Untitled

Texture, pattern, and hands-on processes are critical to this artist's practice, which in the past has manifested through experiments with fabric, screen printing, ceramics, and painting. Exploring digital media in this era, Hanna’s mural combines the new with her analogue work.

She states “Electric blues, greens, pinks, and oranges tether the mural to its digital inspirations. The soft translucent effect of the greens overlapping the pinks gives the form some breathing space and makes the piece appear to be flowing like sheer fabric.

The tension between digital and analogue modes of making art is a constant thread in my work. I mimic digital methods of creation with my own hand and attempt to get computer programs to do the same. This mural is inspired by the manipulation of fabric and how the patterns on the surface become warped with the physicality of its wrinkles. By overlaying a similar pattern over top, a moire effect is produced. This phenomenon is common in photography but is often edited out. By intentionally producing these lines, their geometry can be examined without the threat of deletion. Their non-digital, painted presence as the focal point of this piece legitimizes the pattern as a dynamic, moving form as opposed to an undesirable mistake.

Texture, pattern, and hands-on processes are critical to this artist's practice, which in the past has manifested through experiments with fabric, screen printing, ceramics, and painting. Exploring digital media in this era, Hanna’s mural combines the new with her analogue work.

She states “Electric blues, greens, pinks, and oranges tether the mural to its digital inspirations. The soft translucent effect of the greens overlapping the pinks gives the form some breathing space and makes the piece appear to be flowing like sheer fabric.

The tension between digital and analogue modes of making art is a constant thread in my work. I mimic digital methods of creation with my own hand and attempt to get computer programs to do the same. This mural is inspired by the manipulation of fabric and how the patterns on the surface become warped with the physicality of its wrinkles. By overlaying a similar pattern over top, a moire effect is produced. This phenomenon is common in photography but is often edited out. By intentionally producing these lines, their geometry can be examined without the threat of deletion. Their non-digital, painted presence as the focal point of this piece legitimizes the pattern as a dynamic, moving form as opposed to an undesirable mistake.