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<\/a><\/em><\/h6>\n\u00a0EA Johnson is in town, meeting with\u00a0\u00a0<\/em>Labora\u2019s makers.<\/em><\/h6>\nWelcome to our new series\u00a0<\/em>and enjoy his first interview with Hannah Harkes.<\/em><\/h6>\n <\/p>\n
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\n\n<\/h6>\n<\/div>\n<\/div>\n\n\nWithin Labora\u2019s creative collective, every member plays a part to make up the whole. And yet Labora\u2019s true strength is built on the simple fact that each member \u2013 or part \u2013 is a whole unto themselves. Hannah Harkes is a perfect example.<\/p>\n
If you were to meet Hannah working away at one of our presses as you tour Labora, you might assume from her impressive typesetting skills that she is a Master Printer.\u00a0 Well, she is.\u00a0 She graduated with honors in Fine Art Printmaking from Gray\u2019s School of Art in her hometown of Aberdeen. And yet a Master Printer is not all she is.<\/p>\n
Beyond Hannah\u2019s mild-mannered and oft bespectacled exterior, you will discover a superb artist of impressive depth and range. So while she can produce prints with the amazing grace embodied in the true meaning of her name, Hannah is also an artist who works in more than just two dimensions \u2013 or even in the two+ dimensions which can result from deep or relief printing.<\/p>\n
Indeed, Hannah will often create three dimensional objects like her soft-sculpture-costume\u00a0Mutivana<\/a>\u00a0(2017) or transform her own 2D prints into 3D objects such as the tantalizing tree trunk of her most recent collaborative exhibit with Mari Prekup dubbed\u00a0The Ground Beneath the Tree Moved Like a Congregation<\/a>\u00a0(2017).<\/p>\n<\/div>\n<\/div>\n![\"\"](\"https:\/\/labora.ee\/wp-content\/uploads\/2018\/01\/39516750571_a60773763d_o.jpg\")
<\/span><\/div>\n\n\nMari and Hannah at their exhibition\u00a0The Ground Beneath the Tree Moved Like a Congregation \u2013 Photo: Mark Raidpere<\/em><\/p>\n<\/div>\n<\/div>\n\n\nOf course, there are also those moments when even three dimensions are not enough to contain her imagination \u2013 and so Hannah adds a fourth \u2013 time. As might be expected, some of her performance pieces are print-related such as her two beyond the box\u00a0Graforotika<\/a>\u00a0pieces (2014-2015) with Mari Prekup. \u00a0One involves Hannah and Mari climbing into a barrel to roll human-sized prints. For the other, Hannah dons a pair of red Soviet-made roller skates which double as ink rollers while Mari wears a matching pair to run their prints.<\/p>\nGiven her love of printing and her talent for drawing, it should come as no surprise that Hannah will often choose comics \u2013 such as her multi-faceted\u00a0Lollipop Elixir<\/a>\u00a0(2014) \u2013 as a medium for expression. And yet Hannah\u2019s art is full of other surprises \u2013 especially when she follows her inspiration into other more unexpected media which are seldom seen as vehicles for art \u2013 such as games. Yes, Hannah can build a physical contraption like\u00a0Hectare<\/a>\u00a0(2017) which \u2013 at least on its surface \u2013 resembles a traditional board game until you start digging a little deeper. But Hannah also loves to create other playful and interactive games from her\u00a0Great War<\/a>\u00a0(2017) \u2013 a LARP or live action role playing game \u2013to the multi-player\/sleeper\u00a0Chinese Dreams<\/a>\u00a0(2016) \u2013 or even the educational-developmental\u00a0Guessing Game Jam<\/a>\u00a0(2014).<\/p>\n<\/div>\n<\/div>\n![\"\"](\"https:\/\/labora.ee\/wp-content\/uploads\/2018\/01\/4-1.jpg\")
<\/span><\/div>\n\n\nGraforotika performance by Hannah and Mari \u2013 Photo: Gudrun Heam\u00e4gi<\/em><\/p>\n<\/div>\n<\/div>\n\n\nHannah\u2019s use of games is no accident. Her artful games are a way for her to interact with her audiences in new ways as she encourages others to participate. And in a country like Estonia known for its many introverts, Hannah\u2019s art-games are a perfect way to break the ice and bring people together. Thanks to her gift for using art to engage with others and to deconstruct barriers, Hannah is a fully integrated member of Estonia\u2019s art world as can be seen from her creative role at the Grafodroom Printmaking Studio or from her membership in both the Estonian Printmakers Association and the Estonian Artists Union. Impressive \u2013 especially when you take the time to admire her work as Labora\u2019s Master Printer.<\/p>\n<\/div>\n<\/div>\n
