Hannah Bender is a painter and printmaker based in Houston, TX.

Blending modes of photography, painting, and printmaking, Hannah Bender develops 2D images through strategic layers of color, material knowledge, and physical mechanics. Her conceptual framework is informed by the overlaps between gender, labor, and science, using freight train subjects and hyper-feminine aesthetics with intensive, physical labor.

Hannah teaches Silkscreen at the University of Houston and manages exhibitions at the Lanecia A. Rouse Gallery.

Hannah holds a Master of Fine Arts in Painting from the University of Houston and a Bachelor of Fine Arts in Graphic Design from the University of Central Arkansas. She has been an artist-in-residence at Kala Art Institute, and has participated in studio assistantships at Haystack Mountain School of Crafts and with independent portrait painter, Taylor Smalls in Oakland, CA. Hannah has exhibited with Blaffer Art Museum, Texas Photographic Society, Elgin Street Studios, Lawndale Art Center, Baum Gallery, and local third-spaces.

Photography by Joseph Bui

Artist Statement

My practice encompasses a wide range of skills, processes, tools, and materials; I’m predominately a painter and printmaker, however, I often use methods of carpentry, sewing, design, and illustration within my work. Interested in art-making from a perspective of science, mechanics, and the gender bias contained within those subjects, I approach my work thinking about the properties of my materials and their potential, physically and conceptually.

How can outside variables, such as time, force, gravity, etc. affect the effect of the visual image? What is the sensory experience like when the physical properties of a material are changed? When is pressure too much, and when is it just enough? Creating becomes a tangible experimentation with the real world.

The contemporary digital environment and the mode at which many of the systems we use operate at remove the maximum amount of human influence, resulting in a sterilization of our ability to think or act. Practicing printmaking has been my form of resistance; a reminder of my unyielding grit and determination to keep working the hard way, with my whole body and mind. Because the medium forces the practitioner to stay mentally sharp for quality prints, it has given me confidence to do scary things, such as using heavy machinery and power tools, while preventing the environmental and physical complacency that can arise with a reliance on digital tools.

The democratic quality of printmaking and the history of the medium plays an important part in how I operate in the studio. Having the ability to create multiples allows for a wider audience reach; prints are generally cheaper, thus affordability of artwork becomes possible for those directly in my community, which gives more opportunity for people to actually own and appreciate art.

Photography by Gandy Noble

Curriculum Vitae

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