Lynda Hansen (°1900, Manaco Ville, Monaco) makes films and photos. By emphasising aesthetics, Hansen tries to grasp language. Transformed into art, language becomes an ornament. At that moment, lots of ambiguities and indistinctnesses, which are inherent to the phenomenon, come to the surface.
Her films are saturated with obviousness, mental inertia, clichés and bad jokes. They question the coerciveness that is derived from the more profound meaning and the superficial aesthetic appearance of an image. By putting the viewer on the wrong track, she tries to create works in which the actual event still has to take place or just has ended: moments evocative of atmosphere and suspense that are not part of a narrative thread. The drama unfolds elsewhere while the build-up of tension is frozen to become the memory of an event that will never take place.
Her works feature coincidental, accidental and unexpected connections which make it possible to revise art history and, even better, to complement it. Combining unrelated aspects lead to surprising analogies. By parodying mass media by exaggerating certain formal aspects inherent to our contemporary society, she tries to increase the dynamic between audience and author by objectifying emotions and investigating the duality that develops through different interpretations.
Her works focus on the inability of communication which is used to visualise reality, the attempt of dialogue, the dissonance between form and content and the dysfunctions of language. In short, the lack of clear references are key elements in the work. By examining the ambiguity and origination via retakes and variations, she wants the viewer to become part of the art as a kind of added component. Art is entertainment: to be able to touch the work, as well as to interact with the work is important.
Her works are based on inspiring situations: visions that reflect a sensation of indisputability and serene contemplation, combined with subtle details of odd or eccentric, humoristic elements. By experimenting with aleatoric processes, she makes works that can be seen as self-portraits. Sometimes they appear idiosyncratic and quirky, at other times, they seem typical by-products of American superabundance and marketing.
Her works never shows the complete structure. This results in the fact that the artist can easily imagine an own interpretation without being hindered by the historical reality. By creating situations and breaking the passivity of the spectator, she seduces the viewer into a world of ongoing equilibrium and the interval that articulates the stream of daily events. Moments are depicted that only exist to punctuate the human drama in order to clarify our existence and to find poetic meaning in everyday life.
Her works sometimes radiate a cold and latent violence. At times, disconcerting beauty emerges. The inherent visual seductiveness, along with the conciseness of the exhibitions, further complicates the reception of their manifold layers of meaning. By investigating language on a meta-level, she formalizes the coincidental and emphasizes the conscious process of composition that is behind the seemingly random works. The thought processes, which are supposedly private, highly subjective and unfiltered in their references to dream worlds, are frequently revealed as assemblages.
Her works are given improper functions: significations are inversed and form and content merge. Shapes are dissociated from their original meaning, by which the system in which they normally function is exposed. Initially unambiguous meanings are shattered and disseminate endlessly. Lynda Hansen currently lives and works in NYC.
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