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<\/a>As your last name of Harkes serves a kind of cartographic indicator pointing back to a very specific historic farmstead in Scotland, how is it that you ended up working here in Estonia? And now that you\u2019ve been based here since 2012, how do you maintain your connections back to Scotland?<\/strong><\/em><\/p>\nOf the name Harkes, my father told me as a child that the Harkeses have Viking roots. Whether or not there\u2019s any truth in that, I treasured it growing up, for the idea of a connection to far-off lands in the North, across the sea, with a different language, different gods, and different ways of living. The Harkes family, from my grandfather\u2019s generation and going back a few, were fisherman very much rooted in Aberdeen, a grey city I was always eager to leave.<\/p>\n
It is only in the last few years that I\u2019ve begun to call myself and think of myself as Scottish. My mother is English, and most school holidays were spent\u00a0down south<\/em>, visiting family and friends in Yorkshire villages and Lancashire towns, but the current political climate in the UK has left me reluctant to identify as\u00a0British<\/em>, so now\u00a0Scottish<\/em>\u00a0it is, I suppose!<\/p>\nIn 2011, the final year of my BA studies, I started looking for an artists\u2019 residency to apply to, as I wanted to move straight on to the next project after graduating. I found the Polymer Culture Factory in Tallinn and came for two months, which became three months, which became six months as I moved into a nearby house in Pelgulinn, shared with other artists. For the next year, I moved between Estonia, Finland, and the UK, working on different exhibitions, but always coming back to Tallinn in between, as I slowly came to realise that I was becoming\u00a0based in Tallinn<\/em>.<\/p>\nI fly to Scotland around once a year because my father lives there. I feel an affinity with mountains and with rugged landscapes, I love the wind and I\u2019m happy when it rains, but that\u2019s about the extent of it \u2013 my home is in Estonia.<\/p>\n
Speaking of geography, it seems that you like maps and that you like to use your imagination to create your own \u2013 especially ones that help map the imagination. How would you say that places and spaces feature in your work?<\/em><\/strong><\/p>\nI\u2019ve been on quite a few long-distance bike trips across Estonia and as a ritual, when I get home, I always trace the route on a map, using my memory and deduction to work out, a few days later, which small trails I took, where I doubled back, where I camped for the night, and so on. A map can contain so much more than geographical information and a line on a map is like a secret code containing memories, experiences and images.<\/p>\n
When making a work, in almost all cases, the place in which it will happen, or be exhibited, is intrinsic to the development process, so whether I\u2019m sketching the layout of a gallery space or reading about a town\u2019s history whilst zooming in on Google maps, trying to get closer to a space or place feels like a vital process before presenting art there. The final work may or may not make any reference to a place directly \u2013 often not \u2013 but to imagine and plot the work in the place beforehand plays an important role in its emergence.<\/p>\n
My latest exhibition,\u00a0The Ground Beneath the Tree Moved Like a Congregation<\/a>, with fellow printmaker Mari Prekup and architect Kaarel K\u00fcnnap, was a collaborative exercise in mapping on different planes \u2013 physically mapping the Draakoni Gallery space and building a technically complex structure within it, as well as geographically mapping the phenomena of sacred groves in Estonia as we traveled across the country visiting these ancient sites. Simultaneously, this work mapped folklore and experience, taking two places, geographically distant from each other, and situating them side by side, for their shared narratives.<\/p>\nOver the last few years, you\u2019ve taught printmaking and drawing, given talks as well as lectures, and have run workshops for both children and adults. As a teacher of art, how do you see your role \u2013 are you \u201cpaying forward,\u201d are you passing on the art\/craft, or are you trying to accomplish something else?<\/em><\/strong><\/p>\nIt all depends on the situation. Sometimes I am passing on technique, especially when teaching printmaking, as it\u2019s very much a communal medium which thrives in shared workspaces and requires not only materials and facilities to be shared but also information and methods.<\/p>\n
