SELLER’S REMORSE – Hannah Heilmann

SELLER’S REMORSE, 14 JANUARY – 26 FEBRUARY 2022, WILSON SAPLANA (then GAS9 Gallery), flyer.
SELLER’S REMORSE, installation. Photo: HH.
TRELLIS, 2021. Acrylics, charcoal and fixative on paper in 19th century gesso frame, gold stripped off. Private collection. Photo: Christian Brems.
DOG ROSE, 2021 and CASH LEAVED PEACELESS SLIP, 2021, both ething on paper, ed. of 12. SHOPPINGBAG THEORY, 2021. Watercolor and color pencil on paper. All framed in Anvil Aged Steel 3/4″. A DETAIL OF THE FABRIC, 2021. Casein and acrylics on wooden board. Photo: HH.
CULTIC GARDEN SCENE WITH INDUSTRIAL JERSEY KNITTING MASCHINE, 2021. Watercolors, Chinese ink, color pencils and pencils on paper in Anvil Aged Steel 3/4″ frame. Photo: Christian Brems.
SHOPPING MANAGER , 2021. Display mannequin, tulle, broken message board assemblages with found media and pins. Photo: Christian Brems.
SHOPPING ASSISTANT, 2021. Display mannequin, linen dress, manmade fiber sack for vegetables, broken message board assemblages with found media and pins. Photo: Christian Brems.
PERSONALLY SHOPPER, 2021. Display mannequin, straw hat with safety pin, gleaned weeds from the commons and not so local dried flower from the local flower shop, paper bag, broken message board assemblage with found media and pins. Photo: Christian Brems.
TO BE TRAINED, DIRECTED, DISCIPLINED, 2022. Trellis, eaten chocolate coin silver foil wraps. PORTABLE HOLE BY THE CRAFTY WHITCH WITH THE HANDS, MAKING THINGS WITH ITS HANDS, 2022. Climbing vines from the garden, gleaned weeds from the commons, and not so local dried flowers from the local flower shop, wire, acrylics and casein on paper, vintage wooden frame. CHARGEHAND PORTAL, 2021. Color pencil on storage room door. Photo: HH.
PORTABLE HOLE BY THE CRAFTY WHITCH WITH THE HANDS, MAKING THINGS WITH ITS HANDS, 2022, close up. Photo: Christian Brems.
PLOT LINE, 2021. Wooden fruit box, broken message boards, mannequin arms.
PLAINS, 2022. Eaten chocolate coin silver foil wraps. Photo: Christian Brems.
PAST TIMES OF THE COTTAGECORE, 2021. Acrylics, casein and pencil on paper in Anvil Aged Steel 3/4″ frame. Photo: Christian Brems.
CHARGEHAND, 2021 and AS THE FUTURE SLIPS ITS WAY INTO THE PRESENT, IT CEASES TO BE MY CONCERN, 2021 and FAITHLESS, 2021, all watercolor and pencil on paper in Anvil Aged Steel 3/4″ frame. SCENIC GESTURE, 2019/22. Casein on paper, 19th century wooden frame. TO BE TRAINED, DIRECTED, DISCIPLINED, 2022. Trellis, eaten chocolate coin silver foil wraps. Photo: HH.
AS THE FUTURE SLIPS ITS WAY INTO THE PRESENT, IT CEASES TO BE MY CONCERN, 2021. Watercolor and pencil on paper in Anvil Aged Steel 3/4″ frame. Photo: Christian Brems.
FAITHLESS, 2021. Watercolor and pencil on paper in Anvil Aged Steel 3/4″ frame. Photo: Christian Brems.
WOOD AND METAL (fake), 2021. Acrylics, color pencil, charcoal and fixative on paper in Anvil Aged Steel 3/4″ frame. Photo: Christian Brems.
COMMANDING PRESENCE, 2021. Watercolor on paper in 19th century gesso frame, gold stripped off. Photo: Christian Brems.
INVOICE, 2021. Casein and pencil on paper in Anvil Aged Steel 3/4″ frame. Photo: Christian Brems.

SELLER’S REMORSE

14 JANUARY – 26 FEBRUARY 2022
WILSON SAPLANA (then GAS9 Gallery)

In Seller’s Remorse, Hannah Heilmann presents a testament to the role of emotions in consumer behavior. By turning the term buyers remorse on its head, she situates herself as a producer within the consumer wheel, but also asks about remorse in the production industries. Through new works, including drawings of dressed-up stick-figures and ghostly clothes in erie landscapes, mannequins and sculptures of cardboard, and an idiosyncratic webshop, Heilmann invites you into her artistic engine room where complex and poetic narratives about consumerism intertwine.

It is a complicated story bound in economy and objects, but also in desire, nostalgia, identity-building, and addiction. It goes beyond time and reason, as contemporary fast fashion mimics the 1800s with romantic notions, when in fact the people of the industrial revolution were on a fast track dreaming of a better future. Heilmann maps out such narratives by tracing artifacts, clothes, and historic machinery and placing her findings within uneasy dream worlds side by side with contemporary trends and shop-like architecture. Passive stick-figures dressed to impress are drifting as ghosts without direction. Mannequins perform as prop-shop assistants, selling decorative mixed-media works, standing next to a box of wooden arms and torn pieces of cardboard. It is two sides of the consumer-coin, capturing individuality between creation and aesthetics and decay and remorse.