In the Sketchbook by H. Craig Hanna almost every page has this inexplicable quality. The images don’t represent the world, they reconfigure it. Hanna has taken his refined, renaissance skill and then backed up a bit, distressed the image slightly, and through his manipulations amplified the power of these works to communicate both as portraits and as artifacts on paper. One is caught as the face forms out of marks made by the hand. The result is a masterful play between technique and visage. As Laurence Lhinares states in the introductory essay to the book:

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