Hannah Lees born 1983 in Kent, United Kingdom and currently 
lives and works in Margate & London, UK...
1/15. Hannah Lees, Tablet LIX, 2018, plaster, bats wing ink, amber powder, mixed media, 57.5 × 40 × 2 cm
2/15. Hannah Lees Tablet LV, 2018 plaster, beehive frame, bats wing ink, mixed media 23 × 47 × 4 cm
3/15. Hannah Lees, Great Wonders of the World : Wonders Sacred and Mysterious, 2018, VHS video tape, brass, 41 × 52 cm
4/15. Hannah Lees, England Australia, 2018, VHS tape, 173.5 × 15.5 cm
5/15. Hannah Lees, Great Wonders of the World : Wonders of Man's Creations, 2018, VHS video tape, brass, 48 × 60 cm
6/15. Hannah Lees, Great Wonders of the World : Wonders of Man's Creations, 2018, Detail, VHS video tape, brass, 48 × 60 cm
7/15. Hannah Lees, And in the Nowhere I, 2016 clay pipe fragments, plastic thread, dimensions variable
8/15. Hannah Lees, And in the Nowhere I, 2016, Detail view, clay pipe fragments, plastic thread, dimensions variable
9/15. Hannah Lees, And in the Nowhere II, 2016 clay pipe fragments, plastic thread, dimensions variable
10/15. Hannah Lees, And in the Nowhere II, 2016, Detail, clay pipe fragments, plastic thread, dimensions variable
11/15. Hannah Lees, And in I , 2017, clay pipe fragments, felt, plastic thread, 58 × 22.5 cm
12/15. Hannah Lees, And in I , 2017, Detail view, clay pipe fragments, felt, plastic thread, 58 × 22.5 cm
13/15. Hannah Lees, To accept what exists once I have recognised that I cannot change it, Part IV, 2015, sterling silver-cast green olive stone
14/15. Hannah Lees, To accept what exists once I have recognised that I cannot change it, Parts III-X, 2015, installation view, ReadingRoom, Melbourne, 2018
15/15. Hannah Lees, To accept what exists once I have recognised that I cannot change it, Parts III-X, 2015, installation view, ReadingRoom, Melbourne, 2018
Exhibitions
Footnotes
Further Reading

 

Hannah Lees’ work investigates the sense that things come to an end and the potential for new beginnings; ideas of cycles, constancy and mortality. This constancy, be it in religion, science, history or in organic matter, is visible in her practice through her attempts to make sense of, and recognise, traces of life. Through appreciating this, her work is focused towards an understanding of the essential nature of the materials she uses as well as allowing space for shifts in context to occur, in order to disrupt interpretation and allow for new meaning. Her practice encompasses painting, drawing, sculpture, installation, textiles, ceramics, internet art, performance, writing, sound and video.

 

Hannah Lees (b. 1983, Kent, United Kingdom) lives and works in Margate and London, UK. She completed a Post-Graduate Diploma at Chelsea College of Art, London, UK (2011) and a Foundry Residency at the Royal College of Art, London, UK (2012). Previous exhibitions include: Mantel, Copperfield, London, UK (group); The Sleeping Procession, CASS Sculpture Foundation, Goodwood, UK (group); When branches emerge undivided, Slugtown, Newcastle, UK (solo); The Turning of Existence into its Opposite, Kingsgate Project Space, London, UK (solo); Vital Materiality, Assembly Point, London, UK (group). Turner Contemporary & the British Museum Commission: Hannah Lees, Turner Contemporary, Margate, UK (solo); The Oldest Thing You Can Hold In Your Hand, Workbench, Milan, IT (solo); Overview, SAMUEL Gallery, Chicago, IL, USA (group).

 

Recent & forthcoming exhibitions and residencies include: Gasworks’ International Fellowship Programme, Pivô, São Paulo, Brazil, Always The Real Thing, White Crypt, London, UK (group); British Council UK/ID Exchange Residency, Bakudapan, ID; The Trees That Yield, Whitstable Biennale, UK (solo); Kupfer, London, UK (group); Barnie’s Gallery, London, UK (solo).

 

Hannah Lees: Whitstable Biennale 2018

 

Whitstable Biennale, The Ash Walks #1: Hannah Lees

 

Turner Contemporary and the British Museum Commission: Hannah Lees 2017

 

Hannah Lees discusses her Turner Contemporary, British Museum Commission 2017

 

Harry Stayt, Hannah Lees, Camberwell Press, London 2015