I use collected paint to make three dimensional objects whilst carefully deconstructing canvas or paper studies into new pieces. This process of transformation from original is significant. Pieces are hidden, crushed, hung, nailed, sellotaped, pinned, torn, collaged, dropped on the floor or assembled into an entirely new piece. I make intuitive drawings from pieces which inform subsequent work and stumble into paint; a process driven by attempting to look at and understand a piece. This lack of preciousness frees my earlier constraints and blurs lines between sculpture, painting, installation and object. Pieces pour off walls onto the floor, grow, change and remain in dialogue with one another even at distance. They are entities in their own right possessing individual and group characteristics which take over architectural spaces. Reflections and colour fields project onto the walls or floors and shadows cast swallow the scale of the material projecting the shadow. This reversal of traditional hierarchy of painting is proving crucial. My work seeks to activate and occupy space; walls, floors, ceilings, furniture and air become charged with a gentle suggestion of tension. Documenting is part of this process. Every decision involves the relationship of the work inhabiting space and the viewer's navigation. Physical forms take over space highlighting the relationship between object, viewer and space. I am becoming increasingly aware of what happens to the work once it is taken out of its' physical making space and understand this responsibility belongs to me. Robert Clark Review for the Guardian Guide August 2012 Hannah Campion's paintings are elusive. In fact, as her work has developed, they are increasingly difficult to categorise as paintings at all. Her main medium remains paint, but her finished products are more like pockets of space choreographed by cut and torn painted scraps. This delightful show of her recent work, resulting from her stint as Vane's first artist in residence, is aptly titled Shift. I am reminded of the great American abstract expressionist painter Willem de Kooning calling himself a “slipping glimpser”. Campion traces perceptions on the move - it's as if her subjects have already moved on, leaving behind multicoloured vapour traces. Her wispish works look ephemeral, vulnerable and at times almost painfully sensitive.