In A Trashed House, another of her early collages from art school, Hannah dissects the intersection of media, identity, and commodification. The piece presents fragmented imagery reminiscent of a digital screen capture, where the intimate and the performative collide. A faceless figure, draped in white, occupies a liminal space between vulnerability and objectification, a commentary on the constant voyeurism embedded in modern media culture.

The map overlay (centered on Los Angeles, a city synonymous with manufactured dreams and perpetual surveillance) serves as both a setting and a symbol. It anchors the piece in a physical reality while simultaneously exposing the emotional and psychological dislocation that often accompanies life in the public eye. The text “A Trashed House” feels like both a label and a judgment, hinting at the ways women’s bodies and lives are often reduced to mere spectacle, discarded once their perceived value has diminished.

Hannah’s use of collage mirrors the fragmented nature of our digital interactions, where identities are curated, consumed, and ultimately commodified. The visual language of the piece echoes her surrealist influences, blending the dreamlike with the hyperreal, and challenges viewers to confront the uneasy relationship between media consumption and personal autonomy.

A Trashed House invites the viewer to question the spaces we inhabit (both physical and digital) and the ways in which those spaces shape, distort, and often exploit our sense of self.