Daughter Mother

Hannah is a conceptually based artist from Hastings, who examines the life of herself and others to highlight the beauty in the more mundane things in life.
Absence is a central theme throughout her work in which she records the traces that people leave behind, highlighting how these are evident in our everyday observations and give us insight into the lives and thoughts of others.

Her practice incorporates printmaking, casting, embossing, and drawing all of which are used to leave her subject matter unaltered, but display it in a way which gives it a greater importance to how and where it is naturally found. Whether it is the shape of a hair caught in a strip of cello tape, or the impression of a foot worn into an insole, her intention is to create works that are inspired by these less regarded objects and highlight the absent nature of them.

Described as ‘thought provoking’ and ‘poetically charged’ her practice is inspired by the works and concepts of Sophie Calle, Leanne Shapton, Mona Hatoum and Alex Chinneck, whereby she is interested in the theoretical and more abstract qualities of our lives; those which we perhaps don’t always consider. In doing so Hannah draws upon her knowledge and love of literature to ground her work in a written and theoretical way, which allows the viewer to understand the message within her works and associate with it.

The importance of theory and research is a fundamental in her work, being a passionate reader, writer and documenter Hannah meticulously records the gradual processes of her observations, thoughts and in turn, documents her entire existence, drawing the viewer in to her own personal life and thoughts.

The stark quality of her concepts and messages is further mirrored in her drawings. Inspired by Schiele her pieces are normally ink based and are mostly drawn blind, preventing the influence of aesthetics to alter from what is actually being studied. This more figurative documentation combined with her written work, is a characteristic which is carried through her entire work and is exemplified in her Final Major Piece.

Her Final piece ‘Remnants’ is an exploration of what is left behind after someone’s death and how their presence is maintained through objects and materials related to them; both those which they once owned and those bought to commemorate them.
Composed of a series of plaster casts of her own personal heirlooms, and the rubbings and mono prints of discarded flower wrappers found at cemeteries, ‘Remnants’ is a body of work which examines the intrinsic link between memory, material and loss.