Lives and works at Melbourne, Australia
Camille Hannah Curriculum Vitae Represented by Fehily Contemporary, Melbourne, Australia / Email: email@example.com Selected Education and Career Summary 2011 - 2012 Master of Fine Art (Research), Victorian College of the Arts, Melbourne 2010 Bachelor Fine Art (Painting) Honours, Victorian College of the Arts 2005 – 2009 Bachelor of Fine Arts Painting, Victorian College of the Arts, Melbourne Awards 2014 Contemporary Visions V, Beers Contemporary Gallery, London (shortlisted) 2013 Keith & Elizabeth Murdoch Travelling Fellowship (Finalist) 2013 Arte Laguna Art Prize, Venice Arsenale, Italy (shortlisted) 2013 Premio-Ora Art Prize, (international Catalogue Award) Italy 2012 VCA Graduate Exhibition (Masters), Kozica-O’Callaghan Award 2012 Substation Contemporary Art Prize, Melbourne (Finalist) 2012 Wynne Prize for landscape painting, Art Gallery of NSW (Finalist) 2011 Substation Contemporary Art Prize, Melbourne (Finalist) 2011 Exploration-11, Flinders Lane Gallery Pleysier Perkins Contemporary Art Award 2011 Australian Postgraduate Scholarship Award, Master of Fine Art (Research), University of Melbourne 2010 VCA Graduate Exhibition (Honours), Substation Exhibition Award 2010 VCA Graduate Exhibition (Honours), Tania Brougham Award 2010 VCA Graduate Exhibition (Honours), Felicity and Stuart Carter Award 2010 VCA Graduate Exhibition (Honours), Fiona Myer Award 2010 VCA Graduate Exhibition (Honours), Myer Foundation Award 2009 VCA Graduate Exhibition, National Gallery Women’s Association Undergraduate Encouragement Award 2008 Proud, Digital Art Prize, VCA Margaret Lawrence Gallery, Melbourne Curatorial Projects 2010 “Hidden”, Arts Project Australia, Melbourne 2009 “Do it”, George Paton Gallery, University of Melbourne Selected Exhibition Summary 2015 “ART15”, Art Fair, London, United Kingdom 2015 “NOW’, Fehily Contemporary, Melbourne 2014 “ABSTRACT”, Benalla Regional Gallery, Victoria 2014 “START”, Saatchi Gallery, United Kingdom 2014 “Ochre, Bones and Urine: A Painting Show”, Fehily Contemporary, Melbourne 2014 Art Hunter - Coolhunter, Sydney, New South Wales 2013 Keith & Elizabeth Murdoch Travelling Fellowship, Margaret Lawrence Gallery, Melbourne 2013 “Paint ‘13”, Artereal Gallery, Sydney, New South Wales 2013 “Everything At Once”, Paradise Hills Gallery, Melbourne 2013 “Summer ’13”, Nellie Castan Gallery, Melbourne 2012 Masters of Fine Art Graduate Exhibition, Victorian College of the Arts, Melbourne 2012 “Substation Contemporary Art Prize”, Substation, Melbourne 2012 “Wynne Prize”, Art Gallery of New South Wales, Australia 2011 “Now: 2011”, Nellie Castan Gallery, Melbourne 2011 “Substation Contemporary Art Prize”, Substation, Melbourne 2011 “High Definition: Second Leg”, Ausin Tung Gallery, Melbourne 2011 “High Definition–The State of Australian Painting in a Post-Digital Age”Paradise Hills Gallery, Melbourne 2011 “Future Now”, Substation, Melbourne 2011 “Exploration 11”, Pleysier Perkins Contemporary Art Award, Flinders Lane Gallery, Melbourne 2010 Graduate Exhibition, (Honours), Victorian College of the Arts, Melbourne 2010 “Postcard”, Linden Centre for Contemporary Arts, Melbourne 2009 “Bell Arte” Prize, Chapman and Bailey, Melbourne 2009 Graduate show, VCA Margaret Lawrence Gallery, Victorian College of the Arts, Melbourne 2008 “Proud”, VCA Margaret Lawrence Gallery, Melbourne – Winner Award for best digital artwork 2008 “Postcard”, Linden Centre for Contemporary Arts, Melbourne 2007 “Proud’” Exhibition, VCA Margaret Lawrence Gallery, Melbourne 2006 “Tangential Practice” Exhibition, George Paton Gallery, University of Melbourne Selected Solo Exhibitions 2015 “SKIN FLICK’, Fehily Contemporary Gallery, Melbourne 2014 “Peep Show”, Edwina Corlette Gallery, Brisbane, Queensland 2014 “Heroine”, Artereal Gallery, Sydney, New South Wales 2013 “Fleshold”, Nellie Castan Gallery, Melbourne 2012 “Stutter Speed”, Nellie Castan Gallery, Melbourne 2011 “Excesses”, Nellie Castan Gallery, Melbourne 2011 “Transparence”, Seventh Gallery, Melbourne 2010 “Desireaux”, Mailbox141, Flinders Lane, Melbourne 2010 “Ergo”, RED Gallery, Melbourne Publications & Media 2015 Lucas, Matt, mattolucas.com/melbourne-art-review, #2 June16, 2015 2015 Stobie, Erin, outletmag.com, April 30, 2015 2014 The Planner, in Spectrum, Sydney Morning Herald, March 22, 2014 2014 Frost, Andrew, theartlife.com.au, March 14, 2014 2014 Lifestyle, Arts, Inner West Courier Interview, March 4, 2014 2014 Critics’ Choice, Vogue Australia, Vogue Arts, March, p.166 2012 Inside Art TV, Channel 31 Victoria, Interview & profile-Series 2/Week#6/Part 1 2012 In the Galleries, The Age, Life & Style, September 1, p.5 2012 Art & Events, Vogue Living, September/October, p.76 2011 All Aboard the West’s New Artistic Express, TheAge, Entertainment, Art & Design, September 2, 2011 2011 Helmet Magasine, Issue 2, 2011 2011 In the Galleries, The Age, Life & Style, April 30, p.5 2011 Bright Sparks, Vogue Living, Art & Events, July/August, p. 146 Collections ARTBANK Crown Casino, Melbourne Private collections in Australia and Europe
Camille Hannah: ARTIST STATEMENT 2015 Harnessing the contemporary aesthetic of mediated visuality, Camille Hannah’s paintings predicate a model of painting that is born from within the frame of technology; they are contextualized by their status as a non-photographic image in a world dominated by the screen. Traversing the paradox between the prohibition of touch in relation to digital technology and art – and an erotic’s of painting, these works reference a photographic/digital model in the way that they impute technology as an instrument of seduction rather than a means of reproduction: the paintings aim to inscribe the viewer as participant, a correlation that enacts the ‘erotics’ of painting, and seeks to engage the viewer immediately in a tactile participation, drawing close and yet distancing at the threshold of vision and touch. Exploring how digital technology can incorporate notions of movement and fluidity, as opposed to the historicized still image of traditional painting, gesture is used as part of a vocabulary of painting, where the paint has become the subject. Referencing the history of painting, they are embedded in twenty- first century gestural abstraction while conceptually vested in digital and screen technologies.