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Digital, Digital on Paper
Size: 31.5 W x 31.5 H x 0.1 D in
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The digital remix of the painting Decline of Empires The original painting, Dex Simultaneously crafted the painting and the music together, seamlessly intertwining the two mediums. As he translated his ideas onto canvas, the composition of the music unfolded in tandem, resulting in a harmonious fu...
2024
Digital, Digital on Paper
Limited Edition of 20
31.5 W x 31.5 H x 0.1 D in
No
Not applicable
Certificate is Included
Ships Rolled in a Tube
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United Kingdom
Dex Hannon is originally from Manchester now based in Blyth, North East England. His art lives in several private collections across the world. He has featured in books and magazines, both in the UK and abroad. In 2025, he won the Collectors' Art Prize - Legends of Our Time Award. In 2020, he won best in show for the International Art Folio 2020 Annual award. In 2019, he was shortlisted for the Refresh Art Prize 2019. Dex Hannon is a British multimedia artist whose work encompasses paint, digital art, film, sound, and photography. His practice is an exploration of transformation and reinvention. At its core is a guiding question: “What else could it be?” A single frame can ignite an entire cascade of creation, a painting, a film or a digital work, each one carrying within it the potential for the next. In this recursive approach, the boundaries between mediums dissolve. Paintings give rise to films, films fracture into digital works, and digital interventions in turn inspire new material explorations. Nothing is ever final. Each work functions simultaneously as culmination and inception, a node within an expanding network of possibility. Hannon works across painting, film and digital media, frequently collaborating with alter egos such as Skin Vehicles to expand the dialogue between sound, image and motion. The practice is not constrained by the conventions of medium, chronology or narrative. Instead, it embraces instability, evolution, chance and the unpredictable trajectories of artistic experimentation. The work invites the viewer into a space where memory, perception and imagination intersect. Scale, materiality and temporal shift become tools for reflection, while the recursive methodology challenges assumptions about originality, finality and authorship. Hannon’s oeuvre is less concerned with depiction than with enactment, offering a lens through which audiences can reconsider not only what art is but what it might catalyse in thought and experience.
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