In Everything Repeats Itself, Hannah invites viewers into a dizzying landscape, marked by hypnotic optical illusions that bend perception and distort spatial logic. Here, repetition isn't merely a visual device, it symbolizes deeper cycles of behavior, culture, and emotional entrapment that define human experience. The addition of the cow which bears the repeated visage of Andy Warhol, the quintessential icon of mass-produced art (initially conceptualized by Banksy as a provocative statement on commodification) into her illusion paper landscape, Hannah confronts viewers with a layered commentary on authenticity, value, and the erasure of individuality through endless replication.

Suspended above this illusory plane is an error message, a subtle yet haunting reminder of the failures inherent in seeking escape or change from these perpetual cycles. The futile digital prompt suggests a repeated attempt at liberation, evoking the frustration felt when personal or cultural growth seems perpetually out of reach. Created during a period marked by deep personal grief following the loss of her father, the work captures Hannah’s profound realization of how grief itself can be a relentless loop: memories recur, pain revisits, and emotional healing feels blocked by forces beyond one's control.

Hannah’s choice to omit her usual symbolic tentacles (a recurring motif representing her active participation and agency) further emphasizes the vulnerable state of powerlessness and isolation. The work stands as a poignant reflection of her internal struggle, echoing a universal sentiment: sometimes we are trapped not only by circumstances but also by our own attempts to make sense of the inexplicable, forever locked in cycles that defy logic or resolution.

In Everything Repeats Itself, Hannah masterfully weaves personal narrative with cultural critique, ultimately challenging the viewer to recognize and reckon with their own patterns of repetition, avoidance, and unresolved grief.