Hannah works with time and perception, using the periphery as a tool to get closer to the edge of the limitations of that perception.
Nyberg is not interested in what she already knows, all the answers that seem so obvious. Searching among knowledge, research and evidence, she strives to learn as much as she can about the hard facts. It is really the flaws that Nyberg is interested in. Nothing seems given when one looks close enough, much like linear time as it stumbles around in our experiences. Nyberg studies the body’s experiences, instincts and misunderstandings.
Techniques and materials work as membranes for a meditative oscillation between abstraction and recognizability. The materials Nyberg chooses to work with always have something changeable about them; such as iron, coal and wax. Places can be ground down to a fine pigment, or boiled and reduced down to a specific colour. They are in that sense changeable and co-creators on their own terms, leaving parts of the process visible. They act and react against each other as well as against the artist’s perception, taking form as paintings, sculptures, prints, drawings and installations.
What is there on the edge of human consciousness? Nyberg is on a mental and physical quest to see if she can reach that limit – to find it or to at least see it. And to preferably go beyond it despite the impossibility of reaching that which by definition is unreachable.