The New Landscapes follows Hanna Hänninen's sociological interest towards individual who is sensing, understanding and placing herself in the outside world. The figurative language; minimalism and the reduction of information is more a visual method, which have references to symbolic or linguistic meanings (emptiness, infinity) but also it can been seen as an art historical references to modernist painting. As a result of all these pictures become concentrated narrations of recognition and moment as well as large colour abstractions that have profound significance of the surrounding reality. "Nanna Hänninen documents with seismographic precision, the interplay between the movements of the real world before her eyes and her own world, her movements, her breathing and laughter, her hesitation. What we find here are highly abstract photographs with semi-translucent, intangible backgrounds and sketchy undulating movements, with lines contracting, expanding and entangling, with fields and clusters of color." [3] The photographs have been re-worked by computer.
Plants/Objects//Paint is the most recent series about artificiality, alienation and reality. The new group of works unifies photography and painting, questioning authenticity and imitation of life through this process. Plants are photographed in color, transformed into black and white images, then painted over in their original colors and once more photographed. Nanna’s approach is very conceptual and abstract. ‘I am not a painter but a photographer. Though in the first place I am a visual artist.’, she says. She adds color artificially to the pictures, covering or emphasizing parts that are most important. The color, which was the original and true element, is recreated. Abstract elements such as life and reality often intertwine and overlap similar because of the endless change of time. It is the alienation of the nature itself and its circulation that affects her work.
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