https://shawna-donahue.com/portfolios daily 1.0 2024-11-11 https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1717706010389-95I6FIBJ1NWL7D71SHTX/hanel_invisible_hands.jpg Portfolios - hanel_invisible_hands.jpg This series follows the flow of oil, through a terrain afflicted by the overwhelming production and consumption of superfluous goods. At the end of this viscous river one finds, in our invisible hands, a planet littered with petroleum by-products, the ubiquitous plastics our world is awash with.Shawna Donahue installing Invisible Hands, at PITspace Gallery, 2004, Melbourne, Australia https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1504641258968-08UJ6DFTUFH77MVK9549/hanel_tanker.jpg Portfolios - Tanker, 2002 There is a discernible influence on the climate, and a link between the concentration of carbon dioxide and the increase in temperature. —John Browne, British Petroleum Archival Pigment Print, 4 x 4" https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1504641291048-I2L9J25UEUAX06UOXDCZ/hanel_stegosaurus.jpg Portfolios - Stegosaurus, 2003 When we burn oil, gasoline, and coal, we release great quantities of carbon that was locked up and compressed during the Cretaceous Period. The giant ferns and dinosaurs of those days decomposed in oxygen-starved conditions and never had a chance to complete their decay cycle. Now we're finishing the job with a bonfire, consuming in a year what took one hundred thousand years of organic growth to form. Like a huge bellows, our bonfire breathes in oxygen and exhales an unearthly quantity of CO2, a greenhouse gas. —Janine M. Benyus Archival Pigment Print, 4 x 4" https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1504641303522-AXWEYG7CMAILOUU4N73T/hanel_cars.jpg Portfolios - Cars, 2003 The one fifth of the world who live in the highest-income countries drive 87 percent of the world's vehicles and release 53 percent of the world's carbon emissions. —Mia MacDonald & Danielle Nierenberg Archival Pigment Print, 4 x 4" https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1504641316659-TVLWNQXVRZCVEGIGLB19/hanel_petroleum_byproduct.jpg Portfolios - Petroleum-Byproduct, 2002 Raw materials for plastics include coal and cellulose, but by far the chief source is petroleum. Archival Pigment Print, 4 x 4" https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1504641331702-AVD6HC3SL3E746ZWYPN4/hanel_bread_tie.jpg Portfolios - Bread Tie, 2002 Invisible Hands follows the flow of oil, through a terrain afflicted by the overwhelming production and consumption of superfluous goods. At the end of this viscous river, one finds in our invisible hands, a planet littered with petroleum by-products, the ubiquitous plastics our world is awash with. Archival Pigment Print, 4 x 4" https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1504641351690-W69A4RVRCYATD6B02NLU/hanel_spoon.jpg Portfolios - Spoon, 2003 Invisible Hands follows the flow of oil, through a terrain afflicted by the overwhelming production and consumption of superfluous goods. At the end of this viscous river, one finds in our invisible hands, a planet littered with petroleum by-products, the ubiquitous plastics our world is awash with. Archival Pigment Print, 4 x 4" https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1504641368435-IILIUTVK8FQU7DWGCW7H/hanel_elephant.jpg Portfolios - Elephant, 2003 Invisible Hands follows the flow of oil, through a terrain afflicted by the overwhelming production and consumption of superfluous goods. At the end of this viscous river, one finds in our invisible hands, a planet littered with petroleum by-products, the ubiquitous plastics our world is awash with. Archival Pigment Print, 4 x 4" https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1504641381071-6006C1IBHSYAV2KL5Y9K/hanel_detritus.jpg Portfolios - Detritus, 2003 In a working class quarter by the textile factories, I saw an endearing shrine on a raised platform, festooned with humble offerings left by neighbors. Around its base, the ground was clotted with the evidence of higher civilization, bits of plastic, thousands of blue and pink shopping sacks gathered by the wind. —William Greider Archival Pigment Print, 4 x 4" https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1504645858147-2NU3K1DM2E4V75PP5YAV/hanel_ticker_sos.jpg Portfolios - Ticker: SOS, 2003 An Artist’s Scroll from the series Invisible Hands Archival Pigment Print, Plastic Hangers, 9 x 60" Exhibited in PITspace Gallery, Melbourne Australia, 2004 https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1504645877488-GQNWXDM4E3UT8Y4MJ6CW/hanel_ticker_sos_detail.jpg Portfolios - Ticker: SOS (detail) An artist’s scroll of the triptychs, Red Dots, White Dashes and Blue Dots from the series Invisible Hands Archival Pigment Print, Plastic Hangers, 9 x 60" Exhibited in PITspace Gallery, Melbourne Australia, 2004 https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1504645899426-ICIWQVR0TXUZI97CKJED/hanel_ticker_sos_red_dots.jpg Portfolios - Red Dots, 2003 From Ticker: SOS in the Invisible Hands series Archival Pigment Print, 4 x 12.5” https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1504645914227-ZP8W2W0CJDXSVGV87BU7/hanel_ticker_sos_white_dashes.jpg Portfolios - White Dashes, 2003 From Ticker: SOS in the Invisible Hands series Archival Pigment Print, 4 x 18.5" https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1504645950292-XPBZOF30SFRW1FMRYRPR/hanel_ticker_sos_blue_dots.jpg Portfolios - Blue Dots, 2003 From Ticker: SOS in the Invisible Hands series Archival Pigment Print, 4 x 12.5" https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1504645990066-7R2LSIR1DSU5G08MEEZ3/hanel_invisible_hand.jpg Portfolios - Invisible Hand, 2002 Invisible Hands follows the flow of oil, through a terrain afflicted by the overwhelming production and consumption of superfluous goods. At the end of this viscous river, one finds in our invisible hands, a planet littered with petroleum by-products, the ubiquitous plastics our world is awash with. Archival Pigment Print, 4 x 4.2" https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1504646028223-80DH8QCL3NB2ENV14IWC/hanel_for_ages_3_and_up.jpg Portfolios - For Ages Three and Up, 2003 Characterized by acute demand for petroleum, often while in pursuit or defense of strategic oil reserves, twentieth-century conflicts saw rival forces forever racing further then their fuel supplies. During the latter part of the century, toy makers scrambled to replicate the newest battle tools showcased live on CNN. Recommended for ages three and up. Archival Pigment Print, 4 x 6" https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1504646129843-2W8W4S3STH7MGDCBZRCC/hanel_unproductive_commodity.jpg Portfolios - Unproductive Commodity, 2002 Arms are the ultimate unproductive commodity. If they are used they destroy; if they are not they still consume resources that could otherwise help alleviate poverty and promote sustainable development. —Campaign Against Arms Trade Is it possible for America to simultaneously advance world peace and remain the planet's largest arms trafficker? Nations are said to have the governments they deserve. Let us show that we deserve better. —David Astor Archival Pigment Print, 4 x 4" https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1504646168414-7K8CU4THWHQ98A4M6L4Z/hanel_still_there.jpg Portfolios - Still There, 2002 The more advertising I see, the less I want to buy. —Tom Robbins Archival Pigment Print, 4 x 6" https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1504646193187-XQ537S41O5HHPYWKMQDO/hanel_values.jpg Portfolios - Values, 2002 Everyone’s values are defined by what they will tolerate when it is done to others —William Greider Archival Pigment Print, 4 x 6" https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1504646211966-ZNT8EJ97UK6G84EBCJB5/hanel_bags.jpg Portfolios - Red Bag, White Bag & Blue Bag, 2003 Nations are said to have the governments they deserve. Let us show that we deserve better. —David Astor Archival Pigment Print, 6 x 12.5" https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1504646233331-AU8WCTNJS50JLKNG0L87/hanel_concern.jpg Portfolios - Concern, 2002 We need to embrace the oneness of humanity and show concern for everyone—not just my family or my country or my continent. We must show concern for every being, not just the few who resemble us. Differences of religion, ideology, race, economic system, social system, and government are all secondary. —The Fourteenth Dalai Lama Archival Pigment Print, 4 x 6" https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1504646274372-9P4GKPRPXKWGSP5IIQPX/hanel_share_reduce_recycle.jpg Portfolios - Share, Reduce & Recycle, 2002 Feedback in nature is continual. Such elements as carbon, sulphur, and nitrogen are constantly being recycled. If you could trace the history of the carbon, calcium, potassium, phosphorus, and water in your body, you would probably find that you are made up of bits of the Black Sea, extinct fish, eroded mountain ranges, and the exhalations of Jesus and Buddha. —Paul Hawken, Amory Lovins & L. Hunter Lovins In the United States, the materials used by the metabolism of industry amount to more than twenty times every citizen's weight per day, more than one million pounds per American per year. —Paul Hawken, Amory Lovins & L. Hunter Lovins How can we reduce the quantity of natural resources we consume and improve the quality of our lives? Archival Pigment Print, 4 x 12.5" https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1504646300918-18WHWJ5GNCXQLYXB1PYB/hanel_crawford.jpg Portfolios - Crawford, 2002 The Bush ranch house in Crawford, Texas balances beauty with state-of-the-art energy efficiency. The passive-solar house is positioned to absorb winter sunlight, warming the interior walkways and walls. Underground water, which remains a constant 55 degrees year-round, is piped through a heat exchange system that keeps the interior warm in winter and cool in summer. A grey water reclamation system treats and reuses waste water. Rain gutters feed a cistern hooked to a sprinkler system for watering the fruit orchard and grass. —Rose Marie Berger Archival Pigment Print, 4 x 4" https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1504646345615-X8AXXKPAT1ADBRTINQ56/hanel_clothes_pin.jpg Portfolios - Clothes Pin Sabi, 2003 The term Sabi comes from Japanese aesthetic philosophy and refers to a beauty or serenity that comes with age, when the life of the object and its impermanence are evidenced in its patina and wear. Archival Pigment Print, 4 x 4" https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1504646369249-12EIXK358WTC1LAOKRPC/hanel_walk.jpg