It could be surprising to consider the artworks of Nanna Hänninen (Rovaniemi, Finland, 1973) as “landscapes”. Photographs which, in the artist`s own words, “are basically drawings of my body movements where subject and the scenery melt into a single image”. Thus the human presence becomes explicit and transforms the scenery decisively, making it abstract although easier to deal with. The light and long exposures configure a language with a syntax that speaks of the individual, immersed into the outside world, and of the control or the lack of control on it. Nanna creates music scores punctuated by her heartbeat, her movements and her laugh, all life experiences in a real world that amplifies their sounds like a percussion box. The frontiers among the individual and the universal are blurred by an artifact, the photographic camera, that plays the role of a prosthesis unifying the subject and the object, the self and the other. All in all, Nanna dares challenging the paradigm of photography and its canonical representation of reality.
In her most recent projects, Nanna unifies photography and painting through the abstract and the figurative respectively, with this conceptual approach being one of the most original features in her work. Her worries about the present environmental situation that our society is facing, as well as gender issues, constitute the background for the ideas that she develops, not only from the social point of view but also the political. The artworks which depict people are nothing but a symbol of our individual alienation and of our connection -maybe lost- with nature and time.
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