Hannah Jones, 2022, Berlin, 50x70cm (19.7x 27.5”) Acrylic on watercolor paper.

Hiraeth

“Conversations” Hannah Jones, 2022, Berlin 70x70cm (27.5”x27.5”) acrylic painting on canvas.

Conversations

“Waterloo”, Hannah Jones, 2022, Berlin, 218x142cm (86x56”) Acrylic on canvas.

Waterloo

I was drawn by this little boy in a candid photo of an African dance class and decided to center him--detached from his context there's something so compelling about his focus, effort, and posture--he's looking forward, he's bending back, he's peaceful, he's completely engaged, he's at right angles, he's upright, he's bendy...who is he?

Bend

MENTAL FREEZE

A series of smaller works, part of my current Borderlands series.

Borderlands: Study #1

Xerox transfer and underglaze on porcelain 

Mixed Messages

Scheiße, wo ist das Kind? 

In the work Scheiße, wo ist das Kind?, which translates from German into “Shit, where is the child?“ I deal with the fear that I have about losing my son in a public place. I seek out images of children and cut out one character to highlight the missing. The series spans from the comical but also a deep realistic fear. As a young child I was very disturbed by the 1993 killing in the UK of the two-year-old James Patrick Bulger who was abducted by two 10 year old boys. As a parent this of course is your biggest nightmare. 

In general in my collage work I seek out the juxtapositions of mostly only two images. I search for balloons and boats. Ghosts and the turned away gazes. I am also drawn to repetitions and the absurd. The theme of disappearance and fear, fear of the decay of the planet, fear of water or losing my son by the lake or a public place. Collage gives me the chance to work with the photographic image in a different way, it gives me a freedom to interact with the medium in a somewhat violent way. The act of cutting the image is a deconstruction of what can if one wants it to be a perfect image. In this way I would like to challenge the image and to a certain extent punish it. Images can be volatile and making the collage is yet another act of creating tension in a medium that I love and at the same time want to defy and take apart. Hannah Höch said: ”I have always tried to exploit the photograph. I use it like color, or as the poet uses the word.”



Schieße, wo ist das Kind? 

The morning light, and the colors of November, surprisingly vivid, when the sky is blue and the frost is on the ground.

Morning, November (Black Walnuts)

The time of day when even a parking building looks beautiful--it's Golden Hour. And it's endangered, too, just like all our beauty, by the plan some are working hard on at this very moment to shoot sulfur dioxide into the atmosphere, causing "global dimming" and just like that, saving us all from climate change. What could go wrong?

Golden Hour, Greenfield

The pinks of the nose, the sweatshirt, the ear were what grabbed me about this pose. 

Portrait with Hat

Schuyler sat and told me later he was thinking about the 40th college reunion he'd just attended. That must be where that expression came from. 

Schuyler

Painted _en plein air_ in my rural Western Mass town of Conway, in the part of town still called Pumpkin Hollow, for the pumpkins that used to be grown on the hills and that would (they say) roll down to gather in the valley below. Such a glowing day required the most vivid colors to try to translate nature's glory onto a little piece of paper. 

October, Pumpkin Hollow

even when I someday become a star myself..

'Cotton Candy Hit The Gas' 

'Sully'

'Airways'

'Radio'

'The Sunburst of Persephone'

Sunset Dream

“Take a breath”, Hannah Jones, 2022, Berlin, 50x60cm (19.7x 23.6”) Acrylic on watercolour paper.

Take a breath

“With every beat”, Hannah Jones, 2022, Berlin, 30x30 cm (11.8x11.8”) Acrylic on watercolour paper

Available

With every beat

“Aros”, Hannah Jones , 2022, Berlin, 98x108 cm (15.7x15.7”) Acrylic/inks on Canvas

Aros

'Glimpse'

Hannah Jones, 2021, Berlin 50x50 cm (19.68x19.68”) acrylic painting on watercolor paper.

Sail away

Surrender, Hannah Jones, 2021, Berlin, 30x30 cm (11.8x11.8”) Acrylic on watercolor paper

Surrender 

  
“Fuse”, Hannah Jones, 2021, Berlin, 50x70cm (19.7x 27.5”) Acrylic on watercolor paper.

Fuse

'Cocco Bello'

As I submit to dissociation, I experience my own life through a cinematic gaze. This piece reflects on dissociation.  Through environment I explore parallels between psychological withdrawal and the atmosphere of space - a place we experience primarily through cinema. In space, time is both static and infinite, past and present exist symbiotically. In the aftermath of trauma, experience becomes fragmented, memories are close to tangible yet entirely transcendent.  The concept of being immersed in a reality that no longer exists resonates with a journey through emotional absence. 

I am the third person, merely an observer, unable to interact, unable to touch.

