In Van Hanos’ work, one encounters the discursive impact of conceptualism and the sensorial possibilities of the painted plane. Hanos makes exhaustive use of the malleable structure of paint, stretching the medium between interior sites of invention and exterior sites of observation. Conceptualism and materialism are not antagonistic in Hanos’ pursuits, but are equally essential in a practice that is concentrated on the specificity of painting and its evolving status in the greater apparatus of picturing. 

Hanos spent two years, more or less, preparing the paintings that compose this exhibition. Across dozens of canvases, Hanos’ signature eschewing of style was conducted with roaming, dexterous and experimental pictorialism. But once the paintings were ostensibly complete, in March 2026, Hanos suddenly, extempore, chose to efface them all, taking solvents to their surfaces and removing layers of material and pictorial matter, completing the paintings through near-total erasure.