Works

  • 11 (1)
  • 5 (1)
  • 2 (2)
  • 9 (1)
  • 12 (1)
  • 6 (1)
  • 8 (1)
  • 11 (1)
  • 1 (2)
  • 6 (1)
  • 5 (2)

Monday, 30 January 2012

Volte Face and the Wedding : Paintings 1992-1994

Volte Face 1992 Oil on canvas 182cm x 240cm

Volte Face Detail

The Wedding  1993 Oil on canvas 207cm x 240cm

The Parade 1993 Oil on canvas 226cm x 240cm


The Parade Detail

The Lovers 1992 Oil on canvas 220cm x 240cm
The Lovers Detail
Tattoo Woman 1992 Oil on canvas 223cm x 240cm
Tattoo Woman Detail
In the city 1994 Oil on canvas 250cm x 240cm
The Scapegoat 1993 Oil on canvas 187cm x 240cm
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Wednesday, 25 January 2012

Early Paintings



The Space Within 1990, Oil on canvas, 240cm x 165cm



The Journey, 1990, Oil on canvas, 240cm x 177cm


The Veil 1990, Oil on canvas, 240cm x 201cm

Detail The Veil
The Revelation 1990, Oil on canvas, 240cm x 162cm
Detail The Revelation

Driving 1990, Oil on Canvas, 240cm x 207cm

Detail Driving
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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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