Château Shatto, Los Angeles (FR9)
Van Hanos’ diverse output vacillates between diverging modes of painting. To date, these have encompassed 19th-century academic styles (formal portraiture and still-life), plein-air, abstraction, copies of masterworks and collage-like juxtapositions based on found images and the artist’s own photographs. Through these, he advances a methodical engagement with the medium.
For Frame, Hanos turns to painting as a technology of capture – one that extends a photographic process. Working from camera images shot in rapid succession, he produces meticulous oil renderings that dwell on the barely perceptible variations between moments. The resulting suite thus plays with doubling and repetition, inviting misidentifications by the viewer that subtly foreground the gaps between body and recording apparatus. It is a simple gesture that underscores memory’s status as a slippery substance, but also resonates deeply with the many processes of inscription that define lived experience and shared histories, both personal and public. Thus, Hanos reengages the problem of history painting in a contemporary context, subverting the heroic for a series of fractured, intimate encounters.
Van Hanos (b. 1979, Edison) currently lives in Marfa, Texas. Recent solo exhibitions include “Late American Paintings”, Château Shatto (Los Angeles), “Mommy’s boy”, Cleopatra’s (New York), “Awake At The Funeral”, Tanya Leighton (Berlin), “Van Hanos”, Parapet Real Humans (St. Louis), “Intercalaris”, Rowhouse Project (Baltimore), and “Van Hanos”, West Street Gallery (New York). His work has been reviewed in Flash Art, Artforum, Art in America, and the New York Times Magazine.