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<\/h6>\n<\/div>\n<\/div>\n\n\nWithin Labora\u2019s creative collective, every member plays a part to make up the whole. And yet Labora\u2019s true strength is built on the simple fact that each member \u2013 or part \u2013 is a whole unto themselves. Hannah Harkes is a perfect example.<\/p>\n
If you were to meet Hannah working away at one of our presses as you tour Labora, you might assume from her impressive typesetting skills that she is a Master Printer.\u00a0 Well, she is.\u00a0 She graduated with honors in Fine Art Printmaking from Gray\u2019s School of Art in her hometown of Aberdeen. And yet a Master Printer is not all she is.<\/p>\n
Beyond Hannah\u2019s mild-mannered and oft bespectacled exterior, you will discover a superb artist of impressive depth and range. So while she can produce prints with the amazing grace embodied in the true meaning of her name, Hannah is also an artist who works in more than just two dimensions \u2013 or even in the two+ dimensions which can result from deep or relief printing.<\/p>\n
Indeed, Hannah will often create three dimensional objects like her soft-sculpture-costume\u00a0Mutivana<\/a>\u00a0(2017) or transform her own 2D prints into 3D objects such as the tantalizing tree trunk of her most recent collaborative exhibit with Mari Prekup dubbed\u00a0The Ground Beneath the Tree Moved Like a Congregation<\/a>\u00a0(2017).<\/p>\n<\/div>\n<\/div>\n<\/span><\/div>\n\n\nMari and Hannah at their exhibition\u00a0The Ground Beneath the Tree Moved Like a Congregation \u2013 Photo: Mark Raidpere<\/em><\/p>\n<\/div>\n<\/div>\n\n\nOf course, there are also those moments when even three dimensions are not enough to contain her imagination \u2013 and so Hannah adds a fourth \u2013 time. As might be expected, some of her performance pieces are print-related such as her two beyond the box\u00a0Graforotika<\/a>\u00a0pieces (2014-2015) with Mari Prekup. \u00a0One involves Hannah and Mari climbing into a barrel to roll human-sized prints. For the other, Hannah dons a pair of red Soviet-made roller skates which double as ink rollers while Mari wears a matching pair to run their prints.<\/p>\nGiven her love of printing and her talent for drawing, it should come as no surprise that Hannah will often choose comics \u2013 such as her multi-faceted\u00a0Lollipop Elixir<\/a>\u00a0(2014) \u2013 as a medium for expression. And yet Hannah\u2019s art is full of other surprises \u2013 especially when she follows her inspiration into other more unexpected media which are seldom seen as vehicles for art \u2013 such as games. Yes, Hannah can build a physical contraption like\u00a0Hectare<\/a>\u00a0(2017) which \u2013 at least on its surface \u2013 resembles a traditional board game until you start digging a little deeper. But Hannah also loves to create other playful and interactive games from her\u00a0Great War<\/a>\u00a0(2017) \u2013 a LARP or live action role playing game \u2013to the multi-player\/sleeper\u00a0Chinese Dreams<\/a>\u00a0(2016) \u2013 or even the educational-developmental\u00a0Guessing Game Jam<\/a>\u00a0(2014).<\/p>\n<\/div>\n<\/div>\n<\/span><\/div>\n\n\nGraforotika performance by Hannah and Mari \u2013 Photo: Gudrun Heam\u00e4gi<\/em><\/p>\n<\/div>\n<\/div>\n\n\nHannah\u2019s use of games is no accident. Her artful games are a way for her to interact with her audiences in new ways as she encourages others to participate. And in a country like Estonia known for its many introverts, Hannah\u2019s art-games are a perfect way to break the ice and bring people together. Thanks to her gift for using art to engage with others and to deconstruct barriers, Hannah is a fully integrated member of Estonia\u2019s art world as can be seen from her creative role at the Grafodroom Printmaking Studio or from her membership in both the Estonian Printmakers Association and the Estonian Artists Union. Impressive \u2013 especially when you take the time to admire her work as Labora\u2019s Master Printer.<\/p>\n<\/div>\n<\/div>\n