Untitled 

MALCONTENT #7

MALCONTENT #5

MALCONTENT #3

MALCONTENT #6

MALCONTENT #2

MALCONTENT #1

ARRESTED DEVELOPMENT

CONTRARY

The Rush

Borderlands: Study #4

One of a series of smaller works, part of my current Borderlands series.

Borderlands: Study #2

BATTLEFIELD

An emotional response to a turbulent period, depicting changing mental states and emotions in a non-linear documentative journey. 

The Week You Left 

'I have a flame for a mouth, flesh searing between teeth. They sharpen in the night, where doubts are most lethal, before the sun explodes and the carnations bloom. The crows singe in devilish cries, pleas anguished when fires burn colder; masochistic urges in spreading wings of ash.'

My Many Mouths 

'Receding waves, flesh smile exposed at the roots. Stabs of people, punctuated, in loose fists of paint. You're bleeding, and not in a good way darling. Flashes of teeth, fictitious as they bite. A stomach caves in pain, consumed longing. Validation in absences of sound minds. The whites gnaw, in overflowing blood, and the pool beneath that gathers rises to wave forts once more.'

Craved

The 'Fragment' Series depicting a period of emotional response layered upon one an other. 

Patterns of Migration 

Through the Thick 

Bright, intelligent and composed is this incredibly strong lady, Ade.

No matter how busy each area of this lady's life is she keeps it together in perfect balance.  The busy areas with more pearls indicate an area of her life being very busy - headscarves as a way of looking into the lady's mind.

Fiery Soul

Hannah was 17 years old when Amarachi came into her life.  Hannah was in a public place and in trouble; Amarachi came over and extricated her from the situation.  Amarachi then sat Hannah down on a bench and gave an extraordinary life lesson on how to look out for yourself.  This occurred over 10 years ago and since then Hannah has given that same talk to other people in need.

In this painting Hannah wanted to show that if Amarachi were to see her character in the reflection of a mirror she would see an almost exact reflection as she is pure and true to herself.

Character Reflection

MEMBRANE

Nordic Compass

Further

oil on canvas, featuring brush and palette knife techniques

Water Tank

oil on canvas, features a brush and palette knife techniques

The Spire

Sculpture that was the result of the David Troostwyk studio award in association with Matt's Gallery. 

The result of a 6-month artist residency in Berlin, Germany, that explored LGBTQA+ expression through fashion, accessory, and presentation.

Organza Hand

The result of a 6 month artist residency in Berlin, the painting is inspired by a German lesbian magazine archive. 

Liebende Frauen

From the current series of works in my studio, further exploring ideas of Absurdism and it's relation to more personal and existential issues around ageing, the natural world and the interplay of multiple elements, layers and experiences.

Subterranean

Interior

Beware our Appetite

Illusion of Confusion

Stairway to Heaven 

Xerox transfer and underglaze on porcelain

Lost in Translation

xerox transfer and underglaze on porcelain

How to Forget

Broken

Why am I 

A day at the railway station

This project is of house that can be found in Savannah, GA. There a lot of history to Savannah, as well as the house that are located there. This is a study on how people in Savannah live. When walking through town you come across a mixture of housing. From apartments to 3 story homes. This is a way to document living conditions in Savannah from the outside. There's a lot of different structures to each house, this isn't a cookie-cutter town.  Let's explore more than just the main streets.

Houses of Savannah

Before lockdown in the UK, myself and Hugo Harris wanted to combine our artistic practices in a series of collaborative pieces, combining Hugo's sculptural work, which is primarily concerned with the human body and my own, which I use to explore concepts of cultural identity through sculptural design.  

Our intention was to have a conversation through sculpture, handing an item back and forth from one another, adding and manipulating the object with each 'reply' to create a series of sculptural forms. 

Not living together meant exchanging these works during lockdown was impossible. We decided instead to digitalise our work and have the conversation via blender, sending the files to one another. 

The forms that we have designed during lockdown are built up from a number of photo scans of physical sculptures that we have made individually. The programmes we have been using have allowed us to manipulate the size, texture and colour of these once small physical objects and combine them with digitalised line drawings which I would have originally used in my own work to create pieces of laser-cut furniture.  The result of these conversations is a series of architectural and sculptural forms that we wish one day to realise physically.

The most recent architectural designs have been influenced by a series of classical style buildings from places we have spent time together; Edinburgh, Florence and West London. Using our photo scans as the building blocks Hugo has created structures inspired by such buildings, I then continue the design process, incorporating features more characteristic of Chinese Imperial buildings along with colour. The finished structures blend elements of  Western and Eastern architectural designs, enabling us to have a sculptural-digital dialogue through which we have been able to communicate our own artistic styles and interests to one another.



MAKE, SEND, MAKE, SEND, MAKE, SEND, MAKE

The same person styled differently plenty of times is depicturing us, looking all different but made of the same; having LOVE as one thread that is blinding but also connecting us as one unit.

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