ALLEN ANTHONY HANSEN - GENERAL STATEMENT 

Allen Hansen was born in the 50’s in a suburb of Los Angeles. His parents were dedicated, amateur painters. He worked on weekends with his father, a roofer, under the sky with the grid of the suburbs below.
He studied art at University of California, Irvine with Craig Kauffman whose attention to materiality was a strong influence. Craig Kauffman often used the sensuous physical properties of materials as an emphasis for his sculptures and paintings. 

Hansen's work has always dealt with the urge to the sublime wether in abstracted landscape or diagramming the unknowable. The use of the diagram process becomes a source for abstraction and a way of unveiling invisible symmetries.


ALLEN ANTHONY HANSEN - ROOFING TAR 

STATEMENT 

DRAFT - Allen Hansen was born in the 50’s in a suburb of Los Angeles. His parents were dedicated, amateur painters. He worked on weekends with his father, a roofer, under the sky with the grid of the suburbs below.

He studied art at University of California, Irvine with Craig Kauffman whose attention to materiality was a strong influence. Craig Kauffman often used the sensuous physical properties of materials as an emphasis for his sculptures and paintings. 

Hansen's work has always dealt with the urge to the sublime wether in abstracted landscape or diagramming the unknowable. The use of the diagram process becomes a source for abstraction and a way of unveiling invisible symmetries.



ALLEN ANTHONY HANSEN - BLUEPRINTS

STATEMENT

Blueprints allow a vision of the unseen. 

They are xray-like; allowing us to see the bones of architecture, imagine enormous objects, and fathom their substructure. The blueprint's insoluble ferroferricyanide - called Turnball's blue and identical to Prussian Blue - becomes the color linked to the expression of systems and planning. 

-- D. Jenks, D. Hylnski  & L. Griggs


 The use of the diagrammatic process becomes a source for abstraction and a way of unveiling of invisible symmetries.


The drawings for this series were done on velum which was reminiscent of the paper I had used in high school while studying industrial drafting. The memory of the blueprint machine 

created an urge to work with blueprints was too fascinating to ignore.  Blueprints led me to think of landscape differently.  I began working with the artificial landscapes of the mind. The work continues to evolve.  I'm still exploring the enormous possibilities in this line of thought.  

The blueprint blue background has again become atmospheric and the archetypal, industrial symbols are becoming guiding maps and diagrams.  



ALLEN ANTHONY HANSEN - EXPLOSION SERIES 
STATEMENT 

This series of works are based on observations of explosions; 
an unfortunate part of our current visual vernacular. While 
explosions are devastating unto themselves there is a perverse 
beauty to the visual experience. Formally I was interested in the 
punctured atmosphere that occurs just after an explosion and 
the retinal aftermath. The drawings are closer to the actual visual 
effect while the paintings are more about process and the 
materiality of the painting process. The use of white paint almost 
exclusively is a reinterpretation of smoke and atmosphere. Using 
a singular theme allows to explore a wide range of options within 
a strict formal format. For the past 20 years I have been working with 
the idea of American tradition of the abstract sublime while 
incorporating contemporary ideas about concept and process, 
with the hopes of creating works that are both a visual and 
conceptual experience.