Behind the Art: The Works Inside HALL Arts Residences and the Artists Who Made Them
When you walk through HALL Arts Residences, you’re moving through a carefully assembled contemporary art collection that spans continents, mediums, and generations. Curated by renowned international art curator Virginia Shore, the works on display were chosen to engage and inspire — to feel at home in a building designed for people who take beauty seriously.
Here’s a closer look at some of the artists and pieces that make this collection extraordinary.
Richard Long – Untitled
Few artists have pushed the boundaries of sculpture quite like Sir Richard Long. Born in Bristol in 1945, Long is one of Britain’s most celebrated land artists — and the only artist to have been shortlisted for the Turner Prize four times, winning it in 1989. His practice centers on the act of walking: since the mid-1960s, he has taken long walks through wilderness regions across the world — the Sahara, Iceland, Australia, the Himalayas — and transformed those experiences into art.
What makes Long’s work so compelling is its tension between the elemental and the conceptual. His sculptures typically take the form of geometric shapes — circles, lines, spirals — composed of natural materials like slate, driftwood, and stone gathered from the places he has traveled. As he has explained, the act of walking itself is the art: the sculptures and photographs are simply what remain. His Untitled work at HALL Arts carries all of that weight — the quiet record of a journey, a human mark made with the earth rather than against it.
Sandra Cinto – From Landscape of a Lifetime
Brazilian artist Sandra Cinto works at the intersection of drawing, painting, and installation, creating environments that seem to pull you into their current. Her influences are sweeping — Japanese ukiyo-e prints, Hokusai’s The Great Wave, and the turbulent drama of European Romanticism all inform her intricate, line-driven imagery. With little more than a fine brush and permanent pen on canvas, she conjures storms, celestial skies, and surging seas that seem to breathe.
From Landscape of a Lifetime (2019), an acrylic and permanent pen on canvas, is a defining example of Cinto’s artistic language. Her work captures the tension between surface and depth, abstraction and representation, joy and fear — landscapes that feel both ancient and deeply personal. The piece carries metaphorical weight, evoking not just nature’s forces, but the arc of a human life: its storms, its stillness, and the way we navigate both. Fittingly, the work was produced the same year Cinto had a major installation at the Dallas Museum of Art — making its presence in the HALL Arts collection feel like a quietly personal thread connecting the building to the city’s broader cultural moment.
Sheila Hicks – Goddank
Sheila Hicks is one of the most consequential fiber artists of the 20th and 21st centuries, and Goddank is a testament to why. Working across weaving, knotting, braiding, and wrapping — techniques she developed across decades of study and travel through Chile, Mexico, India, Morocco, and beyond — Hicks has spent her career collapsing the boundary between textile and fine art. Her work ranges from intimate hand-held weavings called minimes to monumental site-specific installations that flood entire museum floors with cascading, vividly colored yarn and fiber.
Color is the animating force of everything she makes, a sensibility she traces to her studies under Bauhaus master Josef Albers at Yale. Goddank exemplifies her mastery of tactile form and chromatic intensity — the kind of work that rewards not just looking, but being near. As Hicks herself has described her process: “I move from idea to finished work acrobatically — it’s as though I can feel the clouds shifting and the light coming and going.” Her pieces are held in the permanent collections of the Metropolitan Museum of Art, the Centre Georges Pompidou, and the Stedelijk Museum, among many others.
Hugo McCloud – Deliverance From What Lies Beneath
Hugo McCloud’s work begins with a paradox: he creates objects of great beauty from materials the world discards. Self-taught and trained in industrial design, McCloud has gravitated toward unconventional materials throughout his career — roofing materials, solder, and most recently, single-use polypropylene plastic bags — and elevated them into rich, large-scale abstract and figurative works.
His investigation into plastic began after a trip to India, where he observed multi-colored plastic sacks cycling through every layer of society, from factory to market to landfill. That journey gave deliverance from what lies beneath its moral and visual charge. The work engages with labor, geopolitics, and the environmental cost of a throwaway culture — but it does so through formal means that are unmistakably beautiful, fusing industrial materials with traditional pigment and woodblock printing techniques. McCloud’s work has entered the collections of the National Museum of African American History and Culture, the Brooklyn Museum, the Detroit Institute of the Arts, and the Nasher Museum of Art at Duke University, among others. His presence in the HALL Arts collection brings a voice that is urgent without being didactic — exactly the kind of work that earns a second look every time you pass it.
A Collection That Lives Where You Do
What makes the HALL Arts Residences collection genuinely rare isn’t any single work — it’s the fact that these pieces don’t exist in a gallery, but through the halls, amenities, and homes of the residents. Virginia Shore’s curation spans celebrated international voices and local creators, working across sculpture, textile, drawing, and painting. The result is a collection diverse enough to surprise and cohesive enough to feel intentional.
For residents, that means starting every morning — and ending every evening — surrounded by work that belongs in a museum. That’s not incidental to life at HALL Arts Residences. It’s the whole idea.
Explore the full art collection here and if you’re interested in scheduling a tour, contact us.