Tuesday, September 13, 2005

Hannah Wooll

'Bicycle Race', Oil on Canvas, 2005

On the surface Hannah Wooll’s work may appear to embody a very clichéd or stereotypical view of femininity, but it is not necessarily an affirmation of this construct, but a playful indulgence of, in, and around it. She is drawn to frivolous images, decorative triviality, overly adorned and iced cakes, ballerinas with pink shoes and fluffy tutus, little girls with antiquated outfits and bows in their hair; imagery that is so sugary, it could make you sick.

She suggests that her paintings could have an underlying narrative of malevolence and melodrama mixed in with pretty pastel colours, and simplistic scenes.

It is important to me to have areas of the paintings that are more suggestive, or less defined as a particular image or thing. This is so that the paintings do not become stale and uniform to me, or exist in a definite space. Lapses in and out of reality, paint which is almost chocolate box modulation and then redeemed by a neighbouring element of confusion, allowing for the serendipity of the medium’s flow. Pattern turning into people, reflections and shadows becoming more absolute than the body that casts them. She wishes the paint and narrative to intrinsically relate and shift with the variations of each work.


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