Camille Hannah's paintings predicate a model of painting born from within the frame of technology; they are embedded in twenty-first century gestural abstraction while conceptually vested in digital and screen technologies.
Harnessing the contemporary aesthetic of mediated visuality, whilst acknowledging that painting is, equally indebted to art history, her work acknowledges the influence of the screen paradigm through notions relating to fluidity, painting as object/surface and the perception of interactivity, relating to a virtual form of tactility. Traversing the paradox between the prohibition of touch in relation to digital technology and art - and an erotic's of painting, interactivity relates to seduction: a correlation that enacts the "erotics" of painting, and seeks to engage the viewer immediately in a tactile participation, close and yet distancing at the threshold of vision and touch, while simultaneously providing the viewer with a variable experience of scale.
Structurally and aesthetically functioning along the lines of a screen, these paintings aim to incorporate some of the same spectatorial conditions established by a new screen paradigm, such as notions of movement and fluidity, arrested and caught within a painting frame, the digital motif and the utilisation of a type of perception based on the fragmentary nature of vision.
Camille Hannah attained a Masters of Fine Art by Research in 2013 and a Bachelor of Arts (Honours) degree in 2010, at the Victorian College of the Arts, University of Melbourne, Australia where she was the recipient of an Australian Postgraduate Scholarship Award.
Camille Hannah's work is part of important corporate and public collections, including Artbank and the Crown Casino, Melbourne and in private collections throughout Australia and Europe.