BIO

Faculty

Rebecca Hannon

Associate Professor
Foundation, Jewellery and Metalsmithing

CONTACT INFORMATION

Campus: Port Campus, Fountain Office
Office Number: Room 225 (Port), G209 (Fountain)
Phone Number: 902-442-1536
Email: rhannon@nscad.ca

Background

Rebecca Hannon is an associate professor of jewellery design and metalsmithing and co-director of the Dr. Sandra Alfoldy Craft Institute at NSCAD 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 NSCAD/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, NSCAD 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 NSCAD/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

 

CURRENT RESEARCH AND/OR CREATIVE PRACTICE

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:

– http://rebeccahannon.com/

– https://www.instagram.com/rjhjewel/

– https://artjewelryforum.org/rebecca-hannon-contemporary-camouflage

– https://www.mobilia-gallery.com/artists/rebecca-hannon/

– https://vimeo.com/339251072

– https://artjewelryforum.org/rebecca-hannon-jolie

SIGNIFICANT PUBLICATIONS/EXHIBITIONS

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