In Chaos Theory, Hannah juxtaposes the illusion of a serene 1950s domestic bliss scene with the hidden turbulence simmering beneath the surface. A smiling couple sits comfortably in their living room, eyes vacant with eerie red pupils, absorbed in the television. The woman has her hand on the dial as though to adjust the picture. Yet, the screen reveals something unsettling: a screaming woman trapped in an infinite black-and-white grid (herself observing the couple), signaling entrapment, repetition, and inescapable routine. Beyond the window, the world is ablaze… literal flames engulf the scene outside as a cheerful pin-up model coyly hangs laundry, unbothered by the chaos surrounding her, smiling as though she knows a secret we have yet to discover. This tension between calm and catastrophe underscores Hannah’s exploration of society’s willful ignorance, our collective tendency to maintain the façade of normalcy even when everything is crumbling. The addition of Hannah’s signature red-eyed figures injects a surreal unease, a subtle reminder that even in our comfort, we are complicit in the disorder we choose to ignore. Chaos Theory is a biting critique of domestic bliss as a veneer, exposing the cyclical nature of societal collapse, apathy, and the illusions we cling to for the sake of comfort.