Camille Hannah's paintings predicate a model of painting that is born from within the frame of technology; they are embedded in twenty-first century abstraction while conceptually vested in digital and screen technologies.

Harnessing the contemporary paradigm of mediated visuality, while acknowledging painting's debt to art history, her work examines the influence of the screen on painting as object and surface, through notions of movement 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 erotric's of painting, interactivity takes the form of seduction: a correlation that enacts the 'erotics' of painting.

Seeking to engage the viewer immediately in a tactile participation, her works exploit a variable experience of scale. Drawing the viewer close and yet distancing, at the threshold of vision and touch, Hannah's paintings aim to incorporate the same spectatorial conditions established by a new screen paradigm, utilising movement and fluidity to engage with notions of perception based on the fragmentary nature of vision, arrested and caught within a painting frame.

Hannah graduated with a Master of Fine Art (Research) in 2013 and a Bachelor of Arts (Honours) in 2010 from the Victorian College of the Arts, University of Melbourne, where she was the recipient of an Australian Postgraduate Scholarship Award. She has shown internationally in Venice, Milan, London and Hong Kong, as well as in Melbourne and Sydney. Her work is held in important public and corporate collections, as well as private collections throughout Australia and Europe.