectly: by recalling memories, telling stories, performing rituals and keeping objects that bear traces of the past. She calls these installations ‘environments’ because they combine manipulated ready-mades, sculptures and paintings, creating a complex, integrated space. Though memories are elusive and private rather than concrete and public, these scenes reify personal memories and thus enable them to be shared

Like temples, these environments subtly guide the visitors' movements and pace. By combining and layering different materials – plaster, plastic, concrete, wood, metal, pigment, paint, manipulated ready-mades – the paintings and sculptures simulate the layers of time, evoking a tactile sense of the fragility of history. Some works are site-specific and perish over time. By recycling parts of one painting or installation in another one, the body of work as a whole partakes in a cycle of memory and cross-references, creating a labyrinth of remains.

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