Slide

Hannah Benassi

Hannah Benassi

Artist

Red Storm, Acrylic, modelling paste, clay and rice paper on panelled board, 100x80x2.5cm

Hannah Benassi is a Scottish abstract painter based in Edinburgh. Since graduating in Fine Art (2019) with a First-Class BA Honors Degree from Duncan of Jordanstone College of Art and Design, Benassi continued her creative studies at GSA and Glasgow University where she received a distinction in Contemporary Curatorial Practice (2020). Benassi has been awarded the Farquhar Reid Trust prize and was nominated as Saatchi Arts Rising Star (2019). With her practice based in Scotland, her work has been exhibited across the UK and Portugal and continues to exhibit her paintings internationally. Recent exhibitions that showcased Benassi’s work from 2021 onwards includes, ‘MARS BLUEBERRIES’ with PADA Studios (Barreiro), ‘Abstract Zeitgeist’ with Rafiki Gallery (Edinburgh) and ‘Beyond Boundaries’ with TATHA Gallery (Newport-On-Tay).

Hannah Benassi’s work explores the visual layering of materials through painting. Her work uses mostly acrylic paint and surfaces that combine printed collages, clay, oil pastels and paper to create structural forms on a soft surface. Hanna shows subtle thin layers of paint, scratch-filled surfaces and patchwork structures in abstract images. She was inspired by the changing tones and shadows of daylight and the organic nature of man-made landscapes.

2022 ‘Meeting of Moments’, UPRIGHT Gallery, Edinburgh

2022 ‘Somewhere Somewhere’, ARCH Gallery, Changsha, China

2022 ‘Celebrating The Women On Our Walls’, UPRIGHT Gallery,  Kimpton Hotel, Edinburgh

2022 ‘BEYOND BOUNDARIES’ TATHA Gallery, Newport-On-Tay, Fife

2021 ABSTRACT ZEITGEIST, Group Show, The Rafiki Gallery, The Biscuit Factory, Leith, Edinburgh

2021 MARS BLUEBERRIES, PADA Studios, Barreiro, Portugal

2021 ‘Group Show’, SHRINE Gallery, Digital Exhibition, New York

2020 ‘New Becoming Normal’, Curated by Mhairi Mcphail, Garden Gallery Exhibition, Edinburgh

2020 ‘ON THE TABLE’, Curated by Julie-Ann Simpson, Online Exhibition.

2020 ‘Free from restrictions’, Tatha Gallery, Dundee.

2020 ‘Zebra Girl’ – 5 paintings used for the set of a Scottish independent movie 2020

2019 ‘History in the making – Reflection on 2019’- The Christmas Auction, Menier Gallery, London

Fields of Encounters, Mixed media on stretched canvas, 43 x 60 x 2.5 cm

Summer Sands, Acrylic, clay, oil bar and calico on board, 43 x 60 x 2.5 cm

Untitled, Mixed media on stretched canvas, 43 x 60 x 2.5 cm

Exhibitions

过往展览

2024.3.10

Arched Wave: Beyond the Boundaries of Geography

Artists: Mutian Chen, Longing Hu, Xiaoliang Huang, Ying Li, Mingjun Luo, Bing Ma, Jianping Zou
Curator: Xinyu Wong

Arched wave: Throwing the hidden string in the discontinuity

Artists: Qiushi Chen, Yujian Guo, Mingjun Luo, Lijun Wang, Li Zhou, Wei Zhou
Producer: Wenjing

Flower For Algernon

Artists: Jing Wang/ Yiwen Zhao
Curator: Xinyu Wong

Perceptual Track

Artists: Haiqiang Guo、Hang Su、Sibo Wu、Wei Zhou
Curator: Yu Xie

Art Channel

艺术频道

ARCH REVIEW | Making Complicity

When the painting is really close to us, the first thing that appears to our eyes is this Le cimetière marin[1] written by Valéry in 1922. The curators Hu Yihang and Zhang Tingzhi, together with artist Guo Yujian, divided the exhibition “Dangerous Complicity” in the gallery into three chapters with words and symbols: imagination, a plateau, and a theatre.

ARCH INTERVIEW | Guo Yujian

Since then, I have tried to let daydream-like imagination seep into the picture, and those earlier, more symbolic images have also been naturally diluted. Perhaps, it is precisely because of the temperament that seems to be infiltrated by the picture and some image contents that are contrary to reality that cause the association like a dream.

ARCH REVIEW | Guo Yujian :Dangerous Complicitiy

When looking at Guo Yujian’s works, what have been depicted is always in a state of flow, and the secret words that are related to each other become images that avoid us and approach us. The work that takes shape on the canvas in our sight is yet to come, in transition, about to embrace change, and it will not push us away until the feeling is fulfil.

ARCH REVIEW | 眼前

当我们把“看见”这一行为比作打开一个空房间的房门,看着这件物体的视线和它存留下的痕迹像是打开门后产生的余音,我们无法准确的追寻余音回荡的轨迹。不断地“看见”,新的东西累积产生同时,不可避免的产生了遗忘与消亡。一张照片保存了一个时间的瞬间,通过回忆,某些时刻得以持续存活,不相关瞬间的外观孤立了出来成为“科学家的信息、摄影师的引用”

ARCH 采访 | 谢燚

他的作品长期以来从“劳动”这个常用的词汇出发,不断向现实世界里以“语言”为基础的权利追问。“我只希望我认为重要的东西能被大家知道,那就是”具体的劳动“在现实世界中是如何”做功“的。”

ARCH 采访 | 郭宇剑

从那时起我尝试让白日梦式的想象力渗到画面中去,那些较早之前象征意味较浓的图示也被自然地冲淡了。或许正是因为这种像是被什么浸润过的画面所流淌出的气质和一些与现实相违和的图像内容才造成了类似梦境似的联想。

Tuesday – Sunday
10.00am – 6.00pm

ARCH Gallery
Yinjiachong Rd, Tianxin District
410000 Changsha

星期二 – 星期日
上午10.00 – 下午6.00

湖南省长沙市天心区殷家冲路
1123文创园一楼
ARCH GALLERY

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