Handbag Incident  (1999)

c photograph (Bayswater / London)

from series Country Tramp Goes To Town

As the century turned, A.M.Hanson expanded his work process to incorporate new ways of viewing and showing photographs. Aside from the world wide web offering various opportunities for others to see pictures in all manner of ways, Hanson wanted to maintain his ongoing tangible approach to picture making and showing the photograph and other imagery in a variety of formats.  Computers allow new variations on how a picture can be printed, but as Hanson's photographs are shot raw and mostly shown raw,  with very little or no dark room or compu-lab involvement, the only computer based interest here is to find new audiences for the work. The exception being Hanson's solo and collaborative imprint simonsplaypeneditions, which has and continues to use both a cut and paste and software process. Here graphics and story related text are a part of how the picture work is presented. Also a recent and new body of work (in mid-late 00's) derived from raw photos and using actual and compu-based screenprint techniques sees Hanson using aspects of new technology to formulate photo-pictures that are a reaction to the digital image world view.

Hot Gorilla 1 & 2  (1998)

2 c photographs  (London Zoo)

from Country Tramp series

Interior with Fridge  (1998)

c photograph  (Soho / London)

published in "We Love You" (Booth Clibborn)

see also: art books  (1998)

The late `90's sees Hanson (now in his late 20's) developing new themes and bodies of photographic and mixed media work and printed material. The photo-concept characters mentioned above (see also: alexcalledsimon projects) are a central part of this evolution of ideas and imagery. Short and larger series of photographs and photo-related work are woven through these themes. The work relates to his own day to day story within a structure of concept identity. Country Tramp one day, Missy Island the next and so on. It is only the portraits or photo-stories of  contemporaries at work, rest or play that appear outside of this ethic.  Even then particular details within or the general stylization, often refer back to current ideas afforded by these concept characters or semi-alter egos.   

"Being a country boy who left for the big city relatively young, it's in my blood to notice the flower growing through the fence". The landscape and island compound drawings that were made during this period (see Paper Hats, Aerial N0.2 for example) are firmly routed in the countryside of Hanson's upbringing and beyond that early travels to sunnier climes. Aerial photographs of holiday resorts in brochures or island atoll groups in travel books provided source material that re-ignited a desire to explore the layout of the land as seen through the eyes of Missy island or Country Tramp. Related photographic material embellishes the story of the island with accounts of journeys and encounters. Sketches of route maps become larger scale drawings of contoured scenery, which are then evoked in printed form and turned into paper hats, which in turn carry out a different journey altogether depending on whose wearing the hat. 

By making work within these interconnecting concept boundaries Hanson frees himself up to allow new off shoots and other unrelated work to evolve outside of any particular structure other than the story of the individual photograph or series in question. New work starts from an understanding of what has gone before and what has been learnt both technically and aesthically. A contradiction in terms of his work ethic for the alexcalledsimon projects but a wholely fresh approach to whatever other project or work is due to be produced.

Totem  (1997) & Flag Pole (Summer 1997)

2 c photographs  (London)

from  Country Tramp Goes To Town & Flag series

`Flag Pole` was made after the surreal Summer of 1997, in part responding to the death and public mourning of Diana. "People look back at this time and talk about mass hysteria, cover-ups and public unease. What I remember most is the strange yet seemingly important flag flying situation. The Palace was eventually forced to concede and fly their flag at a respectful half-mast. A simple yet powerful acknowledgement and acceptance of the public's grief to their lost princess. This image is about that story". 

Fair Set Up  (1997)

c photograph (Hampstead Heath / London)

from series Country Tramp Goes To Town