ALEXANDER HAHN

electronic media artist

— And I Build a Crooked Space



Woman in a Houndstooth Suit Collapsed at the Bottom of the Stairs

Date: 2021 

Dimension: 13 x 19 inch  

Technique: pigment ink on fine art paper  

Edition: 7 + 1 EA


I consider stairs a place of transition, the ascent or descent bearing risk and vulnerability. In this image, we spot a woman in a houndstooth suit collapsed at the bottom of the stairs, raising the questions whether we're on a scene of crime or accident, whether we are witnesses or perpetrators. 


I was recently granted access to a Matterport and Facebook AI research dataset of about 1000 3D spaces. While I reconstructed and roamed these fully furnished yet strangely deserted homes in the computer, I felt like an intruder and envisioned possible scenarios were I to suddenly encounter one of its inhabitants. 


Whereas conventional etching depends on corrosives, I use light. I stopped the rendering after a certain time, ending up with a map of where the photons hit the surfaces. The picture, realistic in approach, is literally unfinished.

— And I Build a Crooked Space



Woman Running up the Stairs of a Deserted Hotel

Date: 2021 

Dimension: 13 x 19 inch  

Technique: pigment ink on fine art paper  

Edition: 7 + 1 EA


The scenario created with thoughts of Alfred Hitchcock's Vertigo, the title of the series a nod to Robert A. Heinlein’s short story — And He Built a Crooked House from 1941, where an architect builds a house that brings into play the fourth dimension. 

— And I Build a Crooked Space



Person Falling Down the Stairs

Date: 2021 

Dimension: 13 x 19 inch  

Technique: pigment ink on fine art paper  

Edition: 7 + 1 EA


Again, we are witnessing a person struggling with a set of stairs, this time, in a take on Marcel Duchamp's Nude Descending a Staircase, in the midst of a fall. Did the man or woman slip, was he or she pushed, or even shot from behind?

— And I Build a Crooked Space


Ditlev Thomsen’s Empire

Date: 2021 

Dimension: 17 x  22 inch  

Technique: pigment ink on fine art paper  

Edition: 7 + 1 EA



Whereas conventional etching depends on corrosives, I use light. The picture, realistic in approach, is a map of where the photons hit the surfaces.