Hannah Robinson

My practice was born from a place of procrastination. I had been longing for a move from the emotionally straining works I had been making about my dementia suffering grandmother, but have found that my best work has been based on my own personal experiences. One day, I opened a Snapchat from a friend who had edited his face onto a tangerine and a Cola can, and I began thinking about how wonderfully composed the image had been, despite taking a minute to make and having been intended to exist for 10 seconds only. This led me to critically consider the time I ‘wasted’ on my phone, mindlessly flicking through my various social media accounts, routinely dedicating time to aimless scrolling, and decided that I had been living a life parallel to my own, only through a screen. A life that educated me politically, exposed me to the creativity of my peers, taught me countless bits of obscure information that is exclusively useful for pub quizzes. I noticed a separateness from my generation to older generations, with my own united by a collective knowledge of meme references and internet inside jokes that are alien to those older. I realised political satire had moved from the comic book pages of newspapers, to witty tweets that could be created and distributed by any youth with an account. I discovered that my presence on social media was not always in my control, painstakingly gathering a folder of club photographs from nights out that featured myself, however briefly, that only I could recognise, enabling me to track my movements that had been forgotten in a drunken haze. I decided to bring these intangible images and experiences to a tangible state, by recreating them in traditional mediums, such as paintings, prompting viewers to dwell on them for longer than the standard handful of seconds of attention they would receive on social media.