3 May - 1 June 2019

Camille Hannah’s paintings predicate a model of painting born from within the frame of technology; they are

embedded in twenty-first century gestural abstraction while conceptually vested in digital and screen



Harnessing the contemporary aesthetic of mediated visuality, whilst acknowledging that painting is, equally

indebted to art history, her work acknowledges 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, and

seeks to engage the viewer immediately in a tactile participation, close and yet distancing at the threshold of

vision and touch, while simultaneously providing the viewer with a variable experience of scale.

Structurally and aesthetically functioning along the lines of a screen, these paintings, installations and

soundscapes aim to incorporate some of the same spectatorial conditions established by a new screen

paradigm, such as notions of movement and fluidity, the digital motif and the utilisation of a type of

perception based on the fragmentary nature of vision.