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<\/a>As your last name of Harkes serves a kind of cartographic indicator pointing back to a very specific historic farmstead in Scotland, how is it that you ended up working here in Estonia? And now that you\u2019ve been based here since 2012, how do you maintain your connections back to Scotland?<\/strong><\/em><\/p>\nOf the name Harkes, my father told me as a child that the Harkeses have Viking roots. Whether or not there\u2019s any truth in that, I treasured it growing up, for the idea of a connection to far-off lands in the North, across the sea, with a different language, different gods, and different ways of living. The Harkes family, from my grandfather\u2019s generation and going back a few, were fisherman very much rooted in Aberdeen, a grey city I was always eager to leave.<\/p>\n
It is only in the last few years that I\u2019ve begun to call myself and think of myself as Scottish. My mother is English, and most school holidays were spent\u00a0down south<\/em>, visiting family and friends in Yorkshire villages and Lancashire towns, but the current political climate in the UK has left me reluctant to identify as\u00a0British<\/em>, so now\u00a0Scottish<\/em>\u00a0it is, I suppose!<\/p>\nIn 2011, the final year of my BA studies, I started looking for an artists\u2019 residency to apply to, as I wanted to move straight on to the next project after graduating. I found the Polymer Culture Factory in Tallinn and came for two months, which became three months, which became six months as I moved into a nearby house in Pelgulinn, shared with other artists. For the next year, I moved between Estonia, Finland, and the UK, working on different exhibitions, but always coming back to Tallinn in between, as I slowly came to realise that I was becoming\u00a0based in Tallinn<\/em>.<\/p>\nI fly to Scotland around once a year because my father lives there. I feel an affinity with mountains and with rugged landscapes, I love the wind and I\u2019m happy when it rains, but that\u2019s about the extent of it \u2013 my home is in Estonia.<\/p>\n
Speaking of geography, it seems that you like maps and that you like to use your imagination to create your own \u2013 especially ones that help map the imagination. How would you say that places and spaces feature in your work?<\/em><\/strong><\/p>\nI\u2019ve been on quite a few long-distance bike trips across Estonia and as a ritual, when I get home, I always trace the route on a map, using my memory and deduction to work out, a few days later, which small trails I took, where I doubled back, where I camped for the night, and so on. A map can contain so much more than geographical information and a line on a map is like a secret code containing memories, experiences and images.<\/p>\n
When making a work, in almost all cases, the place in which it will happen, or be exhibited, is intrinsic to the development process, so whether I\u2019m sketching the layout of a gallery space or reading about a town\u2019s history whilst zooming in on Google maps, trying to get closer to a space or place feels like a vital process before presenting art there. The final work may or may not make any reference to a place directly \u2013 often not \u2013 but to imagine and plot the work in the place beforehand plays an important role in its emergence.<\/p>\n
My latest exhibition,\u00a0The Ground Beneath the Tree Moved Like a Congregation<\/a>, with fellow printmaker Mari Prekup and architect Kaarel K\u00fcnnap, was a collaborative exercise in mapping on different planes \u2013 physically mapping the Draakoni Gallery space and building a technically complex structure within it, as well as geographically mapping the phenomena of sacred groves in Estonia as we traveled across the country visiting these ancient sites. Simultaneously, this work mapped folklore and experience, taking two places, geographically distant from each other, and situating them side by side, for their shared narratives.<\/p>\nOver the last few years, you\u2019ve taught printmaking and drawing, given talks as well as lectures, and have run workshops for both children and adults. As a teacher of art, how do you see your role \u2013 are you \u201cpaying forward,\u201d are you passing on the art\/craft, or are you trying to accomplish something else?<\/em><\/strong><\/p>\nIt all depends on the situation. Sometimes I am passing on technique, especially when teaching printmaking, as it\u2019s very much a communal medium which thrives in shared workspaces and requires not only materials and facilities to be shared but also information and methods.<\/p>\n
