VIEW IN MY ROOM
Photography, Color on Photo
Size: 15.7 W x 15.7 H x 0.2 D in
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During the pandemic my art changed and I made use of materials that were easily available. As I have been concerned about issues related to what we as humans do to our planet I started a series, which is ongoing, meanwhile 14 small wall objects using sardine cans as frame works for very colourful geometric drawings on plywood. The idea for this series is multilayered and I decided to play with the double meaning of what the we are looking at by taking aesthetic photographs and the viewer is presented with a contradiction of looking at something that is on the surface beautiful but is essentially a pile of sardine tins.
Photography:Color on Photo
Artist Produced Limited Edition of:5
Size:15.7 W x 15.7 H x 0.2 D in
Ready to Hang:Yes
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.
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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