In the early ‘90s Karin Hanssen was pivotal in regenerating an increased appreciation for painting. She bases her paintings on photographic and film material from the ‘50s and ‘60s, regularly incorporating art-historical references. Hanssen views this image “recycling” as a flashback. Her images appear immediately recognizable but nevertheless remain anonymous because the provenance of the source material has been lost. Interpreting Hanssen’s work is hindered by her neutral painting style and because the characters defy identification, combined with the fact that the landscapes are generalized and the period indeterminate.