Within Labora\u2019s creative collective, every member plays a part to make up the whole. And yet Labora\u2019s true strength is built on the simple fact that each member \u2013 or part \u2013 is a whole unto themselves. Hannah Harkes is a perfect example.<\/p>\n
If you were to meet Hannah working away at one of our presses as you tour Labora, you might assume from her impressive typesetting skills that she is a Master Printer.\u00a0 Well, she is.\u00a0 She graduated with honors in Fine Art Printmaking from Gray\u2019s School of Art in her hometown of Aberdeen. And yet a Master Printer is not all she is.<\/p>\n
Beyond Hannah\u2019s mild-mannered and oft bespectacled exterior, you will discover a superb artist of impressive depth and range. So while she can produce prints with the amazing grace embodied in the true meaning of her name, Hannah is also an artist who works in more than just two dimensions \u2013 or even in the two+ dimensions which can result from deep or relief printing.<\/p>\n
Indeed, Hannah will often create three dimensional objects like her soft-sculpture-costume\u00a0Mutivana<\/a>\u00a0(2017) or transform her own 2D prints into 3D objects such as the tantalizing tree trunk of her most recent collaborative exhibit with Mari Prekup dubbed\u00a0The Ground Beneath the Tree Moved Like a Congregation<\/a>\u00a0(2017).<\/p>\n<\/div>\n<\/div>\n Mari and Hannah at their exhibition\u00a0The Ground Beneath the Tree Moved Like a Congregation \u2013 Photo: Mark Raidpere<\/em><\/p>\n<\/div>\n<\/div>\n Of course, there are also those moments when even three dimensions are not enough to contain her imagination \u2013 and so Hannah adds a fourth \u2013 time. As might be expected, some of her performance pieces are print-related such as her two beyond the box\u00a0Graforotika<\/a>\u00a0pieces (2014-2015) with Mari Prekup. \u00a0One involves Hannah and Mari climbing into a barrel to roll human-sized prints. For the other, Hannah dons a pair of red Soviet-made roller skates which double as ink rollers while Mari wears a matching pair to run their prints.<\/p>\n Given her love of printing and her talent for drawing, it should come as no surprise that Hannah will often choose comics \u2013 such as her multi-faceted\u00a0Lollipop Elixir<\/a>\u00a0(2014) \u2013 as a medium for expression. And yet Hannah\u2019s art is full of other surprises \u2013 especially when she follows her inspiration into other more unexpected media which are seldom seen as vehicles for art \u2013 such as games. Yes, Hannah can build a physical contraption like\u00a0Hectare<\/a>\u00a0(2017) which \u2013 at least on its surface \u2013 resembles a traditional board game until you start digging a little deeper. But Hannah also loves to create other playful and interactive games from her\u00a0Great War<\/a>\u00a0(2017) \u2013 a LARP or live action role playing game \u2013to the multi-player\/sleeper\u00a0Chinese Dreams<\/a>\u00a0(2016) \u2013 or even the educational-developmental\u00a0Guessing Game Jam<\/a>\u00a0(2014).<\/p>\n<\/div>\n<\/div>\n Graforotika performance by Hannah and Mari \u2013 Photo: Gudrun Heam\u00e4gi<\/em><\/p>\n<\/div>\n<\/div>\n Hannah\u2019s use of games is no accident. Her artful games are a way for her to interact with her audiences in new ways as she encourages others to participate. And in a country like Estonia known for its many introverts, Hannah\u2019s art-games are a perfect way to break the ice and bring people together. Thanks to her gift for using art to engage with others and to deconstruct barriers, Hannah is a fully integrated member of Estonia\u2019s art world as can be seen from her creative role at the Grafodroom Printmaking Studio or from her membership in both the Estonian Printmakers Association and the Estonian Artists Union. Impressive \u2013 especially when you take the time to admire her work as Labora\u2019s Master Printer.<\/p>\n<\/div>\n<\/div>\n [\/et_pb_text][et_pb_text admin_label=”Text” background_layout=”light” text_orientation=”left” use_border_color=”off” border_color=”#ffffff” border_style=”solid”]<\/p>\n <\/p>\n Of the name Harkes, my father told me as a child that the Harkeses have Viking roots. Whether or not there\u2019s any truth in that, I treasured it growing up, for the idea of a connection to far-off lands in the North, across the sea, with a different language, different gods, and different ways of living. The Harkes family, from my grandfather\u2019s generation and going back a few, were fisherman very much rooted in Aberdeen, a grey city I was always eager to leave.