It’s hard to assign a specific discipline to Hannah’s work as most of the pieces exist equally as both images and objects, the physical elements almost becoming installations, but not quite. Exercising a great sense of freedom in her process, she is continually “playing with the traditional idea of what a photograph is; pushing it as much as possible”.
In her most recent work, Hannah decided to turn her lens on a specific group, young men. “I photograph the subjects first, and then play with the blown-up prints of them in my studio” she tells us, consistently capturing portraits that feel remarkably intimate. The series of photographs could easily be classically presented as a body of work, but Hannah’s process is far more intricate. Adding layers to the imagery using objects, plants, metaphors and juxtapositions, she constructs a presence and physicality that is becoming increasingly symbolic of her work. “The balls and hoops were sourced from cheap shopfronts on Morecambe promenade. I started papier-mâchéing and painting them to get out of my head and into my body” she explains. “The photographs within photographs somehow explore the nature of photography and simultaneously the nature of the self, both of which are ever changing and impossible to grasp”. Hannah was born and raised in Morecambe and often draws on her time there in her work. “As I was photographing these boys and men, I was thinking about my youth a lot. It was a classic working-class seaside town upbringing, a lot of us were bored, we weren’t stimulated at school and nothing could stop us from doing the things that we were too young to do”.