Niamh Hannah
My practice explores the complex interconnection of women and water through the creation of paper sculptures that emulate the appearance of both bodies and flowing water.
Drawing from Hydrofeminist and Ecofeminist ideology, my work takes the form of subtle social advocacy through the creation of paper sculptures. I wish to encapsulate the relationship of water and women by creating tangible responses that outline the link between both components visually. The sculptures are fluid and undefined, highlighting the abstract and complex nature of what it means to be a woman today. They loosely imitate supposed feminine curves, whilst being abstract to indicate my desire to look at the body as a purposeful vessel, rather than for its appearance. The works are large in scale and are designed to dominate the space and subtly overwhelm the viewer as a quiet assertion of presence and reclamation of control. The cut lines take inspiration from the lines and patterns not only found on the surface of water, but also on the surface of human skin, such as cellulite and stretch marks. They are the same throughout all the works, highlighting how water is shared.
This installation is comprised of multiple individual sheets of painted and cut paper, each overlapping and intertwining with one another. This is in reference to the connection of human bodies through water.
These outcomes depict bodies of water through abstract shapes and forms. They are propped on the wall, and contorted in a way to mimic the curves of flowing water and women’s bodies in an abstract and symbolic representation.
This piece aims to portray a singular, large body of water. The intention is for the viewer to feel overwhelmed by the scale of the piece, whilst taking the time to notice the patterns, similar to the experience of being next to a body of water such as a lake or the ocean. When moving around the piece the layers blend together, creating an optical illusion. This simulates the appearance of the sea, as the waves move across the surface of the water. This interaction enables a human ‘body of water’ to engage with artwork that is both composed of and represents water, highlighting the cyclical and embodied relationship between humans and water that underpins my artistic practice.
Previous work from second year – paper cut pieces inspired by patterns found in nature.
I use acrylic inks to add colour and depth on the paper before cutting it. I soak the paper with water before dropping the ink with a pipette, which allows the paint to settle in pools and flow independently. Once dry, the pools of water and ink create dark areas of colour, whilst some of the water has dispersed the colour into lighter areas.
