The Hermitage Series

Hermitage 3.0 (2025), pigment suspended in resin, sprayed by computer-assisted UV printing machine, rag paper, made from file produced using Adobe Photshop

Big Red (2019), 3D animation made using Maya 3D animation software and Adobe After Effects; in adjoing room, Hermitage 3.0 (2025), pigment suspended in resin, sprayed by computer-assisted UV printing machine, rag paper, made from file produced using Adobe Photshop; Me as I Once Was - Not an Angel (2025), pigment suspended in resin pure pigment sprayed by computer-assisted UV printing machine, ash wood, raspberry pi player, 3D animation, 4-minute loop, using Maya 3D animation software and Adobe Photoshop, part of the Illumination series. In the Hermitage series, Hart deals with the Second World War. She

In the Hermitage series, Hart deals with the Second World War. She was inspired by photographs of the Louvre and the Hermitage with their walls filled with empty frames, after the masterpieces were taken down and hidden from the Nazis.

Historical events, decay and the decline of culture are also the themes of Processing History, in which Hart connects the seven-year cell renewal cycle of the body with the timeline of the development of modernism in Chicago.

Hermitage 1.0 and 2.0 (2021/2022), Red Bombay India ink and pigment on maple panel, made from file produced using Maya 3D animation software, both mounted on Digital Combines custom web based augmented-reality wallpaper; in adjoining room, The Yellow Wallpaper Documentary (2023/2025), 40 minute animated loop made using custom software designed by Andrew Blanton to produce the Artblocks Systems Madness series of NFT (2023).

Audio track of the Queen Elizabeth Bot sound track for Digital Combines wallpaper custom augments.

I produced the images in the Hermitage series originally for The Ethereal Aether (2021) curated by Dimitri Ozerkov, the media curator for the Hermitage Museum, St. Petersburg, for his virtual‐reality version of the real museum. I created 3D software images first intended for NFT, then later remade as "Ghost Paintings," a mixed reality version of painting that I developed over the covid guarantee, using a custom process I invented when I had limited access to the world. Hermitage 01 and Hermitage 02 (2021/2022), are early versions of this technique, using red Bombay India ink and raw pigment on maple wood. Most important to me in this body of work is the introduction of the Queen Elizabeth Bot, a character that I feel embodies the adult me. After the real queen died (2022), I found an open‐ source bot, adopting her voice to perform comical 2024 old‐girl versions of the Sun Tzu Art of War (5th c. BC) and Machiavelli’s The Prince (1513), that I studied and adopted during my years in Berlin in the 90’s, in an attempt to assume power over my own life. The augmented Hermitage wallpaper triggers ludic text animations by the current old‐girl me.