#jane hammond

[lisamarie-vee]

[oldsardens]

Jane Hammond - Hindi Hand. 1997

[eucanthos]

Jane Hammond (US, 1950)

Tabula Rosa, 2001. Digital pigmented inkjet print on Japanese paper 201 x 117 cm. Brooklyn Museum

https://ronnenfineart.com/jane-hammond-tabula-rosa-2001

thnx kummerbund & lecieldeparis & bm-contemporary-art

[huariqueje]

Greek Vase with Christmas Cactus Heliconia and Fuschia  -  Jane Hammond 2014

American, b. 1950-

Collage,  127 x 96.5 cm.    50 x 38 in.

[noosphe-re]

Jane Hammond

[fashionbooksmilano]

Cabana Magazine Issue 12

Covers by Fendi

Cabana Magazine, 2019, 324 pages

euro 25,00

email if you want to buy [email protected]

Cabana Magazine is about intimacy; it explores that close relationship that every person has with Interiors. Not interiors in general, not only big and grand rooms but that corner, that detail, that object that makes a room feel unique and yet personal. There is one german word that summons this vision: “gemütlich”. Cabana can be a palazzo, a flat, a folly or a hut. We aim at inspiring a new generation of globe trotters, taking them on a journey through sophistication, obsessive collecting, colors and fabrics. 

This issue is an ode to Egypt and to that unbelievable crossroads of civilizations that the valley of the Nile became over the centuries.                                    Other stories include the house of Toto Bergamo Rossi in Venice seen through the lens of François Halard, a hidden gem in Florence photographed by Guido Taroni, a tribute to Lee Radziwill and on her meaning of beauty and an exclusive eye of the Topkapi Palace in Istanbul, to name a few.

20/11/19

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[joeinct]

The Return, Photo by Jane Hammond, 2011

[psychi-artist]

Jane Hammond, Natural Selection: Botanical Garden

Lyndsey Ingram Gallery 10th May - 15th June, 2018

This month London has been blooming with botanical and floral themed exhibitions in celebration of the Chelsea Flower Show, and Jane Hammond’s stunning new collection of works ‘Natural Selection: New Botanical Collages’ fits in perfectly.

‘Natural Selection: New Botanical Collages’ is American artist Jane Hammond’s first London solo show of botanical collages. She combines printmaking with painting, photography, found objects and digital elements that when combined create one of a kind large scale collages that explore the infinite complexity of the natural and man made worlds.

The exhibition is a stunning cocktail of grasses, seeds, insects and birds, sheet music and prints from Japan. Hammond’s work have a beautiful, vibrant rhythm to them and are full of life. Each collage contains a specific theme; the plants in ‘Elephant Vase with Basket Stinkhorn, Heartbreak Grass and Strychnine’ are all poisonous, ‘French Glass with Emerald Cuckoo, Malachite Sunbird and Carmine Bee-eater’ on a variety of birds, ‘Piety Vase with Royal Flycatcher, Angelica and Sphinx Moth Caterpillar Stage’ focuses on caterpillars, while ‘Japanese Vase with Borage, Moonwort and Monarchs’ focuses on the stages of the Monarch butterfly and its food supply.

Botany itself was considered a woman’s subject. Self taught women collected butterflies, ferns, grasses, shells and seaweed and would arrange their found specimens in albums. The practice was both a scientific and sensual delight. Victorian women would paint their finds in watercolours and make decorative arrangements from cut paper. The same natural images were also invading wallpapers, fabrics and printed china; the dresses women wore, the plates they ate off of and the rooms they lived in were all bejewelled with flowers. Soon flower arranging itself became a recognised form of art. Hammond’s own legacy with these feminine touches springs from time she spent as a child with her grandmother, a hugely ambitious gardener, who made Hammond learn the Latin names for around 100 plants when she was just six years old.  The titles of Hammond’s work are incredibly precise as to what each work features, however they still have a slight charm, keeping things perfectly clear and simple for viewers.

Hammond’s collages appear be carefree and spontaneous, however they demand remarkable care and attention with their application. In a collage the arrangement is everything. With a collage you are not as committed as you are with a drawing, where the line son the paper are final, with a collage you can pick and choose, constantly rearranging and moving stuff about, until finally it feels right.

In ‘Elephant Vase with Basket Stinkhorn, Heartbreak Grass and Strychnine’ all the plants featured are poisonous. In this energetic arrangement everything can bring harm, from the aptly named deadly nightshade, opium poppies and the stinking voodoo lily, to the pretty coloured leaves of Caladium which causes swelling in the throat. Mother Nature - as beautiful as er creations are, can also be a femme fatale.

‘Natural Selection: New Botanical Collages’ displays a collection of works that creates a harmonic chorus of all the delights of Spring and Summer with Hammond playing the role of Mother Nature as she alters the plant life to suit her creation. The Rafflesia Arnoldii, otherwise known as the ‘corpse lily’ for its unpleasant odour of decaying flesh, is noted for producing the largest individual flower on Earth, some reaching up to a metre wide, and yet Hammond has placed a shrunken Rafflesia Arnoldii in a French champagne bucket. Even in its dwarfed form the plant still looks slightly sinister sitting among the rest of the foliage, and it is details like this that alert viewers to the dedication and the intensive thought process that hammond goes through while arranging her collages, and incorporating these witty little details.

We take nature heavily for granted, especially when we see an abundance of plants and birds in paintings and photographs. The kingfishers used in Hammond’s collages are among hundreds of different varieties of kingfisher alone, thousands of glorious creatures. However, will all of this be around in the next fifty to one hundred years? Paintings have always created a sort of Eden for viewers and admirers of nature and art, and it is with urgency that these paintings and collages capture the beauty and evanescence of nature, holding the power to preserve it, containing its richness throughout time.