The practice of Lauren Keeley involves various processes, including painting, photography, printmaking, and digital design and rendering software producing striking collages, which explore crafted material and image making. Her work reminds little of Craig Martin and Patrick Caulfield, being representational and of a clean graphic design, but the use of other crafted materials including digital manipulation makes the work contemporary and fresh. Lauren has definite commercial appeal, with domestic interiors featuring strongly, strong vertical and horizontal lines making the work accessible and yet skillfully constructed with clever juxtapositions. The artist breaks down traditional borders and plays with picture planes boundaries, the pieces are often layered, forming a pattern, creating an almost sculptural effect. The compositions are tight and meticulous. Keeley’s work blends digital meth- ods of production with hand crafted material sensibility to explore representation and image-making both historically and in the digital age. As the artist says My approach to painting is pragmatic and structural: there is a focus on the processes, constructions and de- constructions that are used during the painting process, rather than a centring towards the final outcome.

laureen keely artist Lauren Keeley, Twist to your left, 2017 Screenprint, Linen and Powder Coated Steel on Board, Aluminium Frame, 98 x 70 x 6 cm. Image courtesy Frutta, Rome




hannah black | .pngHannah Black All My Love, All My Love (Film still), 2015 HD colour video with sound, DVD and file on USB : 6 Minutes 34 Seconds


Hannah Black’s writings and artwork address race, gender, class, pop culture, and geopolitics, among other things. Hannah Black’s practice deals primarily with issues of global capitalism, feminist theory, the body and sociopolitical spaces of control. Employing video, sculpture and painting, Black staged a compelling investigation into racial and bodily identity under capitalism.  Hannah Black’s works are driven by voiceovers and intertitles that illuminate fissures in history and evoke the feelings of alienation and vulnerability that are amplified by social media and the profit structures of capitalism. Language is central to her videos, and her poetic indictments subtly take aim at the legacies of violence and oppression that continue to shape people’s experiences, senses of identity, and relationships to others. All My Love All My Love (2015) reflects on artificial surrogates or “technologies of love,” from the cloth and wire “mothers” that American psychologist Harry Harlow gave to baby monkeys in his famous studies on attachment in the 1950s to a dancing female robot recently developed in Japan. By invoking these subjects, Black calls our attention to the emotional and psychological costs of an increasing demand for efficiency and profit. Hannah is an artist and a writer based in Berlin. Her video and installation work has been shown in solo exhibitions at Lisa Cooley, New York (2016); Arcadia Missa, London (2015); and Legion TV, London (2013). Her work has also been included in group exhibitions at the Julia Stoschek Collection, Düsseldorf, Germany (2016); Chateau Shatto, Los Angeles (2015); and W139, Amsterdam (2015). Black has presented performances and given readings at the New Museum, Interstate Projects, and Cage in New York and at Whitechapel, the Showroom, the Institute of Contemporary Arts, and Cafe OTO in London. Her writing has appeared in the New Inquiry, Texte zur Kunst, Harper’s magazine, and Artforum.