Portfolios - Walk, 2003 On those walks we did our thinking, talking, and planning together. —John D. Rockefeller, Standard Oil Archival Pigment Print, 4 x 6" https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1504646392048-GLC03OGA5S9D6K3ZUX8K/hanel_creation.jpg Portfolios - Creation, 2002 We have lived by the assumption that what was good for us would be good for the world. We have been wrong. We must change our lives, so that it will be possible to live by the contrary assumption that what is good for the world will be good for us. And that requires that we make the effort to know the world and to learn what is good for it. We must learn to cooperate in its processes, and to yield to its limits. But even more important, we must learn to acknowledge that the creation is full of mystery, we will never clearly understand it. We must abandon arrogance and stand in awe. We must recover the sense of the majesty of the creation, and the ability to be worshipful in its presence. For it is only on the condition of humility and reverence before the world that our species will be able to remain in it. —Wendell Berry Archival Pigment Print, 4 x 4" https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1717706562962-CQ9V1XKC3E4LBDX4A6EX/hanel_vanished_vespidae_intro.jpg Portfolios - hanel_vanished_vespidae_intro.jpg Shattered at my feet, I encounter the chewed remains of plant fibers molded into intricate paper sheets and hexagonal chambers. What once served as home for a wasp colony, lies abandoned at the base of a tree. Captivated by abstract patterns woven from interlaced cycles of existence and decay, I photograph the fragments and crushed combs of these deserted nests, revealing a porous boundary between the living, the dead and the vanished. Shooting Vanished Vespidae in Shawna Donahue's Studio, 2017 https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1718313088582-33TYIYL32AZ1UDLLGFDL/donahue_vanished_vespidae_10.jpg Portfolios - donahue_vanished_vespidae_10.jpg Shattered at my feet, I encounter the chewed remains of plant fibers molded into intricate paper sheets and hexagonal chambers. What once served as home for a wasp colony, lies abandoned at the base of a tree. Captivated by abstract patterns woven from interlaced cycles of existence and decay, I photograph the fragments and crushed combs of these deserted nests, revealing a porous boundary between the living, the dead and the vanished.Archival Pigment Print, 20 x 20" https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1718381202492-GT4DH7573TB5FOTK4SOY/donahue_vanished_vespidae_04.jpg Portfolios - donahue_vanished_vespidae_04.jpg Shattered at my feet, I encounter the chewed remains of plant fibers molded into intricate paper sheets and hexagonal chambers. What once served as home for a wasp colony, lies abandoned at the base of a tree. Captivated by abstract patterns woven from interlaced cycles of existence and decay, I photograph the fragments and crushed combs of these deserted nests, revealing a porous boundary between the living, the dead and the vanished.Archival Pigment Print, 20 x 25" https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1718719415671-D4Z0YEZPGNQQ9C8JWSQ3/donahue_vanished_vespidae_08.jpg Portfolios - donahue_vanished_vespidae_08.jpg Shattered at my feet, I encounter the chewed remains of plant fibers molded into intricate paper sheets and hexagonal chambers. What once served as home for a wasp colony, lies abandoned at the base of a tree. Captivated by abstract patterns woven from interlaced cycles of existence and decay, I photograph the fragments and crushed combs of these deserted nests, revealing a porous boundary between the living, the dead and the vanished.Archival Pigment Print, 20 x 30" https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1749850084925-8RG6M4U93DYR4HE7TOFG/donahue_vanished_vespidae_08-Edit.jpg Portfolios - donahue_vanished_vespidae_08-Edit.jpg Shattered at my feet, I encounter the chewed remains of plant fibers molded into intricate paper sheets and hexagonal chambers. What once served as home for a wasp colony, lies abandoned at the base of a tree. Captivated by abstract patterns woven from interlaced cycles of existence and decay, I photograph the fragments and crushed combs of these deserted nests, revealing a porous boundary between the living, the dead and the vanished.Archival Pigment Print, 20 x 30" https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1719604707583-FHMBGZTSCNP3X020IGKG/donahue_vanished_vespidae_19.jpg Portfolios - donahue_vanished_vespidae_19.jpg Shattered at my feet, I encounter the chewed remains of plant fibers molded into intricate paper sheets and hexagonal chambers. What once served as home for a wasp colony, lies abandoned at the base of a tree. Captivated by abstract patterns woven from interlaced cycles of existence and decay, I photograph the fragments and crushed combs of these deserted nests, revealing a porous boundary between the living, the dead and the vanished.Archival Pigment Print, 20 x 25"" https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1718376200934-MVDOZ21AG0GTYRN3S2K4/donahue_vanished_vespidae_03.jpg Portfolios - donahue_vanished_vespidae_03.jpg Shattered at my feet, I encounter the chewed remains of plant fibers molded into intricate paper sheets and hexagonal chambers. What once served as home for a wasp colony, lies abandoned at the base of a tree. Captivated by abstract patterns woven from interlaced cycles of existence and decay, I photograph the fragments and crushed combs of these deserted nests, revealing a porous boundary between the living, the dead and the vanished.Archival Pigment Print, 20 x 30" https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1718386934627-0KXO9WMOG0KJI0Q6YIY5/donahue_vanished_vespidae_05.jpg Portfolios - donahue_vanished_vespidae_05.jpg Shattered at my feet, I encounter the chewed remains of plant fibers molded into intricate paper sheets and hexagonal chambers. What once served as home for a wasp colony, lies abandoned at the base of a tree. Captivated by abstract patterns woven from interlaced cycles of existence and decay, I photograph the fragments and crushed combs of these deserted nests, revealing a porous boundary between the living, the dead and the vanished.Archival Pigment Print, 20 x 30" https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1718716969861-RRMBTD6LIJQVN7R6Z8ZR/donahue_vanished_vespidae_06.jpg Portfolios - donahue_vanished_vespidae_06.jpg Shattered at my feet, I encounter the chewed remains of plant fibers molded into intricate paper sheets and hexagonal chambers. What once served as home for a wasp colony, lies abandoned at the base of a tree. Captivated by abstract patterns woven from interlaced cycles of existence and decay, I photograph the fragments and crushed combs of these deserted nests, revealing a porous boundary between the living, the dead and the vanished.Archival Pigment Print, 20 x 30" https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1718664887608-NOY6JIYQW2QILTNAB3E2/donahue_vanished_vespidae_07.jpg Portfolios - donahue_vanished_vespidae_07.jpg Shattered at my feet, I encounter the chewed remains of plant fibers molded into intricate paper sheets and hexagonal chambers. What once served as home for a wasp colony, lies abandoned at the base of a tree. Captivated by abstract patterns woven from interlaced cycles of existence and decay, I photograph the fragments and crushed combs of these deserted nests, revealing a porous boundary between the living, the dead and the vanished.Archival Pigment Print, 20 x 20" https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1718317513642-DBVSIVTZ0P73KGZWLBGY/donahue_vanished_vespidae_01.jpg Portfolios - donahue_vanished_vespidae_01.jpg Shattered at my feet, I find the chewed remains of plant life molded into paper sheets and hexagonal cells. What once served as an active home for a colony of wasps, lies abandoned on the forest floor. Enchanted by the abstracted arrays of interlaced cycles of life and death, I now collect and photograph fluttering fragments, crushed combs and at times intact nests in an effort to illuminate the porous boundaries between the living, the dead and the vanished.Archival Pigment Print, 20 x 30" x 30" x 30" https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1718374699288-IZIWII5CWFN1G9KM1KMG/donahue_vanished_vespidae_02.jpg Portfolios - donahue_vanished_vespidae_02.jpg Shattered at my feet, I encounter the chewed remains of plant fibers molded into intricate paper sheets and hexagonal chambers. What once served as home for a wasp colony, lies abandoned at the base of a tree. Captivated by abstract patterns woven from interlaced cycles of existence and decay, I photograph the fragments and crushed combs of these deserted nests, revealing a porous boundary between the living, the dead and the vanished.Archival Pigment Print, 20 x 30" x 30" https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1718986416613-PJBU7GVO9WPU9GZZE85H/donahue_vanished_vespidae_09.jpg Portfolios - donahue_vanished_vespidae_09.jpg Shattered at my feet, I encounter the chewed remains of plant fibers molded into intricate paper sheets and hexagonal chambers. What once served as home for a wasp colony, lies abandoned at the base of a tree. Captivated by abstract patterns woven from interlaced cycles of existence and decay, I photograph the fragments and crushed combs of these deserted nests, revealing a porous boundary between the living, the dead and the vanished.Archival Pigment Print, 20 x 30" https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1718994004551-GY9JK8L75R94KAKXTP94/donahue_vanished_vespidae_11.jpg Portfolios - donahue_vanished_vespidae_11.jpg Shattered at my feet, I encounter the chewed remains of plant fibers molded into intricate paper sheets and hexagonal chambers. What once served as home for a wasp colony, lies abandoned at the base of a tree. Captivated by abstract patterns woven from interlaced cycles of existence and decay, I photograph the fragments and crushed combs of these deserted nests, revealing a porous boundary between the living, the dead and the vanished.Archival Pigment Print, 20 x 25" https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1719344347036-RL26MU7V5EBR72KZT3SE/donahue_vanished_vespidae_17.jpg Portfolios - donahue_vanished_vespidae_17.jpg Shattered at my feet, I encounter the chewed remains of plant fibers molded into intricate paper sheets and hexagonal chambers. What once served as home for a wasp colony, lies abandoned at the base of a tree. Captivated by abstract patterns woven from interlaced cycles of existence and