“…and yet, it is fire which acts as a possible transition from the natural to the spiritual state, especially through the mediation of desire. And if desire can act in this way, does this not mean that it involves motion and heat? Certainly some light arouses desire, but the impact of the latter on matter, the fact that it can transform matter and provide it with new borders, after having brought to it more expansion and fluidity, results from the surge and fire that desire includes.”
(Sharing the Fire ~ Luce Irigaray)
Harnessing the contemporary aesthetic of mediated visuality, whilst acknowledging that painting is, equally indebted to art history, Camille Hannah’s paintings acknowledge the influence of the screen paradigm through notions relating to fluidity, painting as object/surface and the perception of interactivity, relating to a virtual form of tactility. Traversing the paradox between the prohibition of touch in relation to digital technology and art – and an erotic’s of painting, interactivity relates to seduction: a correlation that enacts the ‘erotics’ of painting. Seeking to engage the viewer immediately in an aesthetics of the feminine, her work utilises a tactile participation, close and yet distancing at the threshold of vision and touch.
Touch, is not perceptible without being together matter and form. But it is then a question of a form which is drawn into flesh itself and which it is experienced more than it is seen. This probably explains why the potential of our touch has been unrecognized by a culture which favours sight, outside, nerves linked with muscles to the detriment of touch, sky and mucous, intimacy, elusiveness and flesh as a sensitive medium.
Mirror/Image and the virtual encounter;
‘Subjectivity is never ours, it is time, that is the soul or the spirit, the virtual. The actual is always objective, but the virtual is subjective: pure virtuality which divides itself as affector and affected, ‘the affection of self by self’. Gilles Deleuze
Hannah’s paintings, installations and soundscapes aim to incorporate the same spectatorial conditions established by a screen paradigm, such as notions of movement and fluidity, the digital motif and the dynamic mobility of visual imagery.