In order to allow for a broad discussion about the possibilities of painting as an active participant with its own language, as well as ideas about what constitutes a spatial experience in relation to painting, Camille Hannah’s paintings explore concepts pertaining to a Baroque vision, its connection to installational forms of painting and how this relates to the notion of an ‘erotics’ of painting.  Her work traverses the paradox between the prohibition of touch in relation to art – and the erotics of painting, through ideas of correlation and its relationship to the Baroque with an emphasis on notions of sensation and affect, whilst positioning her work within the visual language of ‘the screen’.