Hannah Nowlan is an emerging artist living and working in Black Rock, Victoria, Australia. Considerably influenced by the surf culture of Victoria’s coastline, Hannah’s practice attempts to communicate the relaxed and therapeutic atmosphere of Australia’s vast natural landscapes.
Intangible spirits and sensory ghosts are an ongoing thread within Hannah Nowlan's practice. Working between landscape and abstraction to explore themes of death, duality, mythology and spirituality. Hannah’s painterly narratives blur the boundary between object and image, landscape and home, fable and reality. With a sophistication and insight beyond her emerging status, Hannah unites mythology and story telling with a visual allegory that is both compelling and beautiful.
Hannah holds a Bachelor of Fine Arts in Drawing and Printmaking from the Victoria College of Arts, University of Melbourne. She was a finalist in the Incinerator Art for Social Change Award and participated in a two month International Artist Residency at the University of Lisbon, Portugal. Hannah has also been featured in several art publications and magazines notably The Design Files, Badlands Journal and Unconditional Magazine New York.
With strong appreciation for craftsmanship and authenticity, Hannah’s practice enters a field that blurs the boundary between object and image, landscape and home, fable and reality.
Hannah’s practice draws strong focus on family ties. Working closely with her Father, the pair build every element of her practice by hand from their home-based workshop and studio. “Maintaining a wholehearted and independent approach when it comes to stretching, framing and installing my artworks, alongside my Father, is integral to who I am and integral to my practice.” — Artist, Hannah Nowlan
Hannah believes that crafted and considered design can transpose our ordinary understanding of artwork, framing and the experience that art can provide within our homes and everyday lives. This is why the artist creates bespoke Tasmanian Blackwood frames with her signature craftsmanship detailing. This belief if further exhibited through the use of partially exposed Linen. Acting as an entry point, the raw linen allows the painting to absorb and communicate with its environment overtime.
‘Chimera’, TDF Collect, Melbourne, Australia
‘Cerberus’, Modern Times, Melbourne, Australia
‘Lacuna’. Saint Cloche, Sydney, Australia
‘Underworld’, Grain of Descent, Melbourne, Australia
‘Large—Scale October Series’, Modern Times, Melbourne, Australia
‘Myths, Moons and Mountains’, Modern Times, Melbourne, Australia
‘Sensory Ghost’, University House Gallery, University of Melbourne, Melbourne, Australia
‘Casa’, Saint Cloche Gallery, Sydney, Australia
‘Pord’, Pord Australia Launch, Gather & Tailer Warehouse, Melbourne, Australia
‘No Peace In Quiet’ NPIQ, Format Framing, Charity Exhibition Livin’ Org, Melbourne, Australia
‘Jet Set’, Saint Cloche Gallery, Sydney, Australia
‘Open House’, The Design Files, Collingwood Arts Precinct, Melbourne, Australia
‘Pedireito’, International Artist Residency, University of Lisbon, Lisbon, Portugal
‘Home’, Modern Times, Melbourne, Australia
‘Spring Time’, RVCA Corner Gallery, Melbourne, Australia
‘Graduate Exhibition’ Drawing and Printmaking Department, The Victorian College of Arts (VCA)
‘Art for Social Change’, Incinerator Gallery, Melbourne, Australia
‘Proud’, Margaret Lawrence Gallery, Melbourne, Australia
‘Halfway There’, City Library Gallery, Melbourne, Australia
‘Homunculus Man’, Strip Fest Mural, Cosmopolitan Hotel, Melbourne, Australia