decay, I photograph the fragments and crushed combs of these deserted nests, revealing a porous boundary between the living, the dead and the vanished.Archival Pigment Print, 20 x 20" https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1718995489169-LWOEUUMKGXAS90VF2XW4/donahue_vanished_vespidae_12.jpg Portfolios - donahue_vanished_vespidae_12.jpg Shattered at my feet, I encounter the chewed remains of plant fibers molded into intricate paper sheets and hexagonal chambers. What once served as home for a wasp colony, lies abandoned at the base of a tree. Captivated by abstract patterns woven from interlaced cycles of existence and decay, I photograph the fragments and crushed combs of these deserted nests, revealing a porous boundary between the living, the dead and the vanished. https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1719181084852-K7BISPH8HL7OU32O9SGV/donahue_vanished_vespidae_13.jpg Portfolios - donahue_vanished_vespidae_13.jpg Shattered at my feet, I encounter the chewed remains of plant fibers molded into intricate paper sheets and hexagonal chambers. What once served as home for a wasp colony, lies abandoned at the base of a tree. Captivated by abstract patterns woven from interlaced cycles of existence and decay, I photograph the fragments and crushed combs of these deserted nests, revealing a porous boundary between the living, the dead and the vanished.Archival Pigment Print, 20 x 20" https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1719184102056-3LBK0YXA0QUNTCOEANA9/donahue_vanished_vespidae_14.jpg Portfolios - donahue_vanished_vespidae_14.jpg Shattered at my feet, I encounter the chewed remains of plant fibers molded into intricate paper sheets and hexagonal chambers. What once served as home for a wasp colony, lies abandoned at the base of a tree. Captivated by abstract patterns woven from interlaced cycles of existence and decay, I photograph the fragments and crushed combs of these deserted nests, revealing a porous boundary between the living, the dead and the vanished.Archival Pigment Print, 20 x 25" https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1719261432089-SBR2UOIQIBTCSG8Z9YSX/donahue_vanished_vespidae_15.jpg Portfolios - donahue_vanished_vespidae_15.jpg Shattered at my feet, I encounter the chewed remains of plant fibers molded into intricate paper sheets and hexagonal chambers. What once served as home for a wasp colony, lies abandoned at the base of a tree. Captivated by abstract patterns woven from interlaced cycles of existence and decay, I photograph the fragments and crushed combs of these deserted nests, revealing a porous boundary between the living, the dead and the vanished.Archival Pigment Print, 20 x 25" https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1719266583977-IPR9XV69PYM4KUNQLDH0/donahue_vanished_vespidae_16.jpg Portfolios - donahue_vanished_vespidae_16.jpg Shattered at my feet, I encounter the chewed remains of plant fibers molded into intricate paper sheets and hexagonal chambers. What once served as home for a wasp colony, lies abandoned at the base of a tree. Captivated by abstract patterns woven from interlaced cycles of existence and decay, I photograph the fragments and crushed combs of these deserted nests, revealing a porous boundary between the living, the dead and the vanished.Archival Pigment Print, 20 x 30" https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1719349506953-G4MN33SOSZ628J3KX32T/donahue_vanished_vespidae_18.jpg Portfolios - donahue_vanished_vespidae_18.jpg Shattered at my feet, I encounter the chewed remains of plant fibers molded into intricate paper sheets and hexagonal chambers. What once served as home for a wasp colony, lies abandoned at the base of a tree. Captivated by abstract patterns woven from interlaced cycles of existence and decay, I photograph the fragments and crushed combs of these deserted nests, revealing a porous boundary between the living, the dead and the vanished.Archival Pigment Print, 20 x 20" https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1504647345009-BAXT9E1DHBJ4SAJAWPR9/hanel_white_folk.jpg Portfolios - Ten Little White Folk | And Then There Were None In 1868, Septimus Winner penned the song “Ten Little Injuns” based upon an 1850s minstrel act. Eventually, an abbreviated version became a popular contemporary children’s rhyme. My parents, in 1974, purchased The Giant Golden Mother Goose for their already bookwormish toddler. As a child, I adored “Ten Little Injuns.” However, rereading the text as an adult eviscerated any affinity I had for the nursery rhyme and ultimately inspired me to create this revised edition. For the new version, I replaced every instance of the term “Injun” with “White Folk.” I also exchanged every illustration of an Indian with photographs of white characters from neighboring pages. I then had small cover boards cut from the inside back cover of an original The Giant Golden Mother Goose. Normally, I find the destruction of a book anathema, but my hope is that this effort clearly demonstrates the depths to which historical racism permeates modern material culture and points to a future in which genocide and assimilation can no longer masquerade as children’s literature. https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1504646511295-G1QGWP0WG4GUYVJXFUQ9/hanel_white_folk_closed.jpg Portfolios - Ten Little White Folk (closed), 2014, 2⅔ x 4 x 1“ In 1868, Septimus Winner penned the song “Ten Little Injuns” based upon an 1850s minstrel act. Eventually, an abbreviated version became a popular contemporary children’s rhyme. My parents, in 1974, purchased The Giant Golden Mother Goose for their already bookwormish toddler. As a child, I adored “Ten Little Injuns.” However, rereading the text as an adult eviscerated any affinity I had for the nursery rhyme and ultimately inspired me to create this revised edition. For the new version, I replaced every instance of the term “Injun” with “White Folk.” I also exchanged every illustration of an Indian with photographs of white characters from neighboring pages. I then had small cover boards cut from the inside back cover of an original The Giant Golden Mother Goose. Normally, I find the destruction of a book anathema, but my hope is that this effort clearly demonstrates the depths to which historical racism permeates modern material culture and points to a future in which genocide and assimilation can no longer masquerade as children’s literature. https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1504646513278-PQY85LYF16EAPJ75O43M/hanel_white_folk_open.jpg Portfolios - Ten Little White Folk (open), 2014, 2⅔ x 4 x 40“ In 1868, Septimus Winner penned the song “Ten Little Injuns” based upon an 1850s minstrel act. Eventually, an abbreviated version became a popular contemporary children’s rhyme. My parents, in 1974, purchased The Giant Golden Mother Goose for their already bookwormish toddler. As a child, I adored “Ten Little Injuns.” However, rereading the text as a forty-something adult eviscerated any affinity I had for the nursery rhyme and ultimately inspired me to create this revised 2014 edition. For the new version, I replaced every instance of the term “Injun” with “White Folk.” I also exchanged every illustration of an Indian with photographs of white characters from neighboring pages. I then had small cover boards cut from the inside back cover of an original The Giant Golden Mother Goose. Normally, I find the destruction of a book anathema, but my hope is that this effort clearly demonstrates the depths to which historical racism permeates modern material culture and points to a future in which genocide and assimilation no longer masquerade as children’s literature. https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1504646510836-KQJ6Z1D78UAWWQCD8BSP/hanel_white_folk_extended.jpg Portfolios - Ten Little White Folk (extended), 2014, 2⅔ x 4 x 40“ In 1868, Septimus Winner penned the song “Ten Little Injuns” based upon an 1850s minstrel act. Eventually, an abbreviated version became a popular contemporary children’s rhyme. My parents, in 1974, purchased The Giant Golden Mother Goose for their already bookwormish toddler. As a child, I adored “Ten Little Injuns.” However, rereading the text as a forty-something adult eviscerated any affinity I had for the nursery rhyme and ultimately inspired me to create this revised 2014 edition. For the new version, I replaced every instance of the term “Injun” with “White Folk.” I also exchanged every illustration of an Indian with photographs of white characters from neighboring pages. I then had small cover boards cut from the inside back cover of an original The Giant Golden Mother Goose. Normally, I find the destruction of a book anathema, but my hope is that this effort clearly demonstrates the depths to which historical racism permeates modern material culture and points to a future in which genocide and assimilation no longer masquerade as children’s literature. https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1504646513555-JR55RJP9BYVU5K0SIYZW/hanel_white_folk_pages.jpg Portfolios - Ten Little White Folk (pages), 2014, 2⅔ x 4 x 40“ In 1868, Septimus Winner penned the song “Ten Little Injuns” based upon an 1850s minstrel act. Eventually, an abbreviated version became a popular contemporary children’s rhyme. My parents, in 1974, purchased The Giant Golden Mother Goose for their already bookwormish toddler. As a child, I adored “Ten Little Injuns.” However, rereading the text as a forty-something adult eviscerated any affinity I had for the nursery rhyme and ultimately inspired me to create this revised 2014 edition. For the new version, I replaced every instance of the term “Injun” with “White Folk.” I also exchanged every illustration of an Indian with photographs of white characters from neighboring pages. I then had small cover boards cut from the inside back cover of an original The Giant Golden Mother Goose. Normally, I find the destruction of a book anathema, but my hope is that this effort clearly demonstrates the depths to which historical racism permeates modern material culture and points to a future in which genocide and assimilation no longer masquerade as children’s literature. https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1504738021084-L4447QY7VT6C79PWQVLD/tlwf_01.jpg Portfolios - Ten Little White Folk (Line), 2014 Archival Pigment Print, 6 x 9" https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1504738021261-2GS352JA37MWYTKUS2UA/tlwf_02.jpg Portfolios - Ten Little White Folk (Gate), 2014 Archival Pigment Print, 6 x 9" https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1504738022471-Y4GH5XRLI4K7TLGUD3HG/tlwf_03.jpg