Hannah B. Farrell     -     b. 1995, Dallas TX      

 

My name is Hannah Farrell and I am currently a fine arts student at Minneapolis College of Art and Design. I come from a family of artists and creative minds. The exposure to art at a young age was really beneficial to me; it helped me develop a critical eye that surpasses my technical hand. As I continue to grow as an artist, I put priority on my technical growth and academic discovery. I work across all media, but primarily with pencil on paper. Evidence of the artist’s hand has become a very important part of my work; paper captures the echo of my mark making. This sort of evidence makes my work more personal and less manufactured. I am currently exploring how my marks translate in paint. At this point, it is a very vulnerable stage and I’m working towards consistency in my paintings.

My recent drawings manipulate form and volume within the human form. Each figure is an academic exploration, a challenge to see how far I can abstract a body while it remains recognizable. I employ line and gesture as a means to describe the entire form quickly and emphasize the liveliness of the pose. My hope is that these creatures aren’t seen as macabre or erotic, but as lively little monsters, content in their own existence. There’s beauty in their girth, a nod to iconic monuments of fertility. The significance of the female form to me is that it’s universally recognizable, and without any cultural context. By not including faces, hairstyles, or clothing, I further remove the figures from a context; they are timeless and represent nothing.

I have started to paint important memories in my life. To the viewer, they may seem like very mundane and rather shallow moments. However the events surrounding them are very important moments in my life. Because I am sharing a life with another person, there are problems in my life that I have but have no authorship or authority over. And because these are both my problems and not my problems, I want to work with certain subject matters without exploiting them and instead present them from my perspective. My life from the outside looks like a lot of sitting and waiting, and that is the visual I wish to present. I include imagery that is relatable and accessible to the viewer; a cat, a pile of of blankets, socks with holes in the bottom. I reference social media in my work because that is the way my life is most often seen. When I take photos on platforms like instagram, there isn't a lot at stake, and I put little consideration into the image. When I revisit the image later as a painting, I am able to consider the events surrounding that image and represent it in an expressive way. The work echoes the way we commonly see images today, with a square format and rapid-fire images, one after the other. The paintings create a narrative that circles around the ideas of a symbiotic relationship.