Theory of Relativity dismantles notions of identity, perception, and time through a striking interplay of absence and presence. At its core, a vintage Christian Dior advertisement becomes a canvas for disruption. The model’s face (traditionally the focal point of beauty and desire) has been entirely removed, replaced by a swirling spiral of illusion paper that draws the eye into an endless void.

This deliberate erasure challenges the viewer to confront the instability of identity, particularly in a world where beauty is often commodified and mass-produced. The spiral, a recurring symbol of infinite motion and temporal distortion, suggests that time itself is subjective… ever shifting, never static.

Hannah’s use of illusion paper signals a clear directive: pay attention. In Theory of Relativity, she invites viewers to question what is real, what is constructed, and how much of our perception is shaped by forces beyond our control. The piece becomes a meditation on the fluidity of existence, where the absence of a face becomes more haunting than its presence, and the spiral reminds us that time and identity are always in flux.