• Hannah Collins

    Xavier Hufkens | Rivoli

    The large-scale photograph tacked to the wall seems to picture a woman with hair covering her entire body. Her bare feet step over shafts of wheat. Here Hannah Collins portrays a scene which is both more and less than it appears to be. The photograph is a piece of evidence rather than documentation, demonstrating process rather than definition. In Hair (all works, 1989), reflection reveals that the subject is not necessarily a woman; by denying the viewer a glimpse of the face—covered with hair and photographed from the back—Collins puts the question of gender up for grabs. Collins focuses on

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