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Hannah Tilson’s work takes its lead from dazzle camouflage, which in its original World War I-era naval context, was not meant to conceal; rather, the intersecting geometric patterns make it difficult to estimate a ship’s range, speed and direction of travel. This provides a clue to the disorientating experience of Tilson’s work. In ‘Lonely City’, for instance, ‘It’s quite hard to see that there's a figure there, and if I hadn't outlined the figure with the lino, you probably wouldn't notice that there were knees at the bottom and an arm coming down and hair at the top,’ Tilson says.
