The artist was inspired by the interaction between nature and human-made objects observed during her travels – the morphological changes in the surface of the wall caused by the passage of time. After decades or even hundreds of years, these man-made objects are alternately worn by wind, rain and sun, and the surface becomes fragile and turns up or falls off – a rhythmic layer is constructed. “Art must be natural in order to move people.” (Starting from feeling, Chen Jiaying) Hannah captures the structure of nature and architectural details in the spirit of naturalism, and relives her travel memories on soft materials according to its reflection.

Hannah’s work has a resort-like clarity that doesn’t float or sink. Although acrylic is Hannah’s primary painting material, printed collages, clay, cloth and rice paper also shape the work’s overall aesthetic — a delicate balance between transparency and heaviness.

In Hannah’s paintings, the historical traces shaped by natural and human-made landscapes are subtly preserved by her brushwork. Based on an intuitive layered construction of materials, her work archives the emotion that belongs to a certain location through an abstract combination of subtle turns of colour, scratched surfaces and patchwork.

History is not form, but only content. (Estetica I-Teoria, Benedetto Croce) Human life cannot be as long as the objects Hannah depicted, but one can feel the time condensed on objects. Hannah records memories of distant locations, memories that do not belong to an individual, but to certain locations. Nonetheless we don’t experience it in person, the record is sometimes more journey-worthy than the experience.