023 Duane Hanson self-portrait with model 1979 poltvinyl polychromed in oil .mixed media with accessories
self-portrait with model 1979 poltvinyl polychromed in oil .mixed media with accessories
037 Duane Hanson old couple on a bench 1984 bronze polychromed in oil .mixed media with accessories
old couple on a bench 1984 bronze polychromed in oil .mixed media with accessories
039 Duane Hanson man with hand cart 1975 polyester resin and fibreglass polychromed in oil .mixed media with accessories
man with hand cart 1975 polyester resin and fibreglass polychromed in oil .mixed media with accessories
040 Duane Hanson man with hand cart 1975 polyester resin and fibreglass polychromed in oil .mixed media with accessories
Man with Hand Cart, detail, 1975, polyester resin and fiberglass polychromed in oil, mixed media with accessories
041 Duane Hanson man with hand cart 1975 polyester resin and fibreglass polychromed in oil .mixed media with accessories
Man with Hand Cart, detail, 1975, polyester resin and fiberglass polychromed in oil, mixed media with accessories
034 Duane Hanson house painter 1984-88 autobody filler polychromed in oil .mixed media with accessories
house painter 1984-88 autobody filler polychromed in oil .mixed media with accessories
035 Duane Hanson house painter 1984-88 autobody filler polychromed in oil .mixed media with accessories
House Painter, detail, 1984-88, autobody filler polychromed in oil, mixed media with accessories
043 Duane Hanson man on mower 1995 bronze polychromed in oil .with lawn mower
man on mower 1995 bronze polychromed in oil .with lawn mower

Dates: June 2 to September 13. Venue: Serpentine Gallery, London. Text and photos by Chen Chi-Hsiang.

Duane Hanson (1925–1996) is an American super-realist artist known for deceiving the eye. He created dramatic life-sized figures, sprayed with skin-like textures, dressed according to social class themes, and placed in realistic social environments. His works vividly mimic reality, often depicting characters from a capitalist consumer society.

Early works addressed social issues, such as a corpse of a woman who had undergone an abortion covered by a white sheet, or drunkards lying on the street with dirty clothes and empty bottles scattered around. Following the American Black riots, particularly after the assassination of Reverend Martin Luther King Jr. in 1968, he depicted scenes like a white police officer brutally beating a Black man lying on the ground with a baton, turning these events into eternal monuments.

Later, his focus shifted to capturing scenes of American consumer society: painters, cleaners, office workers, tourists, or obese women pushing shopping carts full of goods from supermarkets. These figures were dressed and posed according to their roles and social strata. Standing at actual human scale, they are so lifelike that if viewers stand still, they might mistake them for part of the artwork. In this way, viewers become living sculptures in Hanson’s dramatic realism. When the fake becomes real, the real becomes fake; is this not a fictional inversion or illusion?

Hanson stated: "The sculptures I create aim to reflect the values of the American lower-middle class. I want to express the profound sense of ordinary people. My works reveal emotion to capture the truth of life."