Hannah Fitz

Hannah Fitz 
HERO 2019
steel, card, plaster, fibreglass, resin, paint, pleather, sneakers
136 x 78 x 65 cm / 53.5 x 30.7 x 25.6 in 
Hannah Fitz 
LIAR LIAR 2019
steel, card, plaster, fibreglass, resin, paint, pleather, glass bottles, T-shirt
66 x 70 x 141 cm / 26 x 27.6 x 55.5 in 
Hannah Fitz 
ALL HAIL 2019
steel, card, plaster, fibreglass, resin, paint, football
142 X 151 X 92 cm / 55.9 X 59.4 X 36.2 in 
Hannah Fitz 
Man 2017
chicken wire, Papier-mâché, joint compound, expanding foam, surface: acrylic paint and resin mix
96 x 136 x 122 cm / 37.8 x 53.5 x 48 in 
 
Hannah Fitz 
Mirror 2017
wood, foam, Plastiform, and epoxy resin 
152 x 20 x 50 cm / 59.8 x 7.9 x 19.7 i
Hannah Fitz 
Horse 2017
wood, foam, Plastiform and acrylic resin 
38 x 20 x 65 cm / 15 x 7.9 x 25.6 in 

 

Hannah Fitz,
Knock Knock,
Temple Bar Gallery and Studios, Dublin,
04 May - 30 June 2018
Hannah Fitz,
Doggy Eyed Stare, Studio 16 Temple Bar Gallery + Studios, Dublin,
03 February - 06 February 2016

b. 1989, Dublin

 

Hannah Fitz’s sculptures are inexact versions of furniture and figures: familiar objects painted in a faded, near-monochromatic spectrum. Made in series, they appear to co-exist in a universe that omits us: a world in which action is arrested, colour is muted, light and shadow have form, and gravity seems less in control. In this departicularized sculptural landscape, the life-size occupants appear overly still as though suspended in time: cigarette smoke curls upwards from an ashtray; boxy TVs emit a dim glow of light; a football player on its knees with a shirt forever pulled up around its head. Piles of dyed blue clothing masquerade in the human form given by jeans, jackets, and dresses. Knitted scarves and misshapen footballs accessorise colour-drained sporting figures, like public sculptures that have been dressed up as a prank.
 
Fitz’s sculptures are carefully constructed, rejecting sleekness for a finish that is deliberately crude, scrappy and uncertain, articulated by curling lines and uncertain wobbles. Despite this ‘handled’ quality, they present a uniform, reductive version of their subjects. Fitz’s figures are featureless everymen, unidentifiable aside from their actions. Much like the figurines on top of trophies, they are honest about their inauthenticity, heightening the distance in acts of representation. “Any sculpture of a body is necessarily in some way a misinterpretation of a body”, Fitz told Elephant Magazine in 2017. “Its construction lets you know it’s just playing that part.”
 
Recent solo exhibitions include: OK, Kerlin Gallery, Dublin, Ireland, (2019); Knock Knock, Temple Bar Gallery + Studios, Dublin, (2018); In The light of the Lamp, Gallery Three, Douglas Hyde, Dublin, Ireland and Doggy Eyed Stare, Studio 16 Temple Bar Gallery + studios, Dublin, Ireland (Both 2016); The Way Things Go: An Homage, Butler Gallery, Kilkenny, Ireland; (2017); Bored with a hole, a two-person exhibition with Daniel Tuomey, National Collage of Art and Design, Dublin, (2016); Buffalo buffalo Buffalo buffalo buffalo buffalo Buffalo buffalo, Broadstone Gallery and Studios, Dublin, Ireland (2016) and Still in Set, FLOORONEGALLERY, Temple Bar Gallery + Studios, Dublin, Ireland (2013). Recent group exhibitions include:  DISRUPTORS, Highlanes Gallery, Drogheda, Ireland; Tail and Heads, Contemporary Art Centre, Vilnius, Lithuania, (All 2019) and Hannah Fitz, Aine McBride, Daniel Rios Rodriguez, Marcel Vidal, Kerlin Gallery, Dublin, Ireland, (2017).
 
Fitz is a recipient of the International Studio & Curatorial Program, Brooklyn, NY, USA.
 

 

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and the days run away like wild horses over the hills

Scoil Lorcáin, Seapoint, Dublin

31 July - 7 August 2019

Aleana Egan, Hannah Fitz, Samuel Laurence Cunnane, Elizabeth Magill and Kathy Prendergast in and the days run away like wild horses over the hills curated by John O’Donoghue.

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