Nicholas Hanisch

Mingling of Awareness

Bronze, 2023

Healing is changing. A movement between two states of being, through space and time. Change describes a connection between two moments. Mingling of Awareness is a testament to the healing power of human connection. A simple, slightly absurd moment of two feet touching. Sole to sole. A bronze-cast freezing of a moment of change.

Bronze and figurative sculpture have an ability to capture time. It can connect moments from eons ago to right now. It can shrink supercolossal timescales into palpable objects. The material symbolizes resilience, transformation, and longevity.

These cast feet from two different people represent both the profoundness of intimacy and the vulnerability that we experience when we connect with others. It represents the power of touch, and how healing can come from the most unexpected places.

Much like Kurt Vonnegut’s play on words in his novel Cat’s Cradle, where the characters reach the highest form of connectedness through “touching soles’’, this work similarly winks at the possibility of the serious through the absurd. It invites viewers to reflect on the absurdity of life’s interconnected web and the unlikely changes we experience along the way.

Exhibited as a Main Prize Finalist, Creative Health Art Prize – The Hospital Research Foundation Group 2023

PEOPLE MACHINE
EXHIBITED AT FLOATING GOOSE STUDIOS
SEPTEMBER 2018

People Machine

Exhibited at Floating Goose Studios

A one-eyed octopus in the depths of the primordial ocean wraps one grasping tentacle around a bottle of doctor pepper, weathered beyond recognition by the motion of water and the passage of time. In the distant future, a hyper-evolved intelligence, long ago having abandoned the inconvenience of corporeal form, recreationally ponders the function of legs. It is from this inquisitive and somewhat detached position that Nicholas Hanisch embarks upon his existential quest to uncover what it is to be human in the sculptural installation entitled People Machine.

Upon entering the gallery we are confronted with a chaotic array of semi-mechanical contraptions. Multicoloured disembodied heads spew forth a fluorescent glow or rotate spasmodically in our general direction. The walls are scrawled with inanities, the dictums of a crazed scientific mind who, without ever experiencing what it is to be human, is attempting to resurrect our species under the strictures of laboratory conditions.

The plump and bemused head that becomes Hanisch’s avatar is equally a representation of humanity as a whole, and as a stand in for the artist himself. This icon of humanity is stripped of its individuality through the process of cast mold reproduction. Humorously an attempt is made to restore that individuality to the mass produced and ready-made human substitute by subjecting it to to various processes. It is squashed, sliced, shrunken, and impaled; in one instance conjoined through a telekinetic beam, and in almost all cases painted with garish hues.

In many ways the basic premise of Hanisch’s work is an attempt to come to terms with the self through a frame of reference of the other. To use his own words, “to dissect what it is to be human, through a lens of something that isn’t”. Although this “something that isn’t” is never specified by the artist, we gain a sense of its persona through the haphazard way that it goes about investigating humanity. We are invited to conjure in our minds some ethereal being or galactic slug; something that is entirely foreign to our own experience and conception of reality. It is in fact through the failures of this imperceptible other to successfully emulate something essentially human that we gain such a strong impression of its character.

For Hanisch this hypothetical narrative operates in governance of the act of making. His material choices reflect a play between the eternal humanism of classical sculpture, the pragmatic brutalism of the construction site and the pseudo-technological spectacle of low budget science fiction. Each work is analogous to an aspect of human experience, something the artist considers indispensable in coming to terms with an overarching conception of “us”. However, with each of these aspects presented in isolation a profound absurdity becomes apparent. Perhaps we are to understand that a humanistic understanding can only come about from a holistic approach that encompasses the inherent contradictions in our character as a species. Perhaps it is an acknowledgement of our inability to faithfully represent the human condition in the artificial conditions of the gallery. Perhaps, as at the outset I first speculated, Nicholas Hanisch really is an octopus.

What we can truly draw from People Machine is that any attempt to present an overarching concept of humanity will be inherently be fraught with over-generalization. The installation we are presented with is an intentional representation of the failure of such an experiment and the absurdity that results when an attempt is made to isolate or categorise the multifaceted and fractal nature of the human condition.

an essay by Andrew Clarke.

People Machine >

ADELAIDE X
(IN COLLABORATION WITH CASSIE THRING)
EXHIBITED AT POST OFFICE PROJECTS
SEPTEMBER 2021

Adelaide X

Adelaide X features five collaborative duos based in Greater Adelaide, on Kaurna Country. There is currently a global shift towards collaborative practices in contemporary art, and this is reflected in the number of recent collaborations between South Australian artists. These alliances not only show courageous experimentation but enhance networks and create dynamic exchanges between artists. Adelaide X examines the nature of collaboration in the local context and investigates the distinct attributes within the South Australian arts ecology that foster such unions.

All the participating artists have received recognition for their practice as solo artists. In collaborating, their powers combine and their voices are amplified. These partnerships have been instigated by the artists out of mutual respect and shared artistic interests. These alliances invite exploration and play as the artists push each other into new realms, resulting in ground breaking artistic projects that reflect on the collective concerns of our region and what it means to work together.

Every Idea We’re Going to Have, 2021, Nicholas Hansich & Cassie Thring. Photography by Rosina Possingham.

Nicholas Hanisch and Cassie Thring are self-described optimists. For Adelaide X they have given physical form to their collaborative process. In doing so they have made the intangible flow of ideas between them, tangible. The installation functions as a giant synapse firing directly between them. We are offered the opportunity to see inside this duos collective mind, but only to discover the object stares back. We are as much the observed and the voyeur. The two share a studio space and are in constant dialogue, to the point where it is now speculated that they communicate with each other telepathically.

Adelaide X curated by Suzanne Close

ft.

Sasha Grbich x Kelly Reynolds
Thomas Readett x Elizabeth Yanyi Close
Cassie Thring x Nicholas Hanisch
Rosina Possingham x Brianna Speight
Inneke Taal x Nicole Clift as tandem projects

POST OFFICE PROJECTS >

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