Harriet Hedden

The human body occupies the main site of my visual practice. The body as source of experience and an exploration of its vulnerability. The transformation – and translation – of materiality and desire.

As a woman I see painting as a response – a possibility to describe another narrative, a prospect of change. Sometimes I explore the illusions of the body – depicted in history – a romanticism painting by Gericault, the rococo in Watteau for example – key moments in social periods where I reimagine – to connect to the present or future, the re-envisioning of self and society.

As Derrida writes in the posthumous essay Pregnances (preyneance)

“In a way, a woman says of her own situation as a woman: “I have no history,” or “this version of history is not mine but yours… and I’m showing it to you, representing it to you after the fact, with other eyes, a woman’s eyes.”

As well as Derrida and the deconstruction of phallogocentrism I am currently looking at Queer theory; Judith Butler ‘and her idea of the performative in our identity and sexuality gender trouble’. Donna Haraway, and her suggestion “cyborgs are our ontology: She suggests porous borders – and I play with the idea of fluidity in paint– of something always moving, of subjectivity in the material. My recent work using three dimensional structures is an exploration of the mutable- a line that circumnavigates space. The figures intertwine and combine, always moving, never static and the sculptures are designed to change and reconfigure.

The paint and processes change as do the supports – working in film, sculpture print and a variety of investigative approaches, I explore what and how an idea in the medium can be visible. I try to find the materiality of the invisible.