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.
Group Exhibitions, Projects & Events
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