HANNAH O’HARE BENNETT
Wing VIII

$350.00

Hannah O’Hare Bennett
Wing VIII
Abaca paper, natural pigments
13.25H x 10.25W x 1.25D inches, framed
Item #FG-ME_469-12

1 in stock

ARTIST INFO

HANNAH O’HARE BENNETT
Madison, WI

PAPER | Handmade paper art, sculptural and 2D

Penland Affiliation | Penland Studio Assistant 2017, 2018

Artist Information | Studio artist; education: BFA University of Kansas (KS), MFA University of Wisconsin Madison (WI); teaching: University of Wisconsin-Madison (WI), PEOPLE Program (WI), Madison Children’s Museum (WI), Morgan Conservatory (OH), Studioworks (ME), Minnesota Center for the Book (MN), Mount Mary University (WI); exhibitions: Form & Concept Gallery (NM), Yeiser Art Center (KY), Var Gallery (WI), Woman Made Gallery (IL), Porter Butts Gallery (WI), Overture Center (WI), Morgan Conservatory (OH), Verum Ultimum Gallery (OR), McNeese State University (LA); residencies: Textile Arts Center (NY), Playa Summer Lake (OR), Women’s Studio Workshop (NY), Tides Institute (ME), Tallgrass Prairie Artist Residency (KS), Kimmel Harding Nelson Center for the Arts (NE), Madison Children’s Museum (WI)

Artist Statement | Before I dared to call myself an artist, I worked as an organic farmer. That previous work informs almost every aspect of my current studio practice. Then, I dealt with the materiality of soil and water, and plants. Now, I apply my relentless work ethic to unearthing the possibilities of other materials, especially paper pulp, threads, fabric, and found objects. I tend to my installations and sculptural objects like a garden, shifting things, removing things, adding or subtracting colors and shapes in pursuit of a completed piece. The concept of my work, supported by rigorous study and research, almost always involves human relationship to the landscape and nature, which is what agriculture is. Just as in farming, my art practice is seasonal. In warmer months, I work primarily with handmade paper. As it grows colder, I move inside and work with embroidery and soft sculpture. This is driven by the physical limitations of my studio situation, but it also makes sense to me conceptually. The intellectual underpinnings of my work are so bound to the natural cycle of the earth, why should my practice not have a cycle as well?