Hannah Starkey (18)

javi montero

El territorio de Hannah son los aromas caídos de una tarde de lluvia, el del café caliente y el humo de cigarro; mientras, tras las cortinas rojas, ella aguarda un recuerdo amable y preciso en la última gota que se desliza por los cristales vagos de la melancolía. Ya no es tarde. Aunque se haga de noche. Sólo hay que aguardar el recuerdo amable y preciso en el último sorbo de whisky, tras el humo del café caliente, en el reflejo, sereno, de los espejos limpios de la melancolía.

Hannah Starkey (5)

Hannah Starkey (1971) es una artista irlandesa nacida en Belfast, aunque actualmente trabaja en Londres. Su fotografía se enmarca en la tradición de la cotidianidad descarnada, aparentemente irrelevante y azarosa, pero con una cuidada puesta en escena que nos aproxima al lenguaje cinematográfico. Sus imágenes se deslizan por un mundo de vaguedad e inconcreción, aunque siempre conectadas con la memoria y la necesidad de expresar los estados del ánimo del aquí, el antes y el ahora.

Hannah Starkey (19)

<<Through the staging of her scenes, Starkey’s images evoke suggestive narratives through their appropriation of cultural templates: issues of class, race, gender, and identity are implied through the physical appearance of her models or places. Adopting the devices of filmography, Starkey’s images are intensified with a pervasive voyeuristic intrusion, framing moments of intimacy for unapologetic consumption. Starkey often uses composition to heighten this sense of personal and emotional disconnection, with arrangements of lone figures separated from a group, or segregated with metaphoric physical divides such as tables or mirrors.

Often titling her work as Untitled, followed by a generalised date of creation, her photographs parallel the interconnected vagueness of memory, recalling suggestions of events and emotions without fixed location or context. Her work presents a platform where fiction and reality are blurred, illustrating the gap between personal fragility and social construction, and merging the experiences of strangers with our own>>. Saatchi Gallery

<<Hannah Starkey’s filmic tableaux recall the dramatic yet measured tensions of Alfred Hitchcock or Edward Hopper. Working between reality and fiction with the mise-en-scène, Starkey reconstructs real people and observed situations using a vocabulary of codes and signs culled from contemporary urban culture. The everyday locations are fragments of a generic urban environment, while the fictional characters in Starkey’s pictures oscillate between collective (social, political, economic, cultural or geographic) signifiers and stereotypes of individual personalities. These figures are more often than not women – although there is a sense that, as Starkey says, you can make a picture of women that is not necessarily about women.

The figures in her photographs don’t do much; they wait in cafés, linger in a video rental store, stare out of windows on the bus. Isolated by their own thoughts, these figures are intermittently present and remote from their immediate surroundings, caught up by dramas taking place elsewhere. Starkey’s instinct for narrative animates the non-events she depicts>>. Bishop, Claire, “Hannah Starkey, Quietly Loaded Moments,” Flash Art v.32 no.207 (Summer 1999): 124-25

<<The artist’s photographs are created using actors shot on site within select locations. She reconstructs scenes from everyday life, investigating women engaged in routines of shopping, sitting in cafes, or simply conversing. The photographs reflect a detachment from emotions and a surge into inner contemplation as it renders the relatively insignificant moments of our lives. Through the carefully staging of each scene, the artist is also able to heighten and manipulate the sense of voyeurism in each photograph>>. Daily Serving.