Artsted Catalogue 2022
The “99 Future Blue-Chip artists” is a project that arose from the urgent need within the contemporary art market to find ways to support a new generation of up-and-coming artists, while bringing their vision to a wider audience of collectors and art lovers. For its first-ever edition, “99 Future Blue-Chip Artists” took the form of a printed and curated hardcover edition, featuring artists from all around the globe working across a plethora of media, addressing unique and challenging concepts.
The “99 Future Blue-Chip artists” is a project that arose from the urgent need within the contemporary art market to find ways to support a new generation of up-and-coming artists, while bringing their vision to a wider audience of collectors and art lovers. For its first-ever edition, “99 Future Blue-Chip Artists” took the form of a printed and curated hardcover edition, featuring artists from all around the globe working across a plethora of media, addressing unique and challenging concepts.
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99 Future Blue-Chip Artists.
#36
HANNAH LEVY
Hannah Levy defamiliarises commonplace objects by
warping or exaggerating their formal properties. Levy’s
visual vocabulary includes medical equipment, gymnastic
devices, safety bars, vegetables, pastries, and
pearls. Her objects provoke repulsion and attraction to
a humorous extreme. While her linear, metallic forms
conjure associations with home or office furnishings,
their skin-like sheaths confuse the separation between
living and dead, animal and prosthetic. Indebted to the
Surrealist fascination with the uncanny and the abject,
her work takes an ambivalent view on the past century’s
material culture. For The Milk of Dreams, Levy realises
three new sculptures: a drooping sac of slumped silicon
balanced on four polished metal arthropod-like legs;
a thin membrane of silicone stretched over a winged
steel structure that is reminiscent of a bat’s wing or a
tent; and a over-sized marble facsimile of a peach pit, a
material used in craft traditions that contains surprising
levels of the poison cyanide. Each takes an ambiguous
position between functional furniture and object of
aesthetic contemplation, giving corporeal form to the
cycles of production, consumption, and disposal that
underlie contemporary life.
Ian Wallace
103
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