Sunday, 16 December 2012

Festivities

Taxidermy for Christmas
Oil and spray paint on wood
60 x 60 cm



Made in response to Jack Coulson's work for the General Medium Exhibition. Click it for more info.

Tuesday, 13 November 2012

The General Medium


My next adventure is  part of the multidisciplinary exchange exhibition, The General Medium. It features new works made in reference to past works of another chosen artist, and both the old and new works will be displayed together side by side.

Open Friday 23rd to Sunday 25th 10am - 5pm.

 

 

 



 
 




Friday, 5 October 2012

Thursday, 20 September 2012

Buy me.

Blink and you've missed it.

For short time you can buy a framed print of my work, Heavy Blues at One Kings Lane
(3/4 down the page):






PRODUCT INFORMATION

Artist:
Hannah Weatherhead
Made of:
archival ink on 285g cotton etching archival paper/plexi glass/lacquered wood
Size:
frame, 19.5" x 19.5" x 1.5"; print, 14" x 14"
Color:
multi; frame, white
Care:
Clean with damp cotton cloth.

Monday, 20 August 2012

Drilling Divison

Drilling Division
Oil and acrylic on wood
30 x 30 cm

Oh, and thanks for the 10,000+ views!

Monday, 13 August 2012

Tuesday, 12 June 2012

Getting there

Fat of the land (or something more exciting). 
oil, acrylic, pencil & spray paint on wood
30 x 30 cm




An obvious move away from my usually-fleshy work - in order to test/push myself further I'm looking at new subject matter again!

Tuesday, 8 May 2012

Feeling zine-y...


Manifesto is an occasional free artists ‘Zine edited by Geoffrey Leung and Sam Smith. This page functions as an online archive for previous issues, Manifesto itself is resolutely D.I.Y and non-digital (other than that it’s a free-for-all).

Check it out and get involved here sam-smith.org.uk/!


Monday, 19 March 2012

Three pillows but no gloves

Three Pillows But No Gloves
Oil, acrylic and oil pastel on canvas
40 x 40 cm


 


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Friday, 9 March 2012

CURIOUS/DUBIOUS exhibition


CURIOUS/DUBIOUS is a show comprised of a variety of works that explore ideas of temporality, intuition, false representations and tangible subjects. It consists of works made prior the exhibition alongside works that have been made or altered in response to the space. The most prominent emerging theme across the selection is one of an attempt express a message with an ambiguity surrounding its execution.
Co-curated by Claire Scott and Hannah Weatherhead.



 

 




Kate Beaugie's turfed floor installation, Northern Light was made in response to the space and concerns the notion of Northerly light direction and the position of Margate. Interested in conveying the miracle and beauty of natural phenomena by developing her use of medium and composition, her works can be sited between phenomenological sculpture and Japanese aesthetics.

Clare Beattie Heard is the silent scream of the earth, it depicts the natural world breaking into our consciousness, the crisis of our relationship with nature a result of us having become completely separated from it.  This is addressed in her self-connection to the medium, the clay. She has immersed herself in the power of the material and the momentum of making. The mouth is where the inside is transferred to the outside – thought and then speech – it is the birth place of this transition between the self and the other.  The animal reflects our need to define our own place in the world, resulting in a revelation about ourselves and our animalistic nature and providing us with a link to the natural world which is both comforting, as it negates our sense of isolation, and disturbing, as it casts doubt on our sense of separation. Postmodernism recognises and embraces our own animal nature.   

Anachronism: Drawing Time, Aine Belton's wall-based performance, simply uses graphite and rubber, and a raw white wall as a canvas. It will begin by her drawing a circle that grows larger and looser until the graphite pencil is completely worn, causing sound as it scrapes against the wall. This will be followed by the circle being erased, until the rubber is also worn away completely to nothing. This process symbolises the structure and duration of time. The fallen remnants of the erasure serves to remind us of the process of memory, present-ness and the inherent quality of measure in everything we do.

James Collins' paintings are an exploration of the space within a space. They are not a designed space but rather a formation of intuitive spaces composed of nascent geometries and architectural compositions. This exploration between the three-dimensional and the two-dimensional compressions play with potential illusions of architectural content.

Books of Air by Yvonne Luk represent rapid transitions in our present epoch: our daily lives, eco-environment, technological development. The idea that transition is often brought along with abandonment is explored, along with the idea that our surroundings are gradually neglected or forced to be abandoned. The old is eliminated and disappears while the new continuously arises. Developed from this phenomenon, this series represents something that once existed but is no longer there anymore.

Cassandra Beckley's My name is Lizzie’  is her attempt to submerge herself within memory and childhood creations. Throughout our time growing up, we attempt to archive ourselves in our mind and with reminders, such as photos, videos, writings etc. but inevitably we lack something. Our means of scrabbling for pieces for our temporal scrapbook will always fall short because a moment, once past, can only be considered a shell or skeleton of what once was, misremembered, misinterpreted, two-dimensional and sometimes completely inaccurate. The ache associated with the past is not just related to its naivety and delicate nature, but also with the sense that it can never be retrieved. Lizzie, an imperfect and poorly constructed representation of a person, made by Beckley at around six years old and now in human-size, is a good reflection of this. 

Sam Sultana's installation Psychology of Collapse consists of sculptural forms and documentional videos, one filmed from above and one from a head-cam. They display the creation of a self-produced chaotic space and reveal its primal and shamanic inspired production, made predominantly of art supplies and in long periods of isolation. What the videos show is not physically in the space but sculptural artifacts are left behind that give insight to the way of working.