Portfolios - Ten Little White Folk (Bucket), 2014 Archival Pigment Print, 6 x 9" https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1504738022835-KZKRPYXQJH39F77EOL81/tlwf_04.jpg Portfolios - Ten Little White Folk (Tricks), 2014 Archival Pigment Print, 6 x 9" https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1504646524219-5RNIQ6A3HDOF55JA2BR5/tlwf_05.jpg Portfolios - Ten Little White Folk (Neck), 2014 Archival Pigment Print, 6 x 9" https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1504646525941-W87IZVUR4CQS6Q6K1UL5/tlwf_06.jpg Portfolios - Ten Little White Folk (Cellar Door), 2014 Archival Pigment Print, 6 x 9" https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1504646527248-UY398LZC7GO34E9QFFBE/tlwf_07.jpg Portfolios - Ten Little White Folk (Tree), 2014 Archival Pigment Print, 6 x 9" https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1504646527874-KOAZZH74YTXYSYBHZKAF/tlwf_08.jpg Portfolios - Ten Little White Folk (Overboard), 2014 Archival Pigment Print, 6 x 9" https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1504646532542-332GPIDB1V5RWX5ESHDI/tlwf_09.jpg Portfolios - Ten Little White Folk (Gun), 2014 Archival Pigment Print, 6 x 9" https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1504646531849-K78PXK7PIE1C9HSZM2UE/tlwf_10.jpg Portfolios - Ten Little White Folk (None), 2014 Archival Pigment Print, 6 x 9" https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1504646509565-AZ0VQ1JRFM01IR9ZTDMP/hanel_white_folk_comp.jpg Portfolios - Ten Little White Folk (composite), 2014 Archival Pigment Prints, 6 x 9" https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1717785794831-KO1SB1U3GAU0JJ6MO7U6/hanel_memento_familia.jpg Portfolios - hanel_memento_familia.jpg My Grandma Grace wore clip-on earrings for most of her life. When she turned sixty-five, Grandpa Deano surprised her with a pair of diamond earrings. The catch? They were for pierced ears. Undeterred, Grandma became one of the oldest customers at the ear piercing counter in the jewelry shop. Once home, she pondered what to do with her shoebox full of costume clip-ons. Redbook magazine to the rescue. In its pages she found instructions for crafting a jeweled mirror, inspiring her to create the colorful looking glass that now adorns my studio walls. This silent witness to the past, along with other cherished fragments from my family's history, are much more than keepsakes; they are tangible connections to the enduring devotions of those who came before me.Shawna Donahue composing Granny Grace's Looking GlassPhoto Copyright Luke Massengill https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1504649574573-TN9WY1WXA0PNKF1TCY3J/hanel_looking_glass.jpg Portfolios - Granny Grace's Looking Glass, 2010 Though I never met Great Grampy Frank, his Kodak Autographic graces a shelf in my studio. It is but one of the fragments of the lives of my forbearers—artifacts now possessing lives of their own. These remnants serve to remind that while flesh is frail, passion endures. Archival Pigment Print, 8 x 12" https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1504649572260-EEHH7BNXZHUEII67WD5W/hanel_hourglass.jpg Portfolios - Grosmutter's Hourglass, 2011 Though I never met Great Grampy Frank, his Kodak Autographic graces a shelf in my studio. It is but one of the fragments of the lives of my forbearers—artifacts now possessing lives of their own. These remnants serve to remind that while flesh is frail, passion endures. Archival Pigment Print, 12 X 18" https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1504737673530-6F4RUVSNMLGK4G5F7CD1/hanel_buckle.jpg Portfolios - Grandpa Bob's Liberty Dollar Belt Buckle, 2014 Though I never met Great Grampy Frank, his Kodak Autographic graces a shelf in my studio. It is but one of the fragments of the lives of my forbearers—artifacts now possessing lives of their own. These remnants serve to remind that while flesh is frail, passion endures. Archival Pigment Print, 10 x 10" https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1504649566610-OMX2RMJ5P10MLSR0CAR4/hanel_autographic.jpg Portfolios - Grampy Frank's Kodak Autographic, 2010 Though I never met Great Grampy Frank, his Kodak Autographic graces a shelf in my studio. It is but one of the fragments of the lives of my forbearers—artifacts now possessing lives of their own. These remnants serve to remind that while flesh is frail, passion endures. Archival Pigment Print, 8 x 12" https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1504649571354-ASK9MBTS1Z9G7DE949N2/hanel_handbags.jpg Portfolios - Granny Grace's Handbags, 2013 Though I never met Great Grampy Frank, his Kodak Autographic graces a shelf in my studio. It is but one of the fragments of the lives of my forbearers—artifacts now possessing lives of their own. These remnants serve to remind that while flesh is frail, passion endures.Archival Pigment Print, 12 x 18" https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1504649577606-RYNU9NMO4N7BX5R0X28I/hanel_oven_timer.jpg Portfolios - Granny Grace's Oven Timer, 2011 Thanksgiving at Granny Grace’s HouseShe’s roasted many a turkey in her Range Sentry. One time Grandma and I were transferring the golden brown bird from the pan to a cutting board. We each grabbed a leg and as we left the safety of the counter and traversed across the kitchen floor, the center of the bird crashed with a thudplop. We were left facing one another, each brandishing a drumstick. Grandma leaned over, stared me intently in the eyes, put her finger to her mouth and whispered, “Shhhhhhhhhh!” Best tasting bird ever.Archival Pigment Print, 10 x 14" https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1504649566497-0TWVQEX1HCD0TTM16KWZ/hanel_argus.jpg Portfolios - Grosfater's Argus Range Finder, 2013 Though I never met Great Grampy Frank, his Kodak Autographic graces a shelf in my studio. It is but one of the fragments of the lives of my forbearers—artifacts now possessing lives of their own. These remnants serve to remind that while flesh is frail, passion endures. Archival Pigment Print, 12 x 12" https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1504737673982-2D1RTWW97QAM00QR0OWB/hanel_lamp.jpg Portfolios - Granny Grace’s Hurricane Lamp, 2014 Though I never met Great Grampy Frank, his Kodak Autographic graces a shelf in my studio. It is but one of the fragments of the lives of my forbearers—artifacts now possessing lives of their own. These remnants serve to remind that while flesh is frail, passion endures. Archival Pigment Print, 12 x 12" https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1504649569357-SGBSK8BDZ0MD84ZIPBMZ/hanel_golf_clubs.jpg Portfolios - Granny Grace's Golf Clubs, 2012 Though I never met Great Grampy Frank, his Kodak Autographic graces a shelf in my studio. It is but one of the fragments of the lives of my forbearers—artifacts now possessing lives of their own. These remnants serve to remind that while flesh is frail, passion endures. Archival Pigment Print, 12 x 18" https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1504737671834-VNPC6737PCO9MKP2XUTX/hanel_gin_fizzie_glass.jpg Portfolios - Grosfater's Gin Fizzie Glass, 2012 https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1504649578558-MPUUH1F1AJQQO38RE5D7/hanel_sugar_bowl.jpg Portfolios - Great Auntie Maxine's Sugar Bowl, 2016 Though I never met Great Grampy Frank, his Kodak Autographic graces a shelf in my studio. It is but one of the fragments of the lives of my forbearers—artifacts now possessing lives of their own. These remnants serve to remind that while flesh is frail, passion endures. Archival Pigment Print, 12 x 18" https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1504649572923-OXOYEGCW2PQTEW7V9QF2/hanel_key_bak.jpg Portfolios - Grandpa Izzy's Key Bak, 2012 Though I never met Great Grampy Frank, his Kodak Autographic graces a shelf in my studio. It is but one of the fragments of the lives of my forbearers—artifacts now possessing lives of their own. These remnants serve to remind that while flesh is frail, passion endures. Archival Pigment Print, 12 x 18" https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1504649571511-JH0GIHQ5DONZYWMJ1XS2/hanel_hake_brush.jpg Portfolios - Grosmutter's Hake Brush, 2013 Though I never met Great Grampy Frank, his Kodak Autographic graces a shelf in my studio. It is but one of the fragments of the lives of my forbearers—artifacts now possessing lives of their own. These remnants serve to remind that while flesh is frail, passion endures. Archival Pigment Print, 12 x 15" https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1504649581057-F0D4MPK7SPXKEQSSHGAO/hanel_watercolor.jpg Portfolios - Grosmutter's Watercolor, 2011 Though I never met Great Grampy Frank, his Kodak Autographic graces a shelf in my studio. It is but one of the fragments of the lives of my forbearers—artifacts now possessing lives of their own. These remnants serve to remind that while flesh is frail, passion endures. Archival Pigment Print, 11 x 11" https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1504649578559-LGEX7TZ0ELEOWRBFHZ8V/hanel_pocket_watch.jpg Portfolios - Great Grandpa Joe's Pocket Watch, 2012 Though I never met Great Grampy Frank, his Kodak Autographic graces a shelf in my studio. It is but one of the fragments of the lives of my forbearers—artifacts now possessing lives of their own. These remnants serve to remind that while flesh is frail, passion endures. Archival Pigment Print, 8 x 12" https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1504649580962-XAB9TY7LCN4FYYX09IGS/hanel_trench_coat.jpg Portfolios - Grosfater's Trench Coat, 2012 Though I never met Great Grampy Frank, his Kodak Autographic graces a shelf in my studio. It is but one of the fragments of the lives of my forbearers—artifacts now possessing lives of their own. These remnants serve to remind that while flesh is frail, passion endures. Archival Pigment Print, 12 x 18" https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1504649577155-FPA4JQAVOLJ7JAZBZA72/hanel_needlepoint_pillow.jpg Portfolios - Great Grandma Cleo's Needlepoint Pillow, 2012 Though I never met Great Grampy Frank, his Kodak Autographic graces a shelf in my studio. It is but one of the fragments of the lives of my forbearers—artifacts now possessing lives of their own. These remnants serve to remind that while flesh is frail, passion endures. Archival Pigment Print, 8 x 8" https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1504649569411-TEBOKQG381PBM62T5L0X/hanel_chicken_bone_plate.jpg Portfolios - Great Grandma Eva's Chicken Bone Plate, 2012 Though I never met Great Grampy Frank, his Kodak Autographic