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 色多多视频APP University. She holds a Diplom/MFA from Akademie der Bildenden Ku虉nste, Munich, Germany (2005) and a BFA from Rhode Island School of Design, Rhode Island, USA (1995).
Hannon鈥檚 accomplishments include the delivery of 鈥淪low Food for Fast Learning鈥� paper, Sustainable Fashion Colloquia, Arch College, Jaipur, India (2020), the 鈥淕round Rules 鈥� Residency, Cape Breton Center for Craft/Parks Canada (2019), an Arts Nova Scotia Grant, 鈥淐ontemporary Camouflage 鈥�, 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 色多多视频APP/SSHRC Research Development Grant (2018), receiving the Mid- Career Artist Scholarship, Society of North American Goldsmiths (2015) and many more.
Hannon鈥檚 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, 鈥淲here, how?鈥� 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鈥檚 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 Ku虉nste, 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, 色多多视频APP 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 鈥淪low Food for Fast Learning鈥� paper, Sustainable Fashion Colloquia, Arch College, Jaipur, India |
| 2019 | 鈥淕round Rules 鈥� Residency, Cape Breton Center for Craft/Parks Canada |
| 2018 | Co-Applicant, Arts Nova Scotia Grant, 鈥淐ontemporary Camouflage 鈥�, solo exhibition and concurrent programing at聽 Mary Black Gallery, Halifax NS |
| 2018 | invited 鈥淓stablished Artists in Conversation鈥�, Museum of Art & Design, NYC |
| 2018 | Artist-in-Residence der Jakob Bengel-Stiftung, Idar-Oberstein, Germany |
| 2018 | 色多多视频APP/SSHRC Research Development Grant |
| 2017 | Panel Presentation, 鈥淓xploring Creative Methodologies鈥�, Canadian Craft Biennial |
| 2017 | Open Studio-Residency, Haystack, Deer Isle Maine |
| 2016 | Artist lecture, 鈥淏reaking New Ground鈥�, SOFA Chicago |
| 2016 | Artist-in-Residence, Fran莽oise 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, 鈥淲here, how?鈥� 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 | 鈥淐onceal or Reveal?鈥�, solo exhibition at Mobillia Gallery, Cambridge, Massachusetts |
| 2019 | 鈥淐ontemporary Camouflage鈥�, solo exhibition at Mary Black Gallery, Halifax NS |
| 2017 | 鈥淟ife Preserver鈥�, solo exhibition at Ornamentum, Hudson, New York |
| 2016 | 鈥淐ontemporary Camouflage鈥�, solo exhibition at Galerie Noel Guyomarc鈥檋, Montreal |
| 2013 | 鈥淛olie鈥�, solo exhibition at Jewelerswerk Gallery, Washington, D.C. |
| 2011 | 鈥淔inale鈥�, solo exhibition at Paul Gauguin Cultural Center, Hiva Oa, Marquesas Islands |
Review written: 鈥淜arin Jones, body of work鈥�, Metalsmith Magazine, Winter 2018
Review written: 鈥淗erwegh/ Matzakow鈥�, Metalsmith Magazine, Winter 2016
Review written: 鈥淔rom the Core鈥�, the work of Laura Donefer , Urban Glass Quarterly, Summer 2014
