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Hannah Lees, Let us go then, you and I (2016)

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Hannah Lees, In the earth, in the air (2016)

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Hannah Lees, In the earth, in the air (2016)

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Hannah Lees, I came like water, and like wind I go (2016)

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Hannah Lees, I came like water, and like wind I go (2016)

Lees, Tablet XXX (small)

Hannah Lees, Tablet XXX (2015) Plaster, gold magnetic sand, coconut shell, coral, stone, pecan shell, lychee stone, limpet shell, animal teeth, cockle shell. Installation view.

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Hannah Lees, LOCAL OBJECTS, Installation View, Ikeyazhang. Photo credits, Andrea Rossetti.

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Hannah Lees, Ever-Old Newness /|\ Ever-New Oldness (2015). Installation view.


Hannah Lees, Tablet XXVI (2015). Plaster, shells, brick, pottery, stone, tile. Installation view.

Hannah Lees

Hannah Lees’ practice investigates cycles, the inevitability of decay and the potential of regeneration. Lees works fluidly across different media, querying the substance of materials, science, religion and history, often presenting traces of processes and organic matter.

On this occasion, Lees presents a new primitive sculptural work, utilising an old display case as the site for a possible altarpiece. The sculpture is dense with materials and possible interpretation, evoking landscapes, journeys and mortality.

The dripped stains on the walls are made from white wine sediment called “lees”, sourced from the London Cru Urban Winery. The sediment is the main component in winemaking but ultimately the material that is discarded at the end of the process. The artist’s use of wine sediment stems from her interest and etymology of her name, Lees, which becomes a departure point for the expansion from language to object.

The series of works called “Tablets” date from 2011 and have been a continuous part of Lees’ practice.

The brick wall of a church hall in a small village in Kent with coloured glass bricks felt at once totally profane while at the same time alluding to sacredness by conveying a simplified stained glass.

They stem from the artists interest in beach combing and by collecting glass and other debris from the shores of rivers and seas, Thames River in London as well as collecting items from beaches she has travelled to.

The image of this profane/sacred brick wall returned, suggesting a way to contain these abandoned, ambiguous pieces to take them from the profane; in the same way the generic glass bricks where transformed to the sacred. Lees has added extra elements to the plaster to attempt to create a kind of alchemy within the work. By adding, for Natural earth pigments, the hope is to infuse the work with a material vitality.

Lives and works in London
2011        Postgraduate Diploma in Fine Art, Chelsea College of Art,    London, UK
2004-06   BA (Hons) Fine Art, UCCA, Canterbury, UK
2003-04   BA (Hons) Fine Art & Visual Culture, UWE, Bristol, UK
Solo Exhibitions, Projects & Events
2016          Turner Contemporary & the British Museum Spotlight   Commission, Turner Contemporary, Margate, UK
2016           TBA, Galerie Tatjana Pieters, Ghent, BE. Curated by Soft Focus Institute
2016           TBA, Workbench, Milan, IT
2016           TBA, Tenderbooks, London, UK
2016           Let us go then, you and I, Nomadic Vitrine, Grand Union, Birmingham, UK. Curated by Recent Activity
2015          Hannah Lees: May I Have Ease of Being, Cairn, Fife, UK
2015          Hannah Lees: Ever-New Oldness /| Ever-Old Newness, The   Sunday Painter, London, UK
2015         As rust consumes the iron which breeds it, Cell Project Space, London, UK
2014         http://relaax.in/nothing-and-nowhere-by-hannah-lees Website commission. Curated by Joey Villemont
2014         http://www.thisisthepath.com/ Website commissioned by OPENYOURKIMONO.org
2014         Everything that happens simply happens, Whitstable Biennale, Whitstable, UK
2013         Hannah Lees Friday Late: If I won’t burn, where will the light come from? V22, London, UK
2012        The Fertile Crescent, Rod Barton gallery, London, UK. Curated by Alex Ross
2012         www.busysleep.com website collaboration with Michael Pybus

Group Exhibitions, Projects & Events
2017          Old Science New Magic, Cass Sculpture Foundation, Goodwood, UK
2016         Overlay, White Rainbow, London, UK. Curated by Jeremy Millar
2016         Uep Figures of Speech #4: Allegory, ADDAYA Centre d’Art Contemporani, Majorca, ES. Curated by Cristina Ramos Gonzalez.
2016         Europa and the Bull, Lambda Lambda Lambda, Pristina, KS. Curated by Attilia Fattori Franchini
2016         Пикник на обочине (Piknik na obochine), Exo Exo, Paris, FR. Curated by Florent Delval
2016         Cuts, Shapes, Scrapes and Breaks, Seventeen gallery, London, UK. Curated by Rhys Coren & Gabriel Hartley
2016          Safety Deposit Box, Lock Up International, Frankfurt, DE
2016          Uncommon Chemistry, Observer Bld, Hastings, UK
2016          Jumanji, Soft Focus Institute, Ghent, BE
2016          Is this living? The Approach, London, UK
2015         An Englishman’s House is His Castle, Global Committee, Brooklyn, New York, US
2015         Local Object, IKEYAZHANG, Milan, IT
2015         Act III: A Leap of Faith, The Living Room Projects, St Laurence Church, London, UK
2015         m-Health, Cell Project Space, London, UK
2015         Hold, Sway, Generator Projects, Dundee, UK
2015        Bitches Brew Daughter of Bastard Son of Hot Sauce, NEWD Art Show, Brooklyn, New York, US curated by Law Office
2015       ADVENTURES IN BRONZE, STONE & CLAY, Arezzo City of Arts Festival, Arezzo, IT. Curated by Adam Carr.
2015       Business as Usual, (Touring) Set The Controls For The Heart Of The Sun, Leeds, UK; Turf Projects, Croydon, UK; Pyramid Art Center,
2015        Warrington, UK. Curated by Perce Jerrom
2015        John, The Sunday Painter, London, UK
2015        Spring Exhibition, Kunsthal Charlottenborg, Copenhagen, DK
2015        4 REAL DEAR, Open Source, London, UK. Curated by Attilia Fattori Franchini
2014       On the Devolution of Culture, Rob Tufnell, London, UK
2014        Nicodim Collection, Galeria Nicodim, Bucharest, RO
2014        I Dunno Shit, Rogue Project Space, Manchester, UK. Curated by Calum Crawford & Joe Fletcher Orr
2014       Wearing Potentiality, Paradise Row Gallery, London, UK. Curated by Attilia Fattori Franchini
2014        Conversation #5 Andrew Gillespie, Jack Lavender & Hannah Lees, Weekends, Millington | Marriott, London, UK
2014        Peachy, Salt + Powell, York, UK
2014        Thin Air, SLOPES, Melbourne, AUS
2013        Apartment 4, Rue Jeanne d’Arc, Clermont-Ferrand, FR
2013        The Fresh Air Collection, S P A C E, London, UK. Curated by Paul Pieroni
2013        Young London, V22, London, UK
2013        The Unpainted Landscape, Mihai Nicodim Gallery, Los Angeles, US
2012        Transfert 2012, La Plate-Forme, Dunkerque, FR
2012        System of Objects, Departure Foundation, London, UK
2012        The Conch Part V, South London Gallery, London, UK
2016    Edinburgh Sculpture Workshop Micro Residency, Edinburgh, UK
2014    Forest Studio Residency, Stour Valley Arts, Kings Wood, Kent, UK
2013    Artistes en Residence, Clermont Ferrand, FR
2012    Transfert 2012 Residency, La Plate-Forme, Dunkerque, FR
2012    Foundry Residency, Royal College of Art, London, UK

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