Past Perfect / Simple Present

New Paintings By Philip Hannaford

Philip Hannaford returns from Tokyo. Nothing, not even the confines of a tiny room in Tokyo is able to stop Philip Hannaford from producing quality painting that dabbles with everything pop and immediate.

Art Exhibition previously on at Hardware Gallery in Sydney precinct, New South Wales, Australia.
From Tuesday 21 April 2009 to Thursday 07 May 2009
Launch Tuesday 21 April 2009, 11am - 5pm Tuesday - Saturday

Past Perfect / Simple Present image

Published by anonymous on Monday 13 April 2009.
Contact the publisher.

The majority of the works for “Past Perfect/Simple Present” were completed in a tiny studio during a recent 15-month stint in Tokyo, Japan. The exhibition title translates grammatically to “I have done / I am doing”. On one level, it refers to the timeline represented in the exhibition: a showcase of past paintings and drawings alongside a recent body of work. For Hannaford it is also a reference to his time spent teaching English in between working on paintings in Tokyo.

Hannaford was astounded by the potential for loneliness in a city of 28 million unknown faces. This inevitable alienation bred by a fast-moving, ever-changing city manifests itself in Hannaford’s subsequent “anti-Still Life” paintings. His images are bold, striking, and subversive of traditional still life painting in their depictions of used and discarded detritus of mass production. His subjects are rendered sensitively, almost anthropomorphically: a previously indistinguishable individual plucked from amidst its identical counterparts. Hannaford says of his subjects: “they lie discarded having now served their purpose. There are traces of life here however: yours and mine.”

Philip studied at the National Art School from 2000 – 2002 and majored in printmaking, but has proven his versatility with years of painting (including a year at Julian Ashton School of Art) and intriguing and exquisite sculptures.
“I love working across mediums, choosing the one which best suits whatever idea I have at the time.”

All of the work, past and present, is interconnected both through subject matter and the consistent dedication of the artist. Contemporary pop culture references such as Coca-Cola, Krispy Kreme and Converse appear throughout, as do images inspired by Japanese Manga and American celebrities. Hannaford sees these references as yardsticks for measuring the rate of change in our way of life: throw-away moments locked down like specimens, as if these ephemera (soon to be replaced by new brands/objects/fetishes) may one day be examinable sources from a forgotten past.