AHC: Could you talk about your project And Everything Nice? The importance of creating critical narratives and visuals that push back against our societies preconceived, imposing, impossible standards? Hannah: And Everything Nice is a body of work that explores societal expectation of women. Most of the materials I end up using have a domestic background. Glitter, thread, and scrapbooking materials are often associated with women’s crafts, and aren’t’ taken seriously artistically. I think it’s an interesting juxtaposition to create “crafty” interdisciplinary work with a serious statement. AHC: Much of your work deals with and confronts the lingering damage and effects of our societies unrealistic body and beauty expectations, on the imposing norms, aesthetically, of what is or is not properly feminine, appealing. Do you see any connection between the way advertising, really for the last 100 years, has tended to not see individuals with unique and multifaceted tastes and desires/personalities, but rather as opportunities of neuronal plasticity, i.e. sell them a desire they didn't know that they wanted and convince them that it was what they really desired all along? Do you find this especially or doubly pernicious when it comes to marketing to woman? Hannah: Totally. There are endless products that claim to shrink and minimize aspects of the female body, as if it’s wrong that they exist in the first place. Don’t fall for that shit. The human body is great the way it is, and if a company is trying to tell you otherwise it is because they have money signs as pupils. AHC: In your project 'Humanism' you write "It is a very basic matter of contact. Empathy for other human beings cannot exist without exposure to them." That is so well put. Could you talk a little bit about, not just that project, but your ideas of humanism, our current moment in the world and the importance of allowing ourselves to be affected by our tangible encounters with others? Hannah: I wanted to start a project that had the viewer looking further than someone’s religious or ethnic identification in favor of a view that focused more on appreciation for the individual. Having compassion for a large sum of individuals is a great way to generate empathy. AHC: You've created a very intimate series of photographs "Indoor Voices" with your mother, what has that process been like, visually documenting a relationship as ever evolving and emotionally complex as the one between parent and child, mother and daughter? Hannah: It’s been super interesting. We’ve been doing this project for a little over a year now, so I’m excited to look at the work retrospectively as we age. I’m at the weird age in my life where my mother is no longer the final-say ruler in my life like she was ten years ago, but her influence on my life is undeniable. We physically share so many features, but tend to carry ourselves so differently. The woman who made me now exists so clearly in the decisions that I make, and we make collaborative art to reflect that. AHC: What first drew you to photography? Was there a specific moment in your life or turning point where it became clear to you that you were being called to create? Hannah: I can’t remember when I wasn’t obsessed with visual art, but I got really serious about the medium in high school, around age 16. Photography amazes me with its simultaneous intimacy and universality. The ability to create a visual dialogue is what draws me to the medium and keeps me passionate about it. AHC: Who are some of your artistic influences? Is there anyone outside of the art world who has had a huge impact on your work or who just generally inspires you, writers, filmmakers, musicians, philosophers etc? Hannah: Deana Lawson, Jenny Holzer, and Lindsay Bottos are visual artists I’m really into right now. But I really draw influence from people that have varying interests and messages outside of just photography. My partner Cameron Boucher fronts the band Sorority Noise, who makes music about discussing mental illness and creating an expressive environment through musical community, and he is a constant inspiration. He’s always pushing me to create more, and has a significant impact on my workflow. AHC: What is the first work of art you encountered that took your breath away? Hannah: Hmmm. The first photography book I ever got was a gift, a book called So Many Worlds by Dieter Bachmann and Daniel Schwartz. It was a book documenting war and family life across the world, and it’s the first thing I can remember that I actually stopped and went, woah. Photography has impact. AHC: Do you have any new projects you'd like to tell people about? Hannah: Working on a million things, always. My first solo show, Luminous / Weightless, closes January 22nd after a nearly three month long exhibition in Pittsburgh. I’m currently in the experimental stages of more heavily integrating fiber arts and photography. I’ll also be making a site specific installation for a pop up show called Fabric of Portraiture in Pittsburgh on January 14th. For more visit www.hannahaltmanphoto.com/ All images © Hannah Altman Comments are closed.
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December 2024
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