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Friday, 22 May 2009

Lost Pictures 2009 Drawings on metal and mixed media

Work statement – Lost PicturesThe drawings and paintings represent a trace, a mark of an event that is past and present - appearing and disappearing. Through the use of found photographic material, painting referencing or literally covered with the mark of the hand I look at the space in between these two realities, the mark made in the present, and the photographic.
Investigating how representation reproduces the other as the same, I am looking for the blind spot in the visual real that might reveal a way to redesign representational real. I am also looking at memory, using images accidentally found that hold a personal resonance for me, and in this way offer a glimpse to recapture something lost.
The act of the hand re-connects with the anonymity of the found image. The existence of the two together create this state that interests me, a fragility of being and non-being. The trace of something left from before against a non-place.













Gateway
Graphite on cut and folded Aluminium
Log Cabin Graphite on cut & folded AluminiumLog Cabin II Graphite on cut & folded Aluminium


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Black light Drawings 2009

Rätzel 2009 Graphite on Somerset Black

Rätzel (detail)


Guantanamo 2009 Graphite on Somerset Black

Guantanamo (detail)

Detail


Black Star 2009 Graphite on Somerset Black

Detail



Container 2009 Graphite on Somerset Black

Detail

Dream 2009 Graphite on Somerset Black

Detail



















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Biography

The human body occupies the main site of my visual practice. The body as source of experience and an exploration of it’s vulnerability. The transformation - and translation - of materiality and desire.

As a woman I see painting as a response - a possibility to describe another narrative, a prospect of change. Sometimes I explore the illusions of the body depicted in history key moments in social periods. Through the process of making I reimagine to connect to the present or future, the re-envisioning of self and society.

As Derrida writes Pregnances

“In a way, a woman says of her own as a woman: “I have no history,” or “this version of history is not mine but yours… and I’m showing it to you, representing it to you after the fact, with other eyes, a woman’s eyes.”

I play with the idea of fluidity in paint, medium, and forms - of something always moving: subjectivity in the material. My recent work using three dimensional structures is an exploration of the mutable- a line that circumnavigates space. The figures intertwine and combine, always moving, never static and the sculptures are designed to change and reconfigure.

The paint and processes change as do the supports - working in film, sculpture print and a variety of investigative approaches, I explore what and how an idea in the medium can be visible .I try to find the materiality of the invisible


Harriet Hedden studied painting at Norwich School of Art from 1986-1989, and following a year as Artist in Residence in Bedford, went for two years to Freiburg, Germany as a guest of Prof. Peter Dreher, at the Staatliche Akademie für Bildenen Kunst where she also taught at the Albert Ludwig Universität.

On her return to London she won an AHRB scholarship for two years to study at the Slade School of Fine Art where she completed her MA in Fine Art in She currently teaches at Chelsea College of Art & Design , London.

Her work is held in British Museum, Strang Print Collection UCL, Deutschbank, the Tassos Printmaking Archive Greece, Bedford Museum as well as private collections


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