‘The Human subject is a figure drawn in sand’ Foucault
If the canvas is already teaming with possibilities, how do you censor these things to produce a painting that is more than the sum of your preconceptions or pre-existing ideas? Camille Hannah suggests that you must have contact with something outside of your subjectivity. Her work lies between the figurative, which utilises ready-made perceptions, and the non-figurative, or absolute abstraction. These are images detached from illustration and narrative. They are designed to stage a shift in the viewers’ mind from the affect produced by the image to an awareness of the process that created it. The paint becomes a subject of the painting.
This exploratory process operates step by step, recalling the contingency of the event – a reminder that the image so easily might not have existed. Presenting themselves as culminations of a tactile process, the works are testaments to their physical genesis. Hannah appears to be seeking devices that attempt to disrupt a known, socially-produced subjectivity, exploring the terrain beyond structures and forms. “… I don’t want to reassure the viewer or myself of a subjectivity in place – I want to pull forth other responses.”
Camille Hannah is currently completing her Fine Art Painting (Honours) degree at the VCA.