Hannah Bertram was born in 1973 in Australia. She lives and works in Melbourne. She is represented by 10 Chancery Lane Gallery in Hong Kong.
Hannah Bertram’s practice investigates the ambiguity of value, the transformation of worthless materials and the passing of time. Throughout her practice, the complex position of Ornament is used to transform banal materials into temporary installations. By combining decorative motifs with worthless materials, these works offer an alternative experience of preciousness in which value is found not in the perpetuity and richness of ornamented objects, but within subtlety of transient experience.
Many projects and installations often explore the passing of time. Whilst it might be claimed that all art is ephemeral, as all works are subject to deterioration whether substantial or microscopic, Bertram’s work is intentionally designed to decay and deteriorate and frequently exists in fluid states of becoming and disappearing.
Time is also employed by generating, locating and employing dust and ash as principle materials. Intrinsic to the production of dust is time, it evolves or devolves over days, years and centuries, accumulating slowly and quietly. Like dust, ash is the final trace, the last remains of something which has passed, of the remains of matter which has been transformed towards nothing.