Spotlight
Spotlight Artist Hannah Marshall
Championed by Julie Blore-Bizot
Above LIGHT BOX by H+ at Soho House. Image: Madison Phipps
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Above VOICE BOX by H+ at Saatchi Gallery. Photo: WebStyleStory
Interview
Hannah Marshall
Interview
Hannah Marshall
“Artists are conduits for connection” says the award-winning artist Hannah Marshall, the London-based former designer, groundbreaking artist and founder of the experiential art studio, H+. Since closing her clothing label in 2014, Marshall has been devoted to making quiet works that reconnect people with their bodies and minds – using heartbeats, or the human voice.
“Social impact is a priority for me, so even if my art impacts just one person, this has the potential to cause a ripple effect.” Marshall realizes this through monochromatic, minimalist sound pieces, rooted in concepts and intersecting with science and architecture. A memorable installation titled VOICE BOX at the Saatchi Gallery last year, commissioned by Moleskine, encouraged visitors to enter a blacked-out room, where they could sit and experience an alpha and theta wave inducing soundscape, alongside a heartbeat and Marshall’s spoken word. “The room appeared simple to look at, but designed for people to be still, and really listen. Here, I observed people’s experiences inside, with their eyes closed — a rare moment of collective silence which felt profound to witness.”
Marshall’s works, unsurprisingly, have won fans and collaborators from many converging fields and disciplines. Her champion for The Wick is Julie Blore-Bizot, Director of Creative Partnerships at L-Acoustics. “Hannah Marshall’s practice H+ encompasses art spaces that invite deep listening, introspection, and connection. Her work is both subdued and incredibly potent in interweaving the contrasting worlds of darkness and light, sound and silence. A layer of language, of words sparingly and carefully chosen, aligned and realigned, speaks to the observer and listener. I am impressed by Hannah’s ability to assemble a fascinating cadre of humans, whether in the context of art-directing a project or an outing to a conference or gallery viewing. To know Hannah is to enter a multidisciplinary realm of talents. She displays quiet and charming charisma, deeply seated in a keen ability to listen, contemplate, and create. Hannah exudes wisdom and sparks wonder, with grace and gratitude.”
“Social impact is a priority for me, so even if my art impacts just one person, this has the potential to cause a ripple effect.” Marshall realizes this through monochromatic, minimalist sound pieces, rooted in concepts and intersecting with science and architecture. A memorable installation titled VOICE BOX at the Saatchi Gallery last year, commissioned by Moleskine, encouraged visitors to enter a blacked-out room, where they could sit and experience an alpha and theta wave inducing soundscape, alongside a heartbeat and Marshall’s spoken word. “The room appeared simple to look at, but designed for people to be still, and really listen. Here, I observed people’s experiences inside, with their eyes closed — a rare moment of collective silence which felt profound to witness.”
Marshall’s works, unsurprisingly, have won fans and collaborators from many converging fields and disciplines. Her champion for The Wick is Julie Blore-Bizot, Director of Creative Partnerships at L-Acoustics. “Hannah Marshall’s practice H+ encompasses art spaces that invite deep listening, introspection, and connection. Her work is both subdued and incredibly potent in interweaving the contrasting worlds of darkness and light, sound and silence. A layer of language, of words sparingly and carefully chosen, aligned and realigned, speaks to the observer and listener. I am impressed by Hannah’s ability to assemble a fascinating cadre of humans, whether in the context of art-directing a project or an outing to a conference or gallery viewing. To know Hannah is to enter a multidisciplinary realm of talents. She displays quiet and charming charisma, deeply seated in a keen ability to listen, contemplate, and create. Hannah exudes wisdom and sparks wonder, with grace and gratitude.”
Marshall sees her work as “my form of activism”, she explains. “The root of my practice is about intentional disruption — a response to our ecosystem of mass-distraction that is designed to dehumanise and disconnect. Attention is our greatest currency, and so many people are tuned into heartless screens.” This is the reason her works are described as being “engineered with minimalist precision”, so that visitor-participants bring their focus back to the body, to get back in touch with the internal noises that are so often drowned out by day to day life. “When I talk about listening, I mean intentional listening, full body listening. I often talk about how the words listen and silent contain the same letters, but both acts seem revolutionary in our current society.”