graces a shelf in my studio. It is but one of the fragments of the lives of my forbearers—artifacts now possessing lives of their own. These remnants serve to remind that while flesh is frail, passion endures. Archival Pigment Print, 8 x 12" https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1504649573669-YQJEEX3O8RGATUSHGEM3/hanel_liquor_lei.jpg Portfolios - Grandpa Deano's Liquor Lei, 2012 Though I never met Great Grampy Frank, his Kodak Autographic graces a shelf in my studio. It is but one of the fragments of the lives of my forbearers—artifacts now possessing lives of their own. These remnants serve to remind that while flesh is frail, passion endures. Archival Inkjet Print, 12 x 18" https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1721765316353-BDGXY8PHZRWV6YG8KN4G/donahue_curios.jpg Portfolios - donahue_curios.jpg The ancient Greeks combined heated beeswax and pigments to create luminous, life-like funerary portraits, a testament to the timeless allure of encaustic art. This medium’s adhesive quality also makes it ideal for three-dimensional collage. Its capacity for layering, carving, and polishing imparts a distinctive texture and depth to each piece. In my collection of encaustic collages, every work is a unique fusion of photographs and found objects.The beeswax collage, Nirvana, in progress. https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1504738808773-U05W47YO0XP0N3CEWX0G/hanel_nirvana.jpg Portfolios - Nirvana, 2012 Encaustic Collage, 9 x 12" Bottle Cap Bicycle, 17¢ Electric Auto Stamp, Antique Key, Bicycle Chain, Photograph, Plastic Bag Bits https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1504738805826-IGYRYYB9C8L7GLDEFKX5/hanel_golgotha.jpg Portfolios - Golgotha, 2010 Encaustic Collage, 9 x 12" Electric Street Car Stamp, 50¢ Windmill Coin, 20¢ Kiwi Bird Coin, 5 Peso Coin, Plastic Bag Bits, Photograph on Canvas https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1504738816472-5RKBVK032RS5OH2QFUOI/hanel_nurse.jpg Portfolios - More Than a Nurse, 2014 Encaustic Collage, 9 x 12" Spine, Cover & First Chapter of Lucy Agnes Hancock's Novel, Doctor Kim, Surgical Gauze, Portcullis Pennies A strawberry blonde nurse graces the cover of Lucy Agnes Hancock’s, Doctor Kim. Though ostensibly beckoning the reader, she also suggestively cups her breast with one hand while grasping a doorknob with the other. One could be forgiven for mistaking it for another kind of knob. Even the author’s surname when accompanied by the Bantam Books logo, an erect crowing cock, hints at a lascivious tale. The back cover queries, “How much more than a nurse would Jill have to be?” Obscuring Jill’s eyes with this loaded question focuses one upon the text’s highly sexualized objectification. Color, surgical gauze and portcullis pennies allude to the coerced and denied medical procedures that can result from such a proprietary perspective. Generally saddened by the destruction of a book, I altered this novel in the hope that our daughters come to know a world in which they are valued individuals, not titillating objects. https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1718225257386-LET5JJYJ5U7SLFKYMJ7T/donahue_nurse_source_material.jpg Portfolios - donahue_nurse_source_material.jpg Front and Back Cover of Doctor Kim (1948) by Lucy Agnes HancockA strawberry blonde nurse graces the cover of Lucy Agnes Hancock’s, Doctor Kim. Though ostensibly beckoning the reader, she also suggestively cups her breast with one hand while grasping a doorknob with the other. One could be forgiven for mistaking it for another kind of knob. Even the author’s surname when accompanied by the Bantam Books logo, an erect crowing cock, hints at a lascivious tale. The back cover queries, “How much more than a nurse would Jill have to be?” To focus the viewer upon the text’s highly sexualized objectification, I obscured Jill’s eyes with this loaded question. The work’s coloration as well as its incorporation of surgical gauze and portcullis pennies allude to the coerced and denied medical procedures that can result from such proprietorial attitudes. Generally saddened by the destruction of a book, I altered this novel in the hope that our daughters may come to know a world in which they are valued individuals, and not merely titillating objects. https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1504738810709-CX74Q1P2H13OTTNHEEU3/hanel_nurse_detail.jpg Portfolios - More Than a Nurse (detail), 2014 Encaustic Collage, 9 x 12” Spine, Cover & First Chapter of Lucy Agnes Hancock’s Novel, Doctor Kim, Gauze Bandages, One Penny Coins A strawberry blonde nurse graces the cover of Lucy Agnes Hancock’s, Doctor Kim. Though ostensibly beckoning the reader, she also suggestively cups her breast with one hand while grasping a doorknob with the other. One could be forgiven for mistaking it for another kind of knob. Even the author’s surname when accompanied by the Bantam Books logo, an erect crowing cock, hints at a lascivious tale. The back cover queries, “How much more than a nurse would Jill have to be?” To focus the viewer upon the text’s highly sexualized objectification, I obscured Jill’s eyes with this loaded question. The work’s coloration as well as its incorporation of surgical gauze and portcullis pennies allude to the coerced and denied medical procedures that can result from such proprietorial attitudes. Generally saddened by the destruction of a book, I altered this novel in the hope that our daughters may come to know a world in which they are valued individuals, and not merely titillating objects. https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1504738814883-ZKK1F2ZUHPFAJ36BJ1BV/hanel_nurse_penny_detail.jpg Portfolios - More Than a Nurse (portcullis penny detail), 2014 Encaustic Collage, 9 x 12” Spine, Cover & First Chapter of Lucy Agnes Hancock’s Novel, Doctor Kim, Surgical Gauze, One Penny Coins A strawberry blonde nurse graces the cover of Lucy Agnes Hancock’s, Doctor Kim. Though ostensibly beckoning the reader, she also suggestively cups her breast with one hand while grasping a doorknob with the other. One could be forgiven for mistaking it for another kind of knob. Even the author’s surname when accompanied by the Bantam Books logo, an erect crowing cock, hints at a lascivious tale. The back cover queries, “How much more than a nurse would Jill have to be?” To focus the viewer upon the text’s highly sexualized objectification, I obscured Jill’s eyes with this loaded question. The work’s coloration as well as its incorporation of surgical gauze and portcullis pennies allude to the coerced and denied medical procedures that can result from such proprietorial attitudes. Generally saddened by the destruction of a book, I altered this novel in the hope that our daughters may come to know a world in which they are valued individuals, and not merely titillating objects. https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1504738818388-ABXWBCZRQBY1S8KEEWG6/hanel_te_amo.jpg Portfolios - Te Amo (A Valentine for Pablo Neruda), 2009 Encaustic Collage, Pablo Neruda Stamp, Maple Seed Wing, Bits of Shell, Cancelled Stamp, Pigment Print on Canvas, 10 x 10" https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1504738816662-EX2HR4Z2ES2N33LMR7JH/hanel_te_amo_detail.jpg Portfolios - Te Amo, Valentine for Pablo Neruda (detail), 2009 Encaustic Collage, Pablo Neruda Stamp, Maple Seed Wing, Bits of Shell, Cancelled Stamp, Pigment Print on Canvas, 10 x 10" https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1505760286244-5JKGSHUG63HMKO3S5R2N/hanel_persistant_splendor.jpg Portfolios - Persistent Splendor | Flawed Foliage Persistent Splendor No. 1 at the Impact: The Legacy of Jane Wilson Exhibition, 2012 These photographs are dispatches for those who come after me. My generation and those before leave a damaged yet enchanting planet to be inherited by those who will need to find grace and grandeur in an increasingly desecrated world. The missive is simply this: though exploited and polluted, the splendor of our planet persists. https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1504809408981-MPQEZAMZSB1OJAK0WZXN/hanel_persistent_splendor_01.jpg Portfolios - Persistent Splendor No. 1, 2005 These images are dispatches for those who come after me. My generation and those before leave a damaged yet enchanting planet to be inherited by those who will need to find grace and grandeur in an increasingly desecrated world. The missive is simply this: though exploited and polluted, the splendor of our planet persists. Archival Pigment Print, 22 x 33" https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1504809408920-2EW5RNIJMGTYHNWS6Z6F/hanel_persistent_splendor_02.jpg Portfolios - Persistent Splendor No. 2, 2004 These images are dispatches for those who come after me. My generation and those before leave a damaged yet enchanting planet to be inherited by those who will need to find grace and grandeur in an increasingly desecrated world. The missive is simply this: though exploited and polluted, the splendor of our planet persists. Archival Pigment Print, 22 x 33" https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1504809410505-JGBXEBO9BCZT8SZBPJAT/hanel_persistent_splendor_03.jpg Portfolios - Persistent Splendor No. 3, 2004 These images are dispatches for those who come after me. My generation and those before leave a damaged yet enchanting planet to be inherited by those who will need to find grace and grandeur in an increasingly desecrated world. The missive is simply this: though exploited and polluted, the splendor of our planet persists. Archival Pigment Print, 22 x 22" https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1504809410573-HUFP3TD8YS1K7P93LW8H/hanel_persistent_splendor_04.jpg Portfolios - Persistent Splendor No. 4, 2005 These images are dispatches for those who come after me. My generation and those before leave a damaged yet enchanting planet to be inherited by those who will need to find grace and grandeur in an increasingly desecrated world. The missive is simply this: though exploited and polluted, the splendor of our planet persists. Archival Pigment Print, 22 x 33" https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1504809412132-8E70BEABM8XR818C68BM/hanel_persistent_splendor_05.jpg Portfolios - Persistent Splendor No. 5, 2004 These images are dispatches for those who come after me. My generation and those before leave a damaged yet enchanting planet to be inherited by those who will need to find grace and grandeur in an increasingly desecrated world. The missive is simply this: though exploited and polluted, the splendor of our planet persists. Archival Pigment Print, 