Camille Hannah’s paintings predicate a model of painting that is born from within the frame of technology; they are embedded in twenty-first century abstraction while conceptually vested in digital and screen technologies. Harnessing the contemporary paradigm of mediated visuality, while acknowledging painting’s debt to art history, her work examines the influence of the screen on painting as object and surface, through notions of movement and the perception of interactivity – relating to a virtual form of tactility.