It’s All About Functional Shapes in This Abstract Painter’s Los Angeles Live-Work Loft | Architectural Digest

It’s clear that the ubiquitous conversation around work-life balance isn’t a dialogue that artist Hannah Polskin entertains. To the contrary, the abstract painter prefers full immersion of both worlds in her West Hollywood home and studio, where she creates her coveted swirly, Rorschach-like works. “Creatively, I’m impulsive,” explains Hannah, a New York–native who now calls Los Angeles home. “I need my atmosphere to be accommodating to last-minute eureka moments. I’m all about shortening the span of time between having the idea and trying it out.”

With the help of one of her collectors—who works in real estate—Hannah procured her L.A. apartment at the height of the pandemic. The 1,700-square-foot space, which boasts 18-foot ceilings and a starring garage door, has since been an experimental breeding ground for the in-demand designer’s many creative pursuits. “I’ve always felt like my work lies at the intersection of both art and interior design,” says Hannah, who rarely dreams up a new piece without considering its future context. “It’s been a natural progression for me to branch into home decor with pieces including mirrors, TV cabinets, tables, rugs, and shelving, which are now installed throughout my home.”

Hannah’s free-flowing and undulating creations have her gravitating toward spaces that are, in fact, structured—a stark contrast to her work. “This apartment has an organized, clean, industrial feel thanks to the cement floors and towering ceilings that I instantly knew would be the right sort of blank canvas for my wavy work. I love the juxtaposition between the curves I create and the boxiness of the loft.”

Though Hannah lives where she works and works where she lives, it’s necessary for her artistic laboratory to maintain a strong visual clarity—thus, the notion of clutter and chaos are not in the artist’s lexicon. “I need a clean slate and for there to be a natural and organic flow throughout each room,” Hannah states, recalling a trip to Marfa, Texas, where she toured Donald Judd’s studio. The docent pointed out that none of the minimalist artist’s furniture had drawers because if something is in a drawer, it’s lost forever. “My interior aesthetic feels a lot like that—everything must have a place—I think that’s why I paint in mostly high-contrast color combinations with very defined lines.”