Camille Hannah

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 screen.

Traversing the paradox between the prohibition of touch in relation to digital technology and art – and the 'erotics' 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 whilst conceptually vested in digital and screen technologies.

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