Lot 25 - Hannah Wooll - China Girl
Acrylic and Ink on Paper
Signed on Verso
Curated by Louise Fitzjohn
Hannah Wooll explores the domestic space, interior life and the value associated with related objects and artworks. Her most recent practice relies on junk-shop sourced found media; starkly-lit, contrived photographs lifted from the pages of outmoded craft manuals set against incongruous ink painted figures. As well as working directly onto these pages, Wooll incorporates elements of these eclectic images into her paintings on wooden panels, collages images together, and re-works old paintings. She plays with scale, splicing and assembling, both referencing and deconstructing the original image; gem stones lifted from the pages of collectors books may become rocky outcrops for example. The effect is an off-kilter technicolour film-set, maximizing the potential of contrived images freed from their intended context.
HANNAH WOOLL (b.1977 Norfolk, UK) studied BA Fine Art at Manchester Metropolitan University,(1997–2000); and Postgraduate Fine Art Painting at The Royal Academy Schools, London (2000–03).
Selected groups exhibitions include: The Future Is Female, CODA, Apeldoorn, The Netherlands(2020); The Trinity Buoy Wharf Drawing Prize, London, (2022, 2019); Paint, PS Mirabel, Manchester, (2019); Like The Lines Of A Hand, Centre For Recent Drawing, London (2018); Artist First, Paper Only, Francis Boeske Projects, Amsterdam (2017). Solo exhibitions include: Interior World , Paper Gallery, Manchester (2018); Natural Habitat ,12 Gallery, London, (2010); Contemplating Life and Stuff, Comme Ca Gallery at The Lowry Hotel, Manchester (2007). Recent prizes include: The Caran d’ache and Harper’s Bazaar Illustration Prize, Runner Up, (2019); The GM Arts Prize, Shortlisted, (2019); The Trinity Buoy Wharf Drawing Prize, Shortlisted, (2019) and The Jerwood Drawing Prize, Shortlisted (2009 and 2010). She lives and works in Macclesfield
Comme Ca Gallery Manchester
Paper Gallery Manchester
Statement about AOAP Submitted Artworks
Hannah’s women appear awkward yet untroubled by their unnatural surroundings, acknowledging the style and era of the books with which she works, as well as the individual women that have pored over these home craft books filled with arguably outdated feminine pursuits and domestic recreation. The dreamlike and static qualities of the work are due to Hannah taking advantage of the duplicity of unnatural lighting, allowing a two-dimensional feel, lending a lack of naturalism. We swiftly become caught up in these quietly absurd moments, the image paused; melodramatic fragments of still and uneasy tension.
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