Stylized melodrama magnifies discrepancies between material and referent, precipitating a semantic thunderclap: Hanna Umin examines tragedy and dissociative experience, at one turn with misanthropic pathos, at another with dark humor and performative spite. The trash is not what it once was, and neither is she. Cast, sculpted, and found objects follow compositional chains of causality, resulting in assemblages where intricate parts interrelate yet hover, retaining their isolated differentiation to generate a sense of raw, solipsistic fixation.

Mimicking the rhythm of visual language whilst circumventing direct linguistic legibility, the assemblages approach schemata. They take on some esoteric cartography, infer ritual use, or present a pictographic approach to figuration. This process-driven methodology mirrors the artist’s focus on mythos: a rolling interplay between material necessity and formal coherence may offer a model for thought on aesthetics.