We are honoured to present the first solo exhibition in Belgium by British artist Hannah Lees (1983). Floated On Foam  Flew With Birds is related to concepts of change and transference. The title comes from an medieval English riddle; the idea that something can be in two states simultaneously suggests a change or a shift in perception has taken place. The presented works all propose some form of orchestration for contingency, from the Magick and Chinese ink and rust in the plaster Tablet works, to the recycled wool and food waste.
On the wall, Like water I came, and like wind I go (2016) are the smeared and dripped wine lees from London Cru Urban Winery. The viscous leftover from the winemaking process is testament to the transformation of grapes to wine. The sediment is the main component in winemaking but ultimately the material that is discarded at the end of the process. The use of wine sediment stems from an interest and research into the etymology of the artists name, “Lees”, which becomes a departure point for the expansion from language to object.
This residue is also evident in 'Make it Endure I-VIII' (2016), a series of experiments with a vacuum-pack sealer used in the catering industry. They comprise the organic matter from the pickling of silk cloth that is slowly deteriorating while staying contained and sealed. These works link with the idea of an "aura" though it becomes more like an essence or trace of some kind.
'As it is without knowing how it should be I-IV' (2016) utilizes sheets of recycled wool, commercial coloured felt squares and felted pieces of wool gathered from fences in the English countryside. The collaged textiles are layered and embellished with leftovers from the artists daily kitchen activity (such as, bay leaves, chili stalks, garlic stalks, etc.). The works can be perceived as craft-based and domestic, but also speak of the tradition of tapestry hangings and the depiction of personal narrative and documentation.
'I'll never know I-V' (2016) presents cushion-like sculptures made from Chamois leather hides usually sold for car-cleaning. They are stained with vegetable dyes made from consumed food waste. The Chamois hides have been stitched to still represent their original shape that could be perceived as cushions or stuffed toys. The pale yellow of the chamois leather and the natural colours of the dyes also feel akin to stones covered in lichen or mosses. Due to the natural shape of the hides, they almost become similar to leftovers from ancient ruins, like markers of where once there was a great monument.
The series 'Tablets' date from 2011 and have been a continuous part of Lees’ practice. They depict Lees' interest in beach-combing and many years spent collecting items from rivers and beaches she has travelled to. The works suggest a way to contain these abandoned, ambiguous pieces in taking them from the profane to the sacred. Lees has also added extra elements to the plaster to create a kind of alchemy within the work.
'Eternal VII (Stella/Kate)' (2015) is an ongoing series of works of purposely low-resolution clips from perfume and fashion commercials found on YouTube. The clip has been looped to create unending weather changes, either passing clouds, a storm threatening or a sunrise or sunset. The work acknowledges the dilemma of how to communicate a vision via technology. As advertising contends with the fluctuations in fashion and trends, this work seeks to emphasize where the fleeting and the eternal meet.
Hannah Lees was born in Kent and lives and works in 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). Recent Exhibitions & Projects include: Overlay, White Rainbow, London, UK; All That There Is, Is The Eternal Now, Tenderbooks, London, UK (solo); AFA 2.2, 63rd-77th STEPS Offsite, Mama Beach, Marseille, FR; Europa and the Bull, Lambda Lambda Lambda, Pristina, KS; Пикник на обочине (Piknik na obochine), Exo Exo, Paris, FR. Forthcoming Exhibitions & Projects include: The Oldest Thing You Can Hold In Your Hand, Workbench, Milan, IT (solo); Turner Contemporary & the British Museum Spotlight Commission, Turner Contemporary, Margate, UK (solo); Harvest, Kunstraumlanenlois, Langenlois, AT; Old Science, New Magic, Cass Sculpture Foundation, Goodwood, UK.
e idea that something can be in two states simultaneously suggests a change or a shift in perception has taken place. The presented works all propose some form of orchestration for contingency, from the Magick and Chinese ink and rust in the plaster Tablet works, to the recycled wool and food waste.