Please sign in:
or sign up

Arts in Milwaukee

A Public Service Of Milwaukee Artist Resource Network

No Results

No Results

No Results

No Results

  • “Superhuman”Superhuman

    detail. 2012

Ana Hansa-Ogren

  • Art
I am an Art Professional

My Sites

artist bio

Ana Hansa-Ogren is an artist and curator currently living and working in Milwaukee. Trained in classical piano and dance from a young age, sensorial languages of movement, performance and sound remain integral to her art practice. Before attending college she travelled the country, exploring enchanting and harrowing landscapes of the middle and western United States, engaging in conservation and relief work and eventually making homes in Wisconsin and Washington. At Evergreen State College in Olympia, WA, she studied Chinese culture and language, culminating her work in Beijing, China. The study of Mandarin, deepening her conceptions of the function and origins of spoken and written communication, would also come to greatly influence her work. She began her studies at University of Wisconsin Madison in Wildlife Ecology. Since receiving her BFA from UW Madison in 2011 she has established a studio and project exhibition space in Milwaukee's Bayview neighborhood. Hansa-Ogren is MARN’s 2012-13 Curatorial Protege.

artist statement

“Human beings are superhuman.”
Jennifer Egan, Black Box

When something is elucidated which lies beyond comprehension it allows us to step outside of ourselves. We may begin to experience ourselves as the nebulous, profoundly naive, wonderfully curious and louche monsters that we are. In these moments exist a concurrent flourishing and breaking down. We are in a basement, on a plane, or walking towards a large body of water. Our names fragment. Nothingness grows and recedes. We understand ourselves as music, images, others; as authors and elements of a rich and boundless narrative.

Through my practice I am playing at transcendance while revelling in the impossibility of divorcing the mundane, flirting with that field which lies just beyond the knowable world. I attempt to blur boundaries between the familiar and the strange, conjuring supernatural presence from practical materials in attempts to illuminate the uncanny in the everyday.

Distilled forms emerge which court performative and expressive potentialities of minimalism and traditional handiwork, musing upon how much must be revealed to evoke presence, how much must be invested to substantiate value? Like a white-sheet ghost into which life is breathed, evidence of process remain as markers of bodies in time, clumsily and elegantly drawing the past back into being.