22 x 33" https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1504809411933-7ADNFZDAJLRH3RL33WX8/hanel_persistent_splendor_06.jpg Portfolios - Persistent Splendor No. 6, 2005 These images are dispatches for those who come after me. My generation and those before leave a damaged yet enchanting planet to be inherited by those who will need to find grace and grandeur in an increasingly desecrated world. The missive is simply this: though exploited and polluted, the splendor of our planet persists. Archival Pigment Print, 22 x 22" https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1504809413479-QXUOTWXS6X6Z6290S0ZA/hanel_persistent_splendor_07.jpg Portfolios - Persistent Splendor No. 7, 2004 These images are dispatches for those who come after me. My generation and those before leave a damaged yet enchanting planet to be inherited by those who will need to find grace and grandeur in an increasingly desecrated world. The missive is simply this: though exploited and polluted, the splendor of our planet persists. Archival Pigment Print, 22 x 33" https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1504809413678-INJBIGRA5PZI07M4WS09/hanel_persistent_splendor_08.jpg Portfolios - Persistent Splendor No. 8, 2005 These images are dispatches for those who come after me. My generation and those before leave a damaged yet enchanting planet to be inherited by those who will need to find grace and grandeur in an increasingly desecrated world. The missive is simply this: though exploited and polluted, the splendor of our planet persists. Archival Pigment Print, 22 x 22" https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1504809415108-HQMPX36HH2TQV90KMZ7P/hanel_persistent_splendor_09.jpg Portfolios - Persistent Splendor No. 9, 2005 These images are dispatches for those who come after me. My generation and those before leave a damaged yet enchanting planet to be inherited by those who will need to find grace and grandeur in an increasingly desecrated world. The missive is simply this: though exploited and polluted, the splendor of our planet persists. Archival Pigment Print, 22 x 33" https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1504809415310-PRA599OQYLSU0QKO0GW5/hanel_persistent_splendor_10.jpg Portfolios - Persistent Splendor No. 10, 2005 These images are dispatches for those who come after me. My generation and those before leave a damaged yet enchanting planet to be inherited by those who will need to find grace and grandeur in an increasingly desecrated world. The missive is simply this: though exploited and polluted, the splendor of our planet persists. Archival Pigment Print, 22 x 22" https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1504811896777-T6L3Q86F3MT9VGMATFY6/hanel_tivoli.jpg Portfolios - As Long As You Think You're White... Introduction This body of work encourages white people to recognize that their histories, perspectives, and experiences are not those of humanity, but rather those of white humanity; while simultaneously exposing the falsity of inherent whiteness. In other words, the work provides a space for white people to perceive their whiteness in the contexts of socialization, material culture, and economic location; and then to begin to disavow it within their attitudes, behaviors, and identities. Recognizing and disavowing whiteness concurrently may appear contradictory. Both are strategies necessary for the creation of white identities capable of acknowledging the gross historical injustices carried out in their names and accepting ongoing culpability in the maintenance of historical inequalities, without becoming paralyzed by guilt. Tivoli Art Space, 2002, Melbourne, Australia https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1504811886323-HMUSJESHSVYC2ESUIUH3/hanel_flesh_colored.jpg Portfolios - Flesh Colored, 2001 Whiteness as norm pervades Western, and in some cases global, material culture. Bandages have matched my skin, wherever I have lived. Many white people have become so habituated to such benefits, that they believe them to be rights. While discussing the roles white people should perform in antiracism, Jennifer R. Holladay writes: “What would happen, for example, if I went to a hotel and found a bottle of Pink Oil Conditioning Shampoo for African-American hair rather than the standard bottle of Suave to which I am accustomed? I would be shocked, and I might even think to my self, “Those black folks and all their lobbying…this is so unfair.” As a white person, I think I am entitled to that bottle of shampoo—and to so many other perks I receive as a function of my skin color.” Holladay, Jennifer R. "Challenging the Privilege in Our Lives — Whites in Antiracist Activism." Diversity Factor 8.3 (2000): 28-31. Archival Pigment Print, 9.25 x 13" https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1504811875285-BLKWD2XASPVUY0IN4XPH/hanel_color_balance.jpg Portfolios - Normal Color Balance, 2001 Imagery of a white person demonstrating correct color balance or exposure is commonly found in photography manuals. Less frequent, yet present are discussions that characterize the exposure of skin that is not white as a problem (Dyer 1997, 89). Technically, white skin is the most difficult to properly expose. The familiarity of working with white skin creates its facility. As a photographic lab technician, I lingered over my prints of African American gridiron players or Asian wedding portraits. If the photographer used professional portrait film, I found myself dancing between excess magenta in the flesh tones and green backgrounds. Even when not dealing with these films, I struggled. I did not know what color their faces were, as I do white ones. Dyer, Richard. White. London: Routledge, 1997. Imagery Source: London, Barbara and John Upton. Photography. 5th ed. New York: Harper, 1994. Archival Pigment Print, 9.25 x 13" https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1504811880170-18Q6Z0W3XU9QLV20K4DP/hanel_cleanser_stories.jpg Portfolios - Magic Cleanser and Stories, 2001 Australians do not know or relate to Aboriginal people. They relate to stories told by fomer colonists. -Marcia Langton Most Australians do not count any Aboriginal people among their inner circles of friends. They instead know images of Aboriginal people. I found this nostalgic postcard in a rack outside a Sydney cafe in February 2001. I had seen such images before, in history books, not for sale on street corners. Langton, Marcia. Well, I Heard it on the Radio and I Saw it on the Television. North Sydney: Australian Film Commission, 1993. Archival Pigment Prints, 9.25 x 13" https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1504811890034-R8V4JKCH8R1Z7TX8XA84/hanel_irish_niggers.jpg Portfolios - Irish Niggers, 2001 People who fall within the bounds of whiteness today, previously did not. In his revealing How the Irish Became White, Noel Ignatiev tells of the distinction between African slaves and Irish immigrants as so blurred that the former were often called “smoked Irish.” According to Carl Wittke, the poorest of Irish laborers were labeled “Irish niggers.” Jonathan W. Warren and France Winddance Twine note in their examination of the “ever-expanding boundaries of whiteness” that nineteenth and early-twentieth-century Italian immigrants to the US were often considered “just as bad as the Negroes.” Ignatiev, Noel. How the Irish Became White. London: Routledge, 1995. Wittke, Carl. (qtd. in Ignatiev 214). Warren, Jonathan W. and France Winddance Twine. "White Americans, the New Minority? Non–Blacks and the Ever–Expanding Boundaries of Whiteness." Journal of Black Studies 28.2 (1997): 200-18. Imagery Source: Wells, James A. "The Simian Irish Celt." Cartoon. White. By Richard Dyer. London: Routledge, 1997. p. 56. Archival Pigment Print, 9.25 x 13" https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1504811883242-VGA6E0CA5ZA4T86OZGT8/hanel_drunks.jpg Portfolios - They're All a Bunch of Drunks (Inverted Stereotype), 2001 Archival Pigment Print, 9.25 x 13" https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1504811886210-6VYGRS9QO8LADRIU4XB7/hanel_half_white.jpg Portfolios - Half White, 2001 Many people view white identities as indivisible. A person of mixed heritage may be half Aboriginal or half black, but not half white. In this way, whiteness preserves its purity. While redness or brownness muddle, whiteness remains unadulterated. Archival Pigment Print, 9.25 x 13" https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1504811889164-O546H7U1PVZNIMW7SNDX/hanel_kindergarten_1976.jpg Portfolios - Shawna Hanel's Kindergarten Class, Pearl City, Hawai'i, 1976 A lime green pantsuit and glossy black hair are what I remember of Mrs. Bio, my kindergarten teacher. I’m pretty sure I thought she was nice. She must have believed in her students’ abilities, because by the age of five we were reading and writing little things. At the time I didn’t realize she was Philippina, my classmates brown and I white. She spoke Philippino English; I did too. The next year my parents succumbed to homesickness and moved the family from culturally diverse Hawai’i to predominately white Idaho. When I arrived at primary school, I looked but didn’t sound white. Mrs. Cochran quickly informed my parents I was ‘slow’ and needed special attention. Establishing my intelligence was straightforward, and soon I was elevated to ‘gifted’ status. Within months I used the words and speech patterns of my white classmates. Today I wonder what life would have been like had I not slipped so easily into whiteness. https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1504811892668-QXQJCT6FK7ZUAG6XGKSX/hanel_kindergarten_2000.jpg Portfolios - Shawna Hanel's Kindergarten Class, Tai Chung, Taiwan, 2000 Twenty-four years later I revisited kindergarten and met Jocelyn. In the children’s drawings, the stick figure with the long twisty braids was always her. She was sternly serene and composed even amidst the chaos of eighteen six-year olds. That comes with nine years experience. Her English wasn’t so good, but then I was the English teacher. That year, I had trouble telling the difference between Taiwan’s cyclones and the cyclone my English class was. But every payday the difference between white and olive skin was abundantly clear; though I taught ten hours a week and she 42, I was paid 30% more. I might have thought that English instruction simply had a higher market value, but at the time, schools were aggressively seeking North American English teachers. However, the ads often read, “no ABC’s (American born Chinese) need apply.” https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1504811881859-QT62T6XR25SBW5AGQ8GU/hanel_credit.jpg