Marshall’s personal spiritual practice, which she embarked on in 2014, and the transformative potential of sound meditation also informs her work – many of her installations feel like places of quiet contemplation or worship, sites to nourish the soul and mind. “I am moved by intentional spaces such as temples as they hold such reverence, integrity and meaning — inviting ritual and charged silence. Architecturally, the minimalist master Tadao Ando paved the way with his unadorned, emotionally resonant spaces; and I’ve always felt a magnetic pull towards Richard Serra’s immense site-specific land art pieces, large scale monuments in conversation with the land.”
Presently, Marshall has several major projects simultaneously in progress at the studio, alongside commissions (Marshall has worked with clients from the Financial Times to Cannes Lions and Porsche). TEMPLE is an installation Marshall is developing with audio & audience experience specialists, A Right/Left Project. “It features a body of water and explores what a sacred space could be for people in an increasingly secular society.” Marshall hopes to find a location in London to premiere it in the near future. HEARTLINE, meanwhile, is “about the syncronisation of the human heartbeat, to bring people back to the body in a simple and direct way. Also, I will be creating a series of art pieces that will be available as limited edition.” This follows on from the success of Marshall’s first series, which was also sold by Bonham’s in the ‘British.Cool’ auction. All the pieces are created in silent ritual, numbered and hand signed. “The work underscores the critical significance of sensory experiences to cultivate emotional intelligence to consciously connect us — individually and collectively.”
Marshall’s personal spiritual practice, which she embarked on in 2014, and the transformative potential of sound meditation also informs her work – many of her installations feel like places of quiet contemplation or worship, sites to nourish the soul and mind. “I am moved by intentional spaces such as temples as they hold such reverence, integrity and meaning — inviting ritual and charged silence. Architecturally, the minimalist master Tadao Ando paved the way with his unadorned, emotionally resonant spaces; and I’ve always felt a magnetic pull towards Richard Serra’s immense site-specific land art pieces, large scale monuments in conversation with the land.”
Presently, Marshall has several major projects simultaneously in progress at the studio, alongside commissions (Marshall has worked with clients from the Financial Times to Cannes Lions and Porsche). TEMPLE is an installation Marshall is developing with audio & audience experience specialists, A Right/Left Project. “It features a body of water and explores what a sacred space could be for people in an increasingly secular society.” Marshall hopes to find a location in London to premiere it in the near future. HEARTLINE, meanwhile, is “about the syncronisation of the human heartbeat, to bring people back to the body in a simple and direct way. Also, I will be creating a series of art pieces that will be available as limited edition.” This follows on from the success of Marshall’s first series, which was also sold by Bonham’s in the ‘British.Cool’ auction. All the pieces are created in silent ritual, numbered and hand signed. “The work underscores the critical significance of sensory experiences to cultivate emotional intelligence to consciously connect us — individually and collectively.”
About the champion
Julie Blore-Bizot is Director of Creative Partnerships at L-Acoustics. She interacts with artists, musicians, music producers, and creative directors through mutually beneficial collaborations designed to elevate the role of sound. Julie joined L-Acoustics in 2018 after 20 years in a global role at Disney producing audiovisual, music, and interactive content and experiences. She currently enjoys life as an American in Paris with frequent travel abroad to share L-Acoustics leadership in spatial audio technologies. When not working, Julie can be found enjoying live music, theatre, art, a good book, or a fine meal.
“To know Hannah is to enter a multidisciplinary realm of talents. She displays quiet and charming charisma, deeply seated in a keen ability to listen, contemplate, and create.”
Julie Blore-Bizot
Above LIGHT BOX by H+ at Soho House. Image: Madison Phipps
Above QUIET BOX by Hannah Marshall. Image: Porsche ‘The Founders Initiative’
Above Power of Sound panel talk at Cannes Lions with UN Live. Image: World Woman Foundation
Above VOICE BOX by H+ at Saatchi Gallery. Image: H+
Above Hannah Marshall recording spoken word. Image: H+
Above LIGHT BOX by H+ at Soho House. Image: Madison Phipps
Above QUIET BOX by Hannah Marshall. Image: Porsche ‘The Founders Initiative’
Above Power of Sound panel talk at Cannes Lions with UN Live. Image: World Woman Foundation
Above VOICE BOX by H+ at Saatchi Gallery. Image: H+
Above Hannah Marshall recording spoken word. Image: H+
