Hanna Hur

Mother (Keijiban)

Name: Mother (Keijiban) - Hanna Hur
Brand: Keijiban
Price: 390.000000 EUR
Availability: InStock

2024

Copper

6 to 9 cm x 21 to 52 cm

Edition of 10 copies, all unique, signed and numbered by the artist, and 2 artist’s proofs

Price

€390.00

Tax included・Free shipping in Japan

The edition

The chainmail sculptures have formed an integral part of Hanna Hur’s practice since 2012. They come in various shapes and sizes. Some are site-specific, others are in progress, growing and evolving over the years. Similar to the grids and other geometric shapes that cover her two-dimensional works, the meshes convey a tension, an oscillation between a here and an elsewhere, between the finite and the infinite. They embody a specific time and space, that of a patient accumulation of work, while also suggesting the potential for unlimited expansion.

For Mother (Keijiban), the artist has designed a series of pieces in which her usual shimmering copper meshes mingle with other oxidized meshes. Orange circles stand side by side with variations of blue and green. Here, two temporalities intermingle to create colorful motifs. Sculpture appears to appropriate the methods of tapestry weaving.

These pieces can be hung as wall works or laid flat, crumpled or laid on top of another existing object, even used as toys, as “they are quite pleasurable to handle.” The artist adds: “I like to imagine them living lives where they are constantly shape-shifting and never fixed in any way.”

The artist

Hanna Hur ハンナ・ハー — Photo by Lotus L. Kang

Hanna Hur was born in 1985 in Toronto. She currently lives in Los Angeles.

Hanna Hur’s work takes the form of paintings and drawings, as well as sculptural pieces, generally created using hand-cut and hand-knotted copper chainmail. At once meticulous and evanescent, her compositions are part of a spiritual practice, whether they are crystallizing and inviting a state of meditation or participating in a specific form of ritual. A grid motif or the repetition of geometric shapes often forms the starting point of the work. As with Agnes Martin, the grid suggests a vibration rather than the rigidity of a model; it opens out onto infinity rather than confining us. It is from this patiently constructed, subtly colored background that the image literally emerges. The forms may be recognizable (figures, flowers, windows, etc.) or abstract, but they all share this apparitional status. In the fragile, flickering mode of a firefly, in the sovereign, bewitching manner of a hallucination, or within the uncertainty of limbo, the work invites us to hold our gaze.

Her work is represented by Kristina Kite Gallery (Los Angeles)

The exhibition