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 technologies.

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.