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.
INCENDIES...“…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. Luce Irigaray 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.
CAMILLE HANNAH AT JUSTIN ART HOUSE MUSEUM
Camille Hannah's Night Watch, 2011, is on display at Justin Art House Museum in Art & Gender, an exhibition exploring the influence gender of on the creative outcome until December 2022.
Image: Camille Hannah, Night Watch, 2011, Justin Art House Museum
CAMILLE HANNAH SHORTLISTED IN THE RAVENSWOOD AUSTRALIAN WOMEN'S ART PRIZE
Camille Hannah has been selected as a finalist in the Ravenswood Australian Women's Art Prize for her painting.
Launched in 2017 to advance art and opportunity for emerging and established female artists in Australia, the $35,000 prize is the richest professional art prize for women in Australia.
The winner will be announced on 14 May 2021, with the exhibition on display until 30 May 2021 at Ravenswood School for Girls in Sydney.
Image: Camille Hannah, Achille et Briseis, 2021
CAMILLE HANNAH IN BELLE MAGAZINE
Silence series, 2017, by Camille Hannah is featured in the current issue of Belle Magazine. The work hangs in the dining room of a South Yarra residence designed by Full of Grace Interiors, photographed by Fi Storey.
Contact the gallery to enquire about available works.
Image: Camille Hannah, Silence series, 2017, featured in Belle Magazine, 2019. Photo: Fi Storey
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