Hannah Pierce: Head Pops and Long Locks, 2021-2022
The Heads (Head Pops)
At the beginning of the pandemic, I drew and painted masked figures. Then I started making the opposite—unmasked, minimal heads with their tongues out. The tongues discolored and diseased yet patterned and vibrant. I want to make pieces about the uncomfortable space in between the pandemic and post-pandemic mindset—the feeling of wanting to get close to others, but unsure if you should. These large, intimidating heads capture the discomfort and uncertainty of people being too close, in your face, raw and unmasked.
The Hair (Long Locks)
These undulating hair pieces have allowed me to portray a satisfying balance of ambiguity and narrative. These floating heads that move by their hair symbolize being consumed by one’s thoughts and distanced from one’s body. These pieces illustrate the anguish, yet ridiculousness of rumination and tendencies to hyperfocus. When I am hyperfocusing, I fidget and tend to twirl my hair. It is a visual hint of an inward battle. When I look at these pieces now, I can see why there was a subconscious compulsion to depict hair.
Photo captions
- Juice, 2022, Earthenware, acrylic, and neon, 32 x 31 x 16 in.
- Captive, 2022, Earthenware, 20 x 12 x 8 in,
- Don’t Pop, Just Talk, 2021, Earthenware, porcelain, and neon, 5 ft x 2.5 ft x 8.5 in.
- Lil’ Head Pop II, 2021, Earthenware and porcelain, 28 x 20 x 2.5 in.
- Lil’ Head Pop, 2021, Earthenware and porcelain, 28 x 26 x 2.5 in.
- Soft, 202, Earthenware and neon, 25 x 21 x 12.5 in.
- Waiting…& Waiting, 2021, Earthenware, porcelain and acrylic rods, 30 x 28 x 3 in.
- Petting, Poking, Prickling, 2021, Earthenware, wire, luster, and chain, 4 x 2 x 2 ft.
- A Touch of Vagrancy Following Vacancies, 2021, Ceramic, underglaze, acrylic, thread, wire, and wood, 6.5 x 8 x 5.5 ft.
