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Advisory: As Halifax Water is currently undertaking work at the Fountain campus, we ask our community to not drink the water at the Fountain campus. We will update you as soon as the work has been completed.
Campus: Port Campus, Fountain Office
Office Number: Room 225 (Port), G209 (Fountain)
Phone Number: 902-442-1536
Email: rhannon@nscad.ca
Rebecca Hannon is an associate professor of jewellery design and metalsmithing and co-director of the Dr. Sandra Alfoldy Craft Institute at University. She holds a Diplom/MFA from Akademie der Bildenden Künste, Munich, Germany (2005) and a BFA from Rhode Island School of Design, Rhode Island, USA (1995).
Hannon’s accomplishments include the delivery of “Slow Food for Fast Learning” paper, Sustainable Fashion Colloquia, Arch College, Jaipur, India (2020), the “Ground Rules ” Residency, Cape Breton Center for Craft/Parks Canada (2019), an Arts Nova Scotia Grant, “Contemporary Camouflage ”, solo exhibition and concurrent programing at Mary Black Gallery, Halifax NS (2018), being artist-in-residence der Jakob Bengel-Stiftung, Idar-Oberstein, Germany (2018), receiving the /SSHRC Research Development Grant (2018), receiving the Mid- Career Artist Scholarship, Society of North American Goldsmiths (2015) and many more.
Hannon’s work investigates the relationship of color and pattern on form, and form as it relates to the human body. Jewellery has a direct relationship to the notion of conceal or reveal found in nature, and even ideas applied in the theatre of war, (Dazzle Camouflage), have parallels in the theatre of life. By wearing a golden wedding band, a poppy pin, a chevron necklace, people can blend in. The wearing of a purple heart medal sets one apart, provides pertinent information, and engages the question, “Where, how?” Contemporary art jewellery can go a step further; it can be aggressive, bold, soft, smelly, heavy. It can challenge both the wearer and the observer, but amazingly this sets up a connection between the two. In addition to these lines on inquiry, Hannon’s practice is very much influenced by travel, and the practitioners she forms connections with around the world. She is passionate about traditional/folk craft traditions as well as innovative, digital and sustainable modes of making.
Education
2005 | Diplom / MFA Akademie der Bildenden Künste, Munich, Germany |
1995 | BFA, Rhode Island School of Design, Rhode Island, USA |
Present Positions
2009 | Present Associate Professor, Nova Scotia College of Art & Design University
Co-Director of the Dr. Sandra Alfoldy Craft Institute, University NS Project Leader, SHIFT NS/Scotland, collaboration with Applied Arts Scotland Consultant, Digital Opportunities for Makers, a Canada Council-digital strategy project through Craft Alliance Atlantic |
Accomplishments/Awards
2020 | delivered “Slow Food for Fast Learning” paper, Sustainable Fashion Colloquia, Arch College, Jaipur, India |
2019 | “Ground Rules ” Residency, Cape Breton Center for Craft/Parks Canada |
2018 | Co-Applicant, Arts Nova Scotia Grant, “Contemporary Camouflage ”, solo exhibition and concurrent programing at Mary Black Gallery, Halifax NS |
2018 | invited “Established Artists in Conversation”, Museum of Art & Design, NYC |
2018 | Artist-in-Residence der Jakob Bengel-Stiftung, Idar-Oberstein, Germany |
2018 | /SSHRC Research Development Grant |
2017 | Panel Presentation, “Exploring Creative Methodologies”, Canadian Craft Biennial |
2017 | Open Studio-Residency, Haystack, Deer Isle Maine |
2016 | Artist lecture, “Breaking New Ground”, SOFA Chicago |
2016 | Artist-in-Residence, Françoise van den Bosch Foundation, Amsterdam, NL |
2016 | Artist-in-Residence, Techshop , San Francisco, California |
2015 | Mid- Career Artist Scholarship, Society of North American Goldsmiths |
2009 | Peter S. Reed Foundation Grant |
2001 | Fulbright Grant |
Investigation into the relationship of color/ pattern on form, and form as it relates to the human body has been my interest for many years. Jewelry has a direct relationship to the notion of conceal or reveal found in nature, and even ideas applied in the theatre of war, (Dazzle Camouflage), have parallels in the theatre of life. By wearing a golden wedding band, a poppy pin, a chevron necklace, we can blend in. The wearing of a purple heart medal sets one apart, provides pertinent information, and invites us to engage and ask the question, “Where, how?” Contemporary art jewelry can go a step further; it can be aggressive, bold, soft, smelly, heavy. It can challenge both the wearer and the observer, but amazingly this sets up a connection between the two. In addition to these lines on inquiry, my practice is very much influenced by travel, and the practitioners I form connections with around the world. I am passionate about traditional/folk craft traditions as well as innovative, digital and sustainable modes of making.
Links:
– https://vimeo.com/339251072
– https://artjewelryforum.org/rebecca-hannon-jolie
2019 | “Conceal or Reveal?”, solo exhibition at Mobillia Gallery, Cambridge, Massachusetts |
2019 | “Contemporary Camouflage”, solo exhibition at Mary Black Gallery, Halifax NS |
2017 | “Life Preserver”, solo exhibition at Ornamentum, Hudson, New York |
2016 | “Contemporary Camouflage”, solo exhibition at Galerie Noel Guyomarc’h, Montreal |
2013 | “Jolie”, solo exhibition at Jewelerswerk Gallery, Washington, D.C. |
2011 | “Finale”, solo exhibition at Paul Gauguin Cultural Center, Hiva Oa, Marquesas Islands |
Review written: “Karin Jones, body of work”, Metalsmith Magazine, Winter 2018
Review written: “Herwegh/ Matzakow”, Metalsmith Magazine, Winter 2016
Review written: “From the Core”, the work of Laura Donefer , Urban Glass Quarterly, Summer 2014