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What is “something,” and what is “nothing”? This is a central question in Hillig’s practice, which is characterized by a process-oriented approach where material is added and removed, forms are built up and broken down. The simple materials—paper, charcoal, graphite, pigment, pencil, as well as eraser and water—support the tactile and understated quality of the works.​ Within the works, a visual language unfolds in which repetition, minimal variations, and embedded flaws form a kind of grammatical structure with its own logic and rhythm. Hillig draws inspiration from post-minimalism and from the physical traces left by human presence, combined with an inner visual stringency. The result is a practice where precision balances with free experimentation.​ The non-figurative elements often appear in serial sequences or as juxtapositions that mirror and weigh against each other. At the same time, they can be read as independent formal statements, referring both to their own making and structure while opening up new ways of experiencing form and absence.

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