Hannah Lees’ work investigates ideas of the cycles of constancy and mortality; the sense that things come to an end and the potential for new beginnings. This constancy, be it in religion or in organic matter, is visible in her practice through her attempts to make sense of and recognise traces of life. Lees works fluidly across different media, querying the substance of materials, science, religion and history, often presenting traces of processes and organic matter. 

Forthcoming and recent solo exhibitions include; TBA Reading Rooms, Melbourne, AUS, 2018; The Turning Of Existence Into Its Opposite, Kingsgate Project Space, London, UK, 2017; Turner Contemporary & the British Museum Commission: Hannah Lees, Turner Contemporary, Margate, UK, 2016; The Oldest Thing You Can Hold In Your Hand, Workbench, Milan, IT, 2016; Floated On Foam [] Flew With Birds, Galerie Tatjana Pieters, Ghent, BE, 2016; All That There Is, Is The Eternal Now, Tenderbooks, London, UK; Let us go then, you and I, Nomadic Vitrine, Grand Union, Birmingham, UK. Curated by Recent Activity; Hannah Lees: May I Have Ease of Being, Cairn, Fife, UK, 2015; Hannah Lees: Ever-New Oldness /|\ Ever-Old Newness, The Sunday Painter, London, UK, 2015; As rust consumes the iron which breeds it, Cell Project Space, London, UK. 

Courtesy of South London Gallery