Hannah Franklin emigrated from Poland to Canada in 1948, later studying at the Montreal Museum of Fine Arts’ School of Art and Design (1964 -1967). Often combining 2D and 3D elements, she uses plastic in much of her work, moulding it over objects or photographs of people or applying it as material for reinforcement. Her pieces highlight the overlapping of different forms of space as well as the passages between them: the passage between reality and representation, as illustrated by a translucent fibreglass screen connecting the physical space of a sculpture to the space surrounding it, or the passages from one space to another, whether at a physical, territorial, temporal or social level. Playing upon the transparent quality of plastic, she produces works that integrate pictorial elements into sculpture, each component becoming an eternal trace of memory or disappearance that defies what it means to forget.
SEE:
« The Sculptures of Hannah Franklin » by Lauren Stevens, ESPACE, vol. 5, n° 4, p. 33.
« Hannah Franklin : Présence et mémoire » by Mario Merola, ESPACE #39, p. 44.
