Approved: 10.08.2010

Hannah James

Archived
Approved: 10.08.2010

The act of recording or tracing transitory moments, constructed mise-en-scènes, forgotten memories, personal archives or possible fictions can all be found in the works of Hannah James. Manifesting as documents of images and objects, these subjects become simultaneously visible, and yet increasingly, more oblique.

James' work finds reference in various subjective moments within a cultural

Read more ...

  • Location: Bristol, South West
 

Biography

The act of recording or tracing transitory moments, constructed mise-en-scènes, forgotten memories, personal archives or possible fictions can all be found in the works of Hannah James. Manifesting as documents of images and objects, these subjects become simultaneously visible, and yet increasingly, more oblique. James' work finds reference in various subjective moments within a cultural history; from modernist theatre, furniture and architecture design to early performance work of the 60's and 70's. These influences are made tangible through sculptural forms or printed matter that, in turn, form the basis for 35mm slide and photographic works, as well as 8mm and 16mm films. These 'made' works are often positioned against found works; which could be the outcome of a school child's project (handmade pots) or the remnants of an antecedent action (the overspray from an industrial process). By bringing together these disparate elements, the work begins to quietly question the assumed hierarchies and authorships found within. Mediation is central to James' approach. Through the use of both making and appropriating, layers are formed which create a lineage in the work, leading back to the original source. Walter Benjamin's notion of the 'auraratic object '(1) - a form imbedded with its own prior history and experience - is evident within the sense of anachronistic time, history and memory the films and sculptures hold. A dichotomy, however, is at play as James contrasts the controlled and mediated processes involved in creating the celluloid works to the intuitively gestural, spontaneous and even performative printed forms, which are often produced site responsively. This notion of performance, in its broadest sense, is becoming increasingly central to the work. Yves Klien's 'Anthropometry' 1958, or body prints, make reference to James' own large-scale blue, block prints. The role of the filmmaker behind the camera also brings the idea of performance into question, as the viewer is left to ask: what is the relationship between this unknown individual and the object they are recording; are they artist, voyeur, actor or spectator? The experience of both viewing and engaging with an artwork remains a crucial concern. Often presented in an installation format, these works become momentary conclusions, always retaining the possibility to be taken down and reconfigured. By positioning various materials, processes and references, these constituent compositions form momentarily to create transitory vignettes and possible narratives. (1) Walter Benjamin, 'The Work of Art in the Age of Mechanical Reproduction' (1936), reprinted in Illuminations, trans. Harry Zohn, London 1999.

CV & Education

Qualifications and training 2012 - MA Fine Art, Piet Zwart Institute, Rotterdam 2007 - BA Art and Visual Culture, University of the West of England, Bristol Solo exhibitions 2013 - Solo Exhibition, Cole, London 2013 - Southwest Showcase, Plymouth Art College Gallery, Plymouth 2011 - About Painting, ABC Art Contemporary with Chert, Berlin 2011 - Local Interference, Works | Projects, Bristol 2011 - pots purr, Chert, Berlin 2011 - pots purr, Rhubaba, Edinburgh 2011 - Screen #5 St Thomas’ Sq, The Mews Project Space, London 2009 - Screen, Chert, Berlin 2008 - Clouds, Beechcroft Space, Bristol Group exhibitions 2012 - Dagmar Hepner, Hannah James and Charlotte Moth, Cole Contemporary, London 2012 - Out of Range, ROMA, public art works, Rome 2011 - Anti Library, SPACE, London 2011 - Rotate, Contemporary Art Society, London 2011 - Space Exchange, Aid and Abet, Cambridge 2011 - What does and what does not belong to words, Baginski , Lisbon 2010 - Curtain Show, Eastside Projects, Birmingham 2010 - Drinnen und Draussen, Chert, Berlin 2010 - Point of address, selected by Peter Suchin, OUTPOST, Norwich 2010 - 'The decade 2010-2020' - The museum as hostage to fortune, The Pigeon Wing, London 2009 - Cornuto #1, ReMap 2: an International Art Programme Parallel to the 2nd Athens Biennale, Athens 2009 - Spacioux, curated by Michela Arfiero, Daniela Lotta and Paola Gallio, Lambretto Art Project, Milan 2007 - New Contemporaries 2007, New Art Gallery Walsall, Corner House, Club Row, Walsall, Manchester and London Residencies 2011 - Standpoint Futures Residency, Standpoint, London 2010 - OUTHOUSE , OUTPOST, Norwich Publications 2012 - Dagmar Heppner, Hannah James and Charlotte Moth in conversation with Allia Ali, exhibition publication with Cole 2011 - pots purr, exhibition publication with Rhubaba and Chert 2010 - “The decade 2010-2020.” The museum as hostage to fortune, exhibition publication with An Endless Supply 2010 - Curtain Show, exhibition publication with Eastside Projects 2010 - Drinnen and Draussen, exhibition catalogue with Chert 2006 - New Contemporaries 2006, exhibition catalogue