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Hannah Hughes is a London (UK)-based artist, whose work intersects photography and sculpture, transforming shapes, gestures and textures from everyday photographic images and entering them into a new dialogue. Her latest body of work ‘Mirror Image’ is an extension of the ongoing collage series ‘Flatland’, which explores the overlooked corners and in-between spaces surrounding the photographed subject.
The Flatland Series first began around 2014, taking its title from Edwin A. Abbott's Victorian novella set in a two-dimensional realm, 'Flatland: A Romance of Many Dimensions'. The collages reconfigured fragments of found printed source material, from auction catalogues, journals, books, advertising imagery and magazines, to create speculative new forms, situated somewhere between reproduced images and the physical world.
The original Flatland collages were assembled from an archive of hundreds of mass-produced printed images collected over several years. Each individual collage was spliced, masked and overlaid by hand, removing or concealing the original figurative subject and generating an alternative visual form in its place. Cut from the edges and in-between places surrounding photographed bodies or objects, the image fragments were transfigured into radically altered forms and liminal inner spaces.
The Flatland Series first began around 2014, taking its title from Edwin A. Abbott's Victorian novella set in a two-dimensional realm, 'Flatland: A Romance of Many Dimensions'. The collages reconfigured fragments of found printed source material, from auction catalogues, journals, books, advertising imagery and magazines, to create speculative new forms, situated somewhere between reproduced images and the physical world.
The original Flatland collages were assembled from an archive of hundreds of mass-produced printed images collected over several years. Each individual collage was spliced, masked and overlaid by hand, removing or concealing the original figurative subject and generating an alternative visual form in its place. Cut from the edges and in-between places surrounding photographed bodies or objects, the image fragments were transfigured into radically altered forms and liminal inner spaces.
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Artworks by Hannah Hughes
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