In Apathy, Hannah reinterprets Jean-Baptiste Greuze’s La Complainte de la Montre, transforming its quiet melancholy into a visual meditation on inertia, detachment, and modern overstimulation. The young woman, seated in her modest attic room, holds a pocket watch in her hand… an object that, in the original, symbolized longing or perhaps regret. Here, however, it takes on a more oppressive weight, marking not just time’s passage but the unbearable slowness of it.

Behind her, an explosion of jagged, multicolored illusion paper disrupts the stillness, a stark contrast to her passive demeanor. This swirling vortex of color and motion threatens to consume the space, a manifestation of the restless energy of the outside world… relentless, chaotic, inescapable. The contrast between her languid posture and the frenetic backdrop speaks to the tension between internal emptiness and external overwhelm, mirroring the numbing effect of existential boredom and emotional fatigue.

Apathy captures the dissonance of living in a world that demands constant engagement while offering little solace, urging the viewer to question whether the true weight of time lies in its passing, or in its unbearable stillness.