Irene Maria Rudolphine Hanenbergh is a female artist born in Netherlands, currently working in Melbourne, Victoria, Australia.
Irene Maria Rudolphine Hanenbergh image
~ Panama Luluena, Envy ~ (on Irene Hanenbergh)

In these imagined territories, obsessive line work and mark making suggest other worlds. While they give an initial impression of being landscapes, upon looking closer they are not that; the definition of an alternative world
becomes fractured and is unbalanced. I derived this linework from a fusion of landscape figuration, 19th century topographic and botanical illustrations while the execution of the works recalls compulsive, mechanical mark
making or automatic drawing.

Through the compositional models and choice of material (black Indian ink on paper), these works hint at organic motifs and structures without ever going so far as to reveal a situation or place. Though meticulous and repetitive, the compositional mode is slightly askew and seems fragile or even deranged. The lines are flowing but take on an almost mechanistic, obsessive quality up-close. These drawings presume seamless perfection in line but, as a completed image, position the viewer in an unknowable space in another era or an imagined topography.

A bird’s eye view or line drawn between for example the Alborz mountains in Iran and the Hekla mountain in Iceland provides us with an approximate location of the Volga river in Russia. Tracing this existing geography,
sets the scenery for the imagined, envisioned topography in which some of my work is set. ‘Envy’ and ‘Panama Luluena’ are also part of this particular topography.

Situated somewhere between these non-existent mythical and existent geographical mountain ranges, I see these works as windows of longing or anticipated perfection and happiness. Exploring this sublime aesthetic however,
may also become nihilistic and melancholic as the work somehow alludes to ominous geographies. These drawings aim to be elusive and indefinable; the processes and subject matter have become relatively indistinguishable.
Built on these rituals and ceremonial riddles (the techniques), the topography offers an alternative, Fantasy lifestyle (including references to human traits that come with the territory: Truth, Envy and so forth). As if the act
of drawing itself might be a form of sorcery (to me), the drawings are elaborate, meticulous and the imagery rendered to a-make-believe or fantastical perfection. The various mark-makings could at least be described as obsessive. Technique, obsessive & controlled use of stylistic features, have developed into an intrinsic part of the meaning in the work.
There sometimes seem to emerge flashes of nostalgia, pity and longing in these repetitions and near identical marks.

Besides signifying topographies, the black-ink-drawings resemble encapsulated moments of control. In a way these drawings contain their own set of rules in self-contained near compulsive processes. The complete suite
of drawings (of which ‘Panama Luluena’ and ‘Envy’ form a part), generally intend to interrupt Fantastical topographies with subtle impurities, to somehow keep everything off-balance and confused.

The repertoire also relates to the historical origins of Visionary painting drawing on artists such as William Blake, Henry Fuseli, James Ensor and the assured compositions by Augustin Lesage.