Driven by dynamics akin to system behavior, Hassan’s works are seeded by an aleatory act of painting, from where raw data is selected as complete yet disordered information to be reorganised, thus beginning a juxtaposition of complex and simple elements staged to allude to the uncanny - things out of our control or understanding- and by the negation of authorship.

The basic idea is that a new form can only take place through the collapse of established ones, and synthesis is achievable by thorough examination and replication. This makes the new system resemble its predecessor, and indicates the tendency of the work, as existence, towards an asymptotic renegotiation of life, love, decay, death and after death. Deconstructing fluidity and re-assembling the particular into universal, shapes the visual paradox

In Hassan's system there are traces of philosophy, science and poetry intertwined, where each work, be it painting, sculptures or installations, becomes a suspended moment within the continuum, a reconstruction in a Nietzschean rhetorical play, that proposes that every possible combination of elementary particles occurs an infinite number of times, given infinite time.