Hanne Friis: Structures and Paradoxes

It’s a physical presence in Hanne Friis’s works. In the object, this is interwoven with all machining materials have gone through, and in the drawings, moving organic patterns reminiscent of man’s inner and outer topography. Hanne Friis’s art is thus driven forward by paradoxes. The amorphous, twisted and sammenfiltrete structures are fulfilling and wonderfully precise, but they are also on track to become. They radiate a greedy energy, and they are simultaneously vulnerable present in their own creation. As if they are on the verge of rupture. In their previous objects used Hanne Friis themselves gladly of things and materials you associate with areas outside the art – as latex gloves, nylon stockings and various textiles. Yet never the functional references to such charged readymades played an important role in her art. More interesting is that materiality has torn itself loose, and lived on the more or less independent terms. In the new works Hanne Friis really taken the consequences of this own quality, and are now simply based on the textiles directly from the roll. This more neutral way to initiate a project, freeing her from getting on track and memories tied to specific uses. Instead, it provides numerous opportunities for an abstract approach, and it opens up a direct and physical dialogue with the material itself. Structures and surfaces occurs for the first time – strange and fascinating recognizable in all their bodily and sensual appearances. Hanne Friis’s art expresses the balance points between control and anarchy. The protective of something familiar, and it keeps the darker layers of existence at bay. The pervasive bodily heat refers to visible and invisible dramas, as when an insidious disease lurks or when affirming joy of life becomes so fierce that it almost can not be restrained. Hanne Friis adopt a concrete and material reality to approach a mental abstract space, where that can not be captured by the language still shows up in small glimpses. In concrete eyes’ also the ineffable. Hanne Friis dealing with an art that takes time. In the object’s tettpakkete fabric layer is time folded and pursed together. And drawings spreads, somehow slowly beyond the paper, as cells and tissues in Orfina transitions between rest and unrest. Thus the timing tactile in the countless repetitions and variations. In Hanne Friis passes the time allowed to become physically visible in structures that holds potential for both pain and pleasure. This is an art in which the hand is present. While also providing work a sense of resisting the fact that the craft is so central. It is as though Hanne Friis, through the hands engagement, also has released works free – they’re on their own. Just this property helps to ensure that they give a present impression to be living organisms. Every one of them holds its own physical identity. This has not the least to do with the peculiar tension her art is in – between the intimate and the monstrous. People are attracted and repelled, as if there is an underlying pulse here that drives one to recognize both these extremes. Hanne Friis capabilities to let his art fall into the complex space where opposites occur in parallel. On the one hand, her works are very beautiful and visually appealing, and she is not afraid of the decorative, on the other hand is opening up for a crude expression and a subtle ugliness. They are brutal and skinless, vulgar and seductive. It is easy to imagine how tempting it is to stretch out a hand to touch the surfaces of one of the gnarled objects. Almost as illegal as wiping the skin of a man not quite know. And as this irresistible, but also ambiguous urge – in one second before touch is a reality, so folds Hanne Friis’s art out. A pregnant fragment of time feels one persistent.