Harnessing the contemporary aesthetic of mediated visuality, Camille Hannah's paintings
predicate a model of painting that is born from within the frame of technology; they are
contextualized by their status as a non-photographic image in a world dominated by the
Traversing the paradox between the prohibition of touch in relation to digital technology
and art – and the erotic's of painting, Hannah's works reference a photographic/digital
model in the way that they impute technology as an instrument of seduction rather than a
means of reproduction: the paintings aim to inscribe the viewer as participant, a
correlation that enacts the "erotics" of painting, and seeks to engage the viewer
immediately in a tactile participation, drawing close and yet distancing at the threshold of
vision and touch. Exploring how digital technology can incorporate notions of movement
and fluidity, as opposed to the historicized still image of traditional painting, gesture is
used as part of a vocabulary of painting, where the paint has become the subject.
Referencing the history of painting, they are embedded in twenty- first century gestural
abstraction while conceptually vested in digital and screen technologies.