Fortune Baby God’s Eyes
8/5/20 - 8/19/20
Feuilleton is very pleased to present an exhibition of works on paper by Canadian, Los Angeles-based artist Hanna Hur.
The four pieces presented here were done in quarantine; their modest scale allowing Hur to work at her kitchen table. Contrary to the gossamer materiality and airy palette of her paintings on silk, Hur’s work on paper is characterized by a greater concentration of information and a more immediate visual impact, due to the more vivid, compact mark making. The density of her drawings compels the eye to see the oscillating whole before grasping and weighing its myriad individual parts. Although the underlying structure of the drawings is governed by the strict logic of the grid, varying levels of disorder are introduced, through color, shading, and form, which at once interrupt and highlight the optical pressure of the vibrating grids. Unlike some of their precedents in Op art, Hur’s drawings do not strain the eye, rather, they have a calming effect like the hypnotic lapping of water on a lake’s edge. Similarly to a gentle, repeating current, or a series of midnight cosmological speculations, these works invite deliberation and meditation.
The implications of their undulating patterns are vast. Extending indefinitely outward, they speak to mathematics, philosophy, and the quotidian, ultimately touching upon everything in which the recognition and deconstruction of patterns play a part. Subtle, potent and captivating, each drawing commands its own territory of wall space, with the diptych God’s Eyes, both apart and together, staggered into two rooms.
Hanna Hur (b. 1985, Toronto) lives and works in Los Angeles. She received her MFA from the University of California Los Angeles in 2019 and holds a BFA from Concordia University, Montreal. She has exhibited at u’s, Calgary; Bel Ami, Los Angeles; Franz Kaka, Toronto; L’inconnue, Montreal; Motel Gallery, New York; Visitor Welcome Center, Los Angeles; The Sunroom, Richmond; Audain Gallery at Simon Fraser University, Vancouver; and Shanaynay, Paris. Her work has been reviewed in The Los Angeles Times, Artforum, Contemporary Art Review Los Angeles, and Canadian Art magazine.