Hannah Perry

Perry’s screenprints operate as restless image fields, where media fragments such as magazine clippings, film stills, and recurring figures collide and repeat. Glamorous models resembling Rihanna, wild dogs, and fragments of hyper-feminine poses emerge, only to be smeared, scraped back, or interrupted by flecks of colour and impasto. These interventions slice through the printed surface, creating painterly disruptions that resist the clean aesthetic often associated with screen-printing. What begins as recognisable imagery becomes unstable, caught between allure and abrasion.

 

Rather than avoid the technical flaws of the process, Perry leans into them - misregistration, bleed, ghosting, and double exposure are deliberate. In this, she joins a lineage of artists, from Andy Warhol to Kelley Walker and Wade Guyton, who use screen printing not for its precision but for its capacity to slip. Yet Perry pushes further, forcing the medium into uneasy proximity with painting. As the brush moves across the screen, the squeegee stutters, and the surface becomes a site of friction. Derived from the Latin word fricare meaning ‘to rub’ and generally stands for ‘a force that opposes relative motion between two entities’. In Perry’s activation, frictionbecomes the two forces working against one another, generating tension and the potential for something new.