In this series, Gill’s work examines the patriarchy, the male gaze and gender through hybrid human/animal portraits. This body of work aims to untangle the hypocrisy of the boy’s will be boy’s mentality where men’s poor behavior is justified by their inability to control themselves due to arousal from the female nude or sexualization of the female body.  By combining portraits of sex workers and birds, Gill comments on the commodification and consumption of the female body and its direct correlation to the meat industry as a commodified cultural entity. Using traditional craft materials and skills such as  sewing, felting, crocheting, ceramics, scrapbook paper, doilies, stencils, and stamps, Gill also explores  the divergence between craft and fine art and the implicit misogyny within the distinction between the  two. By Evoking ideas of discomfort and  repulsion, she encourages viewers to engage in the inherent violence exercised in the construct of the  feminine. 

Traumatized continued.

This series of artwork explores empathy and how the artist feels kindness and people pleasing can lead to neglecting one's own needs as a result. The title is derivative of the saying "my cup runneth over" - but is explored through road kill. 

Gill’s work examines the patriarchy, the male gaze and gender through animal and insect portraits. The  juxtaposition between lace, pressed flowers, and other materials with the foreground imagery of birds  and bugs acts as a dialogue surrounding how the female identifying artist feels she must be perceived by  society versus her experience performing gender. Using traditional craft materials and skills such as  sewing, felting, crocheting, ceramics, scrapbook paper, doilies, stencils, and stamps, Gill also explores  the divergence between craft and fine art and the implicit misogyny within the distinction between the  two. Her work is labor intensive and acknowledges the invisibility of female labor in the home and in  marriage and the lack of value inferred in “women’s work.” By Evoking ideas of discomfort and  repulsion, she encourages viewers to engage in the inherent violence exercised in the construct of the  feminine.