VIEW IN MY ROOM
United Kingdom
Drawing, Ink on Other
Size: 16.5 W x 23.4 H x 0.4 D in
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this work is part of a series called ’self portraits (Me) which I started in 2014 and is ongoing. The work is conceived by writing the word me continuously from top to bottom bottom to top and across from left to right and right to left. The more I make them the more I realise that it is about human kind and the complexity of what makes a human being. I have also added colour ‘compartments’ recently which represent emotions, anxieties etc.The title came from something I overheard a while ago and which seemed a perfect fit as the work is not meant to be a self portrait of the artist but every human being.
Drawing:Ink on Other
Original:One-of-a-kind Artwork
Size:16.5 W x 23.4 H x 0.4 D in
Frame:Not Framed
Ready to Hang:Not applicable
Packaging:Ships in a Box
Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.
Handling:Ships in a box. Artists are responsible for packaging and adhering to Saatchi Art’s packaging guidelines.
Ships From:United Kingdom.
Customs:Shipments from United Kingdom may experience delays due to country's regulations for exporting valuable artworks.
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United Kingdom
born in Heidelberg, Germany Living and working in UK My intricate drawings explore mark-making as compound memory. Constructed from layer upon layer of rectilinear geometries, obsessively serialised marks and lines, my work incorporates process as signifier of human response to both the experiential, as defined by materials and memory, and the mind’s abstract construction of form and meaning. These are the words used by art historian Martin Kerrison who wrote about my work. Simply said I am interested in serial mark making and memory. More recently my work has been described as follows: "Between passivity and action. Hanna’s linear proposals not to primal marks. They are straightforward and not at all, as they project and deny a complexity of the art making process. Paint and graphite are adhered at different stages then often partially removed. The aesthetic derived from their removal is not entirely in the artist’s control. The result is the reveal of a process of assertion and denial.” extract from an essay by Jillian Knipe, artist and writer
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