London, United Kingdom. 1978
Knox’s practice involves working with a wide variety of materials across painting and installation. Her works inhabit the space and perform in some way; they change colour, reveal 3D images and are made from a selection of fabrics and cloths, or painted in a way that mimics them. Referencing Greek myth, art history and fashion, they fall from the ceiling, hang out on the floor or gather themselves up to make a stand-in body in the room.
Her recent shirt paintings hold a memory and become a marker of time, shifting from a portrait to a still-life, a relic, to a ‘wish-list’ item from an online shopping basket. These unbodied shirts provide a space to project; a recollection, a lover, a holiday. Paradoxical and containing a series of antonyms, they are figurative without a figure, they are folded but flat. These shirts are made of linen, but you can’t wear them, and they have buttons that you can’t undo. Varying in scale, from life-size and intimate, to God-like and iconic, they switch from generic pre-packaged shirts for disposable office workers, to display giant-sized XXXXL proportions, other worldly, out of reach, speaking of status, desire and the factory line.
Hannah Knox was born in London, where she lives and works. She completed her MA in painting at the Royal College of Art in 2007, she has lectured in painting at a number of Colleges and Universites; including Chelsea School of Art, Oxford Brookes University and University of the Creative Arts Canterbury. Recent exhibitions include; “A Mark Extended” at Wasserman Projects, Detroit 2021, “Greetings From Miami” at Hashimoto Contemporary, New York 2020, Common Property, at the Jerwood Space, London, UK, 2016. Knox ha been interviewed in various publications such as Huffington post, Studio International and Hyperallergic. She has paintings in numerous private collections internationally, including the Fidelity Art Collection and the Government Art Collection.