Hannah Maybank
This poorly sourced must be removed immediately from the article and its talk page, especially if potentially libelous. )Find sources: "Hannah Maybank" – news · newspapers · books · scholar · JSTOR (September 2021) |
Hannah Maybank (born in
Work
Maybank’s paintings contain elements from the natural world such as trees, flowers, clouds, and mountains. These natural elements are pared down to simple silhouette forms to act like motifs. Worked most often in monochrome, these motifs or templates are repeated across the surface of the paintings to create a patterning in both the visual composition and through the process of their creation.
Influenced from the mid-nineties by the works of Imi Knoebel, Agnes Martin and Ad Reinhardt, Hannah Maybank uses both construction and destruction to create works which echo our relationship to time and the natural world. The cycles within life, both birth and decay, are reflected by the process in which her paintings are made: layers upon layers of latex and acrylic paint are built up to be then stripped, cut and peeled away to reveal both the composition and lifespan of the piece.
Starting out as a series of black
Career
In February 2005, The New Art Gallery Walsall hosted Hannah Maybank’s first museum exhibition of paintings, including specially commissioned works such as Mounting Interference VI, 2005. The gallery subsequently purchased for their permanent collection Hosts (II), 2004.
In London’s Time Out magazine, in October 2005, at the time of her second solo show at Gimpel Fils, Martin Coomer wrote of the work:
“Most effective is a mountain range of triangular tears that discloses areas of yellow and orange, like molten ore beneath the earth’s crust. This is subtle and intelligent work; fluctuating between paint’s capacity for description and its presence as mere ‘stuff’, it appeals physically as well as mentally. The temptation to touch is as strong as the urge to pick a scab or strip bark from a silver birch.”
During October to December 2007, Maybank was artist in residence at ArtSway in
In June 2009, The Visit, 2008, Carniferous Enclosure, 2008 and The Penultimate Invitation, 2009, were exhibited at the 53rd International Art exhibition –
In 2010/11 she was one of two artists (the other being
Further reading
- Making Worlds- Participating Countries Collateral Events, Fondazione La Biennale di Venezia, 2009. Official Catalogue for 53rd International Art Exhibition- La Biennale di Venezia, ISBN 9788831796965
- ArtSway’s New Forest Pavilion: a collateral event of the 53rd international art exhibition- la biennale di venezia, ArtSway and text + work (ISBN 978-0-901196-38-5 (text+work, The Arts Institute at Bournemouth)
- Hannah Maybank, ArtSway 2008, exhibition catalogue with essay by ISBN 978-0-9558406-1-6
- Oil Paintings in Public Ownership: Staffordshire, The Public Catalogue Foundation, London, 2007, ISBN 978-1-904931-33-1
- Summer Exhibition 2007, The Royal Academy, London, 2007, illustrated exhibition catalogue, ISBN 978-1-905711-20-8Celeste Art Prize 2006, exhibition catalogue
- Hannah Maybank, Queen Street Studios, 2004, exhibition catalogue with essay by Alice Correia
- The State of the House, Ewha Women’s University and Royal College of Art, London, 2002
- TI Group Collection: Painting Graduates of the Royal College of Art, 1975–2000, TI Group plc, Abingdon, 2000
References
- ^ Time Out, London. Issue 1833, October 5–12, 2005. Martin Coomer
- ArtSway’s New Forest Pavilion: a collateral event of the 53rd international art exhibition- la biennale di venezia, ArtSway and text +work (The Arts Institute at Bournemouth), 2009, illustrated catalogue featuring an essay on Hannah Maybank by Cherry Smyth. ISBN 978-0-901196-38-5(text+work, the Arts Institute at Bournemouth)
- Hannah Maybank, ArtSway 2008, exhibition catalogue with essay by Katie Pratt. ISBN 978-0-9558406-1-6
- Gimpel Fils
- Queen Street Studios
- Flash Company Exhibition