Portfolios - Credit, 2001 Whiteness as norm creates tangible benefits. In an influential essay, Peggy McIntosh identified numerous white privileges accrued from its normalness. White people watch television, read magazines or look at billboards and see themselves widely represented. They easily purchase posters, picture books, dolls, and toys for their (white) children featuring people who look like them. When they are told about national heritage or “civilization,” they are also told that people of their color made it what it is. If they wish, they can arrange to be in the company of other white people most of the time. Success in a challenging situation does not deem them a “credit to their race.” Swearing or dressing shabbily does not discredit their “race.” McIntosh, Peggy. "White Privilege: Unpacking the Invisible Knapsack." Whiteness Studies: Deconstructing (the) Race. Ed. Gregory S. Jay. U of Wisconsin Milwaukee. Archival Pigment Print, 9.25 x 13" https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1504811880297-QEPUMOQ0L3S9BT61GG4E/hanel_contrary.jpg Portfolios - Contrary, 2001 The other night at a coffee house, I left my table to meet a friend. I didn’t take my lighter with me. When I returned a Black guy was in my chair. I guess he thought no one was sitting there. So I let him know it was my table, and he got up and left. Then I realized my lighter was gone. So I approached him and asked if he’d seen it. He was insulted and said, “Contrary to the stereotype White people have, not every Black person is a thief!” I replied, “Contrary to stereotypes, not all White people think all Black people are thieves.” Modified story: Frankenberg, Ruth. White Women, Race Matters: The Social Construction of Whiteness. Minneapolis: U of Minnesota P, 1993. Archival Pigment Print, 9.25 x 13" https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1504811892555-BUTMQZ5HBHZ6DGN7L498/hanel_mistake.jpg Portfolios - Mistake, 2001 In this body of work, I use the visual language of laundry to describe white people’s relations to “race.” Just as virtually no one is free from the chore of washing their clothing, no one is clear of the burdens of race, including and especially white people. Laundry is personal; race is intensely personal. Often both are subject to public scrutiny. Laundry is not completed once and never revisited. Nor is it possible to stop mid wash. It must be attended to regularly and thoroughly. I suggest that white people also must maintain an ongoing and comprehensive examination of their whiteness and related racism. Recognizing that essentialist racism is wrong does not relieve white people of the obligation to investigate and eradicate its more subtle forms. Much of whiteness is a method by which these forms are created and sustained. Archival Pigment Print, 9.25 x 13" https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1504811897196-R1QH4KSCEBG73D2DMY7I/hanel_think.jpg Portfolios - Think, 2001 Rarely, is white skin photographed in neutral light. In fact, great pains are taken in Western film and photography to illuminate white skin with divine light or the light of genius. High key lighting is particularly well thought of in conventional portraiture of females. Dyer describes the effects of high key lighting: “Idealized white women are bathed in and permeated by light. It streams through them and falls on to them from above. In short, they glow”. In using flat and even lighting, I have attempted to achieve a faithful rendering of so called white flesh.The literally white text on pink flesh testifies to the inaccuracy of white as a descriptive term for skin color. Archival Pigment Print, 9.25 x 13" https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1721766731173-56YW5WZFIGHIQMS3HROC/donahue_carnival_electrique.jpg Portfolios - donahue_carnival_electrique.jpg As a child, I spent blistering August afternoons with my mother in her craft booth at the state fair. When the sun set and the night cooled, my father and I wandered among the brightly lit rides and food stalls. Thee fond memories inspire Carnival Électrique.sRoller Coaster and Vortex Vertigo, part of the Boise Visual Chronicle collection, greet arrivals in the Boise Municipal Airport. https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1504814796623-EJU0M1KNIQ7WROD90SXK/hanel_foot_loose_i.jpg Portfolios - Foot Loose I, 2008 Archival Pigment Print, 8 x 12" https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1504814819513-FLO5GSPYM2Q1O0QODXYI/hanel_top_spin.jpg Portfolios - Top Spin, 2008 Archival Pigment Print, 8 x 12" https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1504814817218-911689Z413X6KZQFKPNE/hanel_tickets.jpg Portfolios - Tickets, 2008 Archival Pigment Print, 8 x 12" https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1504814796642-Q3DHYM7DXPAJ8WHDFWOD/hanel_foot_loose_ii.jpg Portfolios - Foot Loose II, 2008 Archival Pigment Print, 8 x 12" https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1504814779288-MHDVZUQZJWV197AFBEZA/hanel_downdraft_i.jpg Portfolios - Downdraft I, 2009 Archival Pigment Print, 8 x 12" https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1504814805667-VSHNS84IUXJ2PVS8585Y/hanel_roller_coaster.jpg Portfolios - Roller Coaster, 2007 Collected by the Boise Visual Chronicle Pigment Print, 6 x 9" https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1504814793200-HKMHJF0OUU4FG41WD6GR/hanel_downdraft_ii.jpg Portfolios - Downdraft II, 2009 Archival Pigment Print, 8 x 12" https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1504814812715-AOZHJ4J368L4EV4VH3MH/hanel_swinger_ii.jpg Portfolios - Swinger II, 2009 Archival Pigment Print, 8 x 12" https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1504814806860-E9Z0W6KPRJQ7PG8FANAC/hanel_screamin_swing.jpg Portfolios - Screamin' Swing, 2008 Archival Pigment Print, 8 x 14" https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1504814803376-JF4SQ4AOZT4R2IY195V7/hanel_kamikaze.jpg Portfolios - Kamikaze, 2009 Archival Pigment Print, 8 x 12" https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1504814800221-WV4E1111YR9YKCMKI4QG/hanel_foot_loose_iii.jpg Portfolios - Foot Loose III, 2008 Archival Pigment Print, 8 x 12" https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1504814803251-QQFTHX80OMHUYJSPPYZ9/hanel_pronto_pup_stand.jpg Portfolios - Pronto Pup Stand, 2007 Archival Pigment Print, 6 x 6" https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1504814822680-DJOAKDS9XRKWCURKYDAX/hanel_zorbas_kitchen.jpg Portfolios - Zorba's Kitchen: Pita Wraps, 2008 Archival Pigment Print, 7 x 9" https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1504814810161-M7NNW8EC5MAM0EU393J9/hanel_swinger_i.jpg Portfolios - Swinger I, 2009 Archival Pigment Print, 8 x 10" https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1504814792369-K0HNTEFQHB6STYILQ6UJ/hanel_ferris_wheel.jpg Portfolios - Ferris Wheels, 2007 Archival Pigment Print, 9 x 18.5" https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1504815747148-QQX2L3FS5WXB1BATXE89/hanel_gee_whiz.jpg Portfolios - Gee Whiz, 2008 Archival Pigment Print, 5 x 7" https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1504814822364-QU6NXFNWMSBEF2MYGWQ7/hanel_zipper.jpg Portfolios - Zipper, 2009 Archival Pigment Print, 8 x 12" https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1504814814707-4WSM8MF71DRWVDBV0MV7/hanel_switchback.jpg Portfolios - Switchback, 2007 Archival Pigment Print, 6.25 x 6.25" https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1504814809546-AJ2G5VAO3PS2EB7WUKL4/hanel_spider.jpg Portfolios - Spider, 2007 Archival Pigment Print, 6 x 9" https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1504814819584-GQ9CHKM35V3OD0WQTFWV/hanel_vortex.jpg Portfolios - Vortex Vertigo, 2008 Collected by the Boise Visual Chronicle Archival Pigment Print, 6.6 x 12.6" https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1504816503879-CVQRHKYDX1EDHQT5XBEL/hanel_painted_histories.jpg Portfolios - Painted Histories | White Notions of Native The Painted Histories Project began as an investigation into the displacement of Southern Idaho Shoshone Indians. However, the work became not so much about the Native Americans who have inhabited Boise, my hometown, but rather about how dominant white culture objectifies and commodifies Indian culture, turning to myth a history that is not, and never was—illuminating our shared, yet painted histories. 10¢ Cigars - 5¢ Per Kilowatt Hour in Local Color: Boise 150, 2013 https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1504816507684-6BQTK3W65A4Y4RKURJ9C/hanel_painted_history.jpg Portfolios - Painted History, 1998 Painted Histories began as an investigation of the displaced Shoshone Indians. However, the work became not so much about the Native Americans of my hometown, but rather an examination of how dominant white culture objectifies and commodifies Indian culture, painting a history that is not and never was. Chromogenic Print, 9 x 13" https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1504816499608-Y47YKO9BGWS7W6CFUCL4/hanel_homeland_i.jpg Portfolios - Homeland I, 1999 Painted Histories began as an investigation of the displaced Shoshone Indians. However, the work became not so much about the Native Americans of my hometown, but rather an examination of how dominant white culture objectifies and commodifies Indian culture, painting a history that is not and never was. Chromogenic Print, 9 x 13" https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1504816500823-S1P1E3868GJXB7T76H15/hanel_homeland_ii.jpg Portfolios - Homeland II, 1999 Painted Histories began as an investigation of the displaced Shoshone Indians. However, the work became not so much about the Native Americans of my hometown, but rather an examination of how dominant white culture objectifies and commodifies Indian culture, painting a history that is not and never was. Chromogenic Print, 9 x 13" https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1504816639742-5N3S3RDEHH4HTEDZ03BZ/hanel_map_rock.jpg Portfolios - Map Rock, 1999 Painted Histories began as an investigation of the displaced Shoshone Indians. However, the work became not so much about the Native Americans of my hometown, but rather an examination of how dominant white culture objectifies and commodifies Indian culture, painting a history that is not and never was. Chromogenic Print, 9 x 13" https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1504816507328-ADPVGP8E9RHLAIV0IPOM/hanel_reincarnate.jpg Portfolios - Indian Reincarnate — $19.99, 1999 Painted Histories began as an investigation of the displaced Shoshone Indians. However, the