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CHANNING HANSEN

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Open a larger version of the following image in a popup: Brightly colored knitted squares on a wall

CHANNING HANSEN

Cells 1 - 20, 2024
Assorted fibers
12 x 12 in. each
Copyright The Artist
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%3Cdiv%20class%3D%22artist%22%3ECHANNING%20HANSEN%3C/div%3E%3Cdiv%20class%3D%22title_and_year%22%3E%3Cspan%20class%3D%22title_and_year_title%22%3ECells%201%20-%2020%3C/span%3E%2C%20%3Cspan%20class%3D%22title_and_year_year%22%3E2024%3C/span%3E%3C/div%3E%3Cdiv%20class%3D%22medium%22%3EAssorted%20fibers%3C/div%3E%3Cdiv%20class%3D%22dimensions%22%3E12%20x%2012%20in.%20each%3C/div%3E
Channing Hansen (LA, 1972 - ) approaches his knitted compositions with a dedication to process. Chance plays a key factor, beginning with an algorithm that the artist writes, determining stitch,...
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Channing Hansen (LA, 1972 - ) approaches his knitted compositions with a dedication to process. Chance plays a key factor, beginning with an algorithm that the artist writes, determining stitch, pattern, and color. Skirting, spinning, and dyeing the wool of conservation-bred sheep, texture and tactility is present in the work from the start. Hansen's interest in probability and chance are a nod to his grandfather, Fluxus legend Al Hansen, a Movement whose ideology placed significance on the experience of the artmaking process overall. The process represents a marriage of technology and the natural world to produce vibrant and haptic knit works. In the case of Cell 1-20, chance is reintroduced with the artist's mandated installation method. Turning the installation into a thing of play (based on mathematician John Conway's cellular automaton computer simulation game from 1970, called Life) and leaving the final plan up to an 8-sided die is inherently of a Fluxus mindset, as Hansen emphasizes the modularity of the works, and in turn, the malleability of choice. That's Life.
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Exhibitions

The Armory Show, Focus Section, 2024
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