A process of self-imposed rules with aleatoric outcomes constitutes the necessity of Hassan's work in painting, video or other mediums. Selections of raw images are studied, deconstructed and with little intervention patiently uncovered anew. A juxtaposition of simple equations and minimal transformations is staged, producing images of complex behaviour which advert to the gravitas and sovereignity of spaces unknown. Exploration without subjugation and the emancipation of the image itself, brings forward a dimension of ideological independence in conflict with identification, or even representation, consequently challenging authorship and opening the experience to multiple readings.

Hassan's ambiguous images articulate complexity and his own displacement by contrasting physical fluidity against the liquidity of conceptions that uncertainty incites. As such, the work is caught within a realm of existential paradoxes, where chaos is assimilated as an endless source from where to extract information and translate visual experiences. Communicating by confronting cognition and the acknowledgement of self within it, cultural elements precariously balance in the geology of images that consume them.