Nanna Hänninen's photographs oscillate between the depiction of reality and fiction. Rather than being straightforward representations of the real, they are reflections on pictorial reality. Working within a reduced range of color tones and basic geometric forms and lines, Nanna Hänninen alters her initial subjects in order to create a personal response to common reality. 
In this sense, Nanna Hänninen's first skyscraper series was not just a simple formal declination of urban forms; it was the artist's personal response to the Twin Towers attack in New York City on September 11, 2001. In her latest series Asymmetric Expo­sures. Nanna Hänninen continues working with images of sky­scrapers but without focusing on the architectural qualities of the buildings. With her kaleidoscopic representations, she engages the viewer in a whirling vertigo by creating dynamic movements through mirroring effects. repetition, or superimposed multiple exposures. The visual effect is chaotic, unstable, and even frightening; one could imagine that this is how we would perceive these towers in a falling race to the ground. Furthermore. the artist sees a reference to patterns and ornaments used in Islamic art. where figurative images are proscribed. 
In moving between the figurative and the abstract, Nanna Hänninen's images remain open to visual inter­pretation. The viewer must choose what he or she wishes to see, the object or its symbolic reference. Nanna Hänninen instigates this possibility of dual interpretation in order to create a resonance of mean­ing between two ways of reading her photographs. The fragility and the poetic dimension that one senses in looking at her work reside in this vibrancy between reality and fiction. A vibrancy that could be called a dream or sometimes even a nightmare.

Nanna Hänninen was born in 1973 in Rovaniemi, Finland. Lives and works in Kuopio, Finland. Graduated m 2002 from the University of Art and Design Helsinki, renamed Aalto University School of Art and Design in 2010.