<\/p>\n It is only in the last few years that I\u2019ve begun to call myself and think of myself as Scottish. My mother is English, and most school holidays were spent\u00a0down south<\/em>, visiting family and friends in Yorkshire villages and Lancashire towns, but the current political climate in the UK has left me reluctant to identify as\u00a0British<\/em>, so now\u00a0Scottish<\/em>\u00a0it is, I suppose!<\/p>\n In 2011, the final year of my BA studies, I started looking for an artists\u2019 residency to apply to, as I wanted to move straight on to the next project after graduating. I found the Polymer Culture Factory in Tallinn and came for two months, which became three months, which became six months as I moved into a nearby house in Pelgulinn, shared with other artists. For the next year, I moved between Estonia, Finland, and the UK, working on different exhibitions, but always coming back to Tallinn in between, as I slowly came to realise that I was becoming\u00a0based in Tallinn<\/em>.<\/p>\n I fly to Scotland around once a year because my father lives there. I feel an affinity with mountains and with rugged landscapes, I love the wind and I\u2019m happy when it rains, but that\u2019s about the extent of it \u2013 my home is in Estonia.<\/p>\n Speaking of geography, it seems that you like maps and that you like to use your imagination to create your own \u2013 especially ones that help map the imagination. How would you say that places and spaces feature in your work?<\/em><\/strong><\/p>\n I\u2019ve been on quite a few long-distance bike trips across Estonia and as a ritual, when I get home, I always trace the route on a map, using my memory and deduction to work out, a few days later, which small trails I took, where I doubled back, where I camped for the night, and so on. A map can contain so much more than geographical information and a line on a map is like a secret code containing memories, experiences and images.<\/p>\n When making a work, in almost all cases, the place in which it will happen, or be exhibited, is intrinsic to the development process, so whether I\u2019m sketching the layout of a gallery space or reading about a town\u2019s history whilst zooming in on Google maps, trying to get closer to a space or place feels like a vital process before presenting art there. The final work may or may not make any reference to a place directly \u2013 often not \u2013 but to imagine and plot the work in the place beforehand plays an important role in its emergence.<\/p>\n My latest exhibition,\u00a0The Ground Beneath the Tree Moved Like a Congregation<\/a>, with fellow printmaker Mari Prekup and architect Kaarel K\u00fcnnap, was a collaborative exercise in mapping on different planes \u2013 physically mapping the Draakoni Gallery space and building a technically complex structure within it, as well as geographically mapping the phenomena of sacred groves in Estonia as we traveled across the country visiting these ancient sites. Simultaneously, this work mapped folklore and experience, taking two places, geographically distant from each other, and situating them side by side, for their shared narratives.<\/p>\n Over the last few years, you\u2019ve taught printmaking and drawing, given talks as well as lectures, and have run workshops for both children and adults. As a teacher of art, how do you see your role \u2013 are you \u201cpaying forward,\u201d are you passing on the art\/craft, or are you trying to accomplish something else?<\/em><\/strong><\/p>\n It all depends on the situation. Sometimes I am passing on technique, especially when teaching printmaking, as it\u2019s very much a communal medium which thrives in shared workspaces and requires not only materials and facilities to be shared but also information and methods.<\/p>\n<\/span><\/div>\n<\/span><\/div>\n<\/a>As your last name of Harkes serves a kind of cartographic indicator pointing back to a very specific historic farmstead in Scotland, how is it that you ended up working here in Estonia? And now that you\u2019ve been based here since 2012, how do you maintain your connections back to Scotland?<\/strong><\/em><\/p>\n