work became not so much about the Native Americans of my hometown, but rather an examination of how dominant white culture objectifies and commodifies Indian culture, painting a history that is not and never was. Chromogenic Print, 9 x 13" https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1504816509444-TPYIO0QHQYXIGZJANZDZ/hanel_tricked.jpg Portfolios - Tricked, 1999 Painted Histories began as an investigation of the displaced Shoshone Indians. However, the work became not so much about the Native Americans of my hometown, but rather an examination of how dominant white culture objectifies and commodifies Indian culture, painting a history that is not and never was. Chromogenic Print, 9 x 13" https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1504816496559-M5L2SJLMVMX75GTJ619O/hanel_chokecherry_eaters.jpg Portfolios - Sustenance I — Chokecherry Eaters, 1999 Painted Histories began as an investigation of the displaced Shoshone Indians. However, the work became not so much about the Native Americans of my hometown, but rather an examination of how dominant white culture objectifies and commodifies Indian culture, painting a history that is not and never was. When Europeans and their descendents settled on Shoshone land, the Indians referred to themselves by whatever food resource they were harvesting at that particular time and location. As seasons changed and people traveled, they adopted new names. Whites knew Bison Eaters, Rabbit Eaters and Sheep Eaters as different tribes, never truly discovering the nature of the people whose territory they claimed. Chromogenic Print, 9 x 13" https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1504816496152-PI2XRKKIA9I1LP53ZYSL/hanel_camas_eaters.jpg Portfolios - Sustenance II — Camas Eaters, 1999 Painted Histories began as an investigation of the displaced Shoshone Indians. However, the work became not so much about the Native Americans of my hometown, but rather an examination of how dominant white culture objectifies and commodifies Indian culture, painting a history that is not and never was. When Europeans and their descendents settled on Shoshone land, the Indians referred to themselves by whatever food resource they were harvesting at that particular time and location. As seasons changed and people traveled, they adopted new names. Whites knew Bison Eaters, Rabbit Eaters and Sheep Eaters as different tribes, never truly discovering the nature of the people whose territory they claimed. Chromogenic Print, 9 x 13" https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1504816498410-IFAISLC1NB90ZCU98VRZ/hanel_cigar_kilowatt.jpg Portfolios - 10 Cent Cigars - 5 Cents Per Kilowatt Hour, 1999 Painted Histories began as an investigation of the displaced Shoshone Indians. However, the work became not so much about the Native Americans of my hometown, but rather an examination of how dominant white culture objectifies and commodifies Indian culture, painting a history that is not and never was. Chromogenic Print, 9 x 13" https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1719607382080-MHDT7EGCDUXH22W1N27J/donahue_fleur_optique.jpg Portfolios - donahue_fleur_optique.jpg Fleur OptiqueIn 1834, William Henry Fox Talbot revolutionized photography with the invention of the salted paper print, marking a pivotal moment by capturing the first photographic image of plant life. Talbot's breakthrough laid the groundwork for the silver-based photographic techniques still employed in darkrooms today.Shortly thereafter, Anna Atkins pioneered a new era in publishing with the release of British Algae: Cyanotype Impressions, the inaugural book fully illustrated using a photographic process. Atkins, recognizing the challenge of rendering intricate botanical specimens accurately, embraced Sir John Herschel’s cyanotype process to immortalize the delicate forms of ferns and algae. Offering precise, yet evocative impressions of plant life, her work demonstrated the tremendous potential of the photo book.An homage to the insights of Talbot and Atkins, my series Fleur Optique delves into the distinct aesthetics of antique and plastic toy lenses. Optical distortions and chromatic aberrations transform petals into prisms of color. Botanical portraits become portals to a surreal garden where one moment of refracted reality can stretch to eternity. https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1723405902498-UB3HX0V0CZELOACU0EUN/donahue_oak_leaflets.jpg Portfolios - donahue_oak_leaflets.jpg Archival Pigment Print, 12 x 15" https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1723346987111-LHLMX92XGFBOEE8AVHC9/donahue_curly_willow.jpg Portfolios - donahue_curly_willow.jpg Archival Pigment Print ,12 x 18" https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1723405693375-ETJ9J51ENCNCNP3Z4TY3/donahue_crabapple_blossoms_i.jpg Portfolios - donahue_crabapple_blossoms_i.jpg https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1723405654546-NNV0N5NZDFY8DYJPOD6D/donahue_cherry_blossoms.jpg Portfolios - donahue_cherry_blossoms.jpg Archival Pigment Print, 16 x 16"" https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1723405728701-MWDGDH75NHGGMO8DBIQX/donahue_crabapple_blossoms_ii.jpg Portfolios - donahue_crabapple_blossoms_ii.jpg Archival Pigment Print, 12 x 15" https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1723403100632-93CC4N14CNU8YX170OWS/donahue_crimson_leaflets.jpg Portfolios - donahue_crimson_leaflets.jpg Archival Pigment Print ,12 x 18" https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1723400481126-1HF6Y8G6EW93MOAUQX16/donahue_bright_buds.jpg Portfolios - donahue_bright_buds.jpg Archival Pigment Print ,12 x 18" https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1504820335509-OV7X7B2K89E0ZY8BC5CT/hanel_blushing_buds_blooms.jpg Portfolios - Blushing Buds and Blooms, 2012 Archival Pigment Print, 8 x 10" https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1504820341820-OHBT5GONY7XDWOLM3RY5/hanel_pale_buds_i.jpg Portfolios - Pale Buds I, 2012 Archival Inkjet Print, 8 x 12" https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1504820340160-X1ZTZ6RG3EUMEEQ9VDV8/hanel_lilac_blossoms.jpg Portfolios - Lilac Blossoms, 2012 Archival Pigment Print, 8.5 x 12" https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1723405798323-218T19FAHVD6U7ZRPOB8/donahue_golden_buds_i.jpg Portfolios - donahue_golden_buds_i.jpg Archival Pigment Print, 12 x 15" https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1504820340214-1QGLKYM7RCYO1OI06RNA/hanel_pale_blossoms_buds.jpg Portfolios - Pale Blossoms and Buds, 2012 Archival Pigment Print, 8 x 12" https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1504820346119-WVUIHCK1UDXJTN0MRWNU/hanel_seed_pods_ii.jpg Portfolios - Seed Pods II, 2012 Archival Pigment Print, 8 x 10" https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1504820338212-06ZOFIMVFOAA3GJRHMR4/hanel_golden_blooms_buds_i.jpg Portfolios - Golden Blooms and Buds I, 2012 Archival Pigment Print, 8 x 12" https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1723405769017-QXKK82360XX2EWWO8NH4/donahue_crabapples-1.jpg Portfolios - donahue_crabapples-1.jpg https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1504820338158-VHGFK9VCKK7VB5VB0VBQ/hanel_laurel_buds.jpg Portfolios - Laurel Buds, 2012 Archival Pigment Print, 8 x 12" https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1504820335987-LMCA0FC3TO0D0D92L1PV/hanel_budding_leaves_golden_blooms.jpg Portfolios - Budding Leaves and Golden Blooms, 2012 Archival Pigment Print, 8 x 10" https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1504820345452-42QVMA2I7P6XCASII239/hanel_seed_pods_i.jpg Portfolios - Seed Pods I, 2012 Archival Pigment Print, 8 x 10" https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1723405829548-BLMITJY8F3EP1UI4JO88/donahue_golden_buds_ii.jpg Portfolios - donahue_golden_buds_ii.jpg Archival Pigment Print, 12 x 18" https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1504820341881-D0ZEDAMZDB2EG7O9LF4R/hanel_pale_buds_ii.jpg Portfolios - Pale Buds II, 2012 Archival Pigment Print, 8 x 12" https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1717779721876-0ZDJ9U7AHAYX6W3XPDBM/hanel_rock_water_flora_fauna.jpg Portfolios - hanel_rock_water_flora_fauna.jpg https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1504821792552-456HN8BZIJK2I7VY7RJK/hanel_island_lake.jpg Portfolios - Island Lake, Frank Church - River of No Return Wilderness, Centr Archival Pigment Print, 7.5 x 13" https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1504821773220-H5RQVNY0216VASDZFA2F/hanel_bai_yang_waterfall.jpg Portfolios - Bai Yang Waterfall, Tai Lu Ge (Taroko Gorge), Taiwan, 2000 Archival Pigment Print, 6 x 9" https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1504822794167-2IUJVM2UX85V5AEK0UYV/hanel_sleeping_koala.jpg Portfolios - Sleeping Koala, Healsville, Victoria, Australia, 2003 Archival Pigment Print, 4 x 6" https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1504822786809-Q8E1VSF1859I1IAPK2EM/hanel_haines_st_gum.jpg Portfolios - Haines Street Gum Tree, North Melbourne, Victoria, Australia, 20 “We first knew you a feeble plant which wanted a little earth whereon to grow. We gave it to you; and afterward, when we could have trod you under our feet, we watered and protected you; and now you have grown to be a mighty tree, whose top reaches the clouds, and whose branches overspread the whole land, whilst we, who were the tall pine of the forest, have become a feeble plant and need your protection.” —Sagoyewatha, Seneca Chief Collected by the Center for Teaching and Learning, Boise State University Archival Pigment Print, 20 x 20" https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1504821799419-H13P5I9LHCILXEWPN70Y/hanel_macaques.jpg Portfolios - Long-Tailed Macaque Monkeys, Ubud, Bali, Indonesia, 1996 Archival Pigment Print, 6 x 8" https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1504822782489-0YNIM05HY3MBC1K3LMQF/hanel_bennetts_wallaby.jpg Portfolios - Bennetts Wallaby, Waterfall Valley, Cradle Mountain - Lake St. C Archival Pigment Print, 5 x 7" https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1504822786749-WAPLRT4GP2ETUL4LBQ54/hanel_leeawuleena.jpg Portfolios - Leeawuleen (Sleeping Water), Narcissus Bay, Lake St. Clair, Moun Archival Pigment Print, 4 x 6" https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1504821788444-957KYNHFKXB06K7TVDWI/hanel_grt_ocean_rd.jpg Portfolios - The Southern Ocean, Great Ocean Road, Victoria, Australia, 1998 Archival Pigment Print, 7 x 8.5" https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1504821799384-QPHE95IN5UUCJ6RGQYKP/hanel_middlefork_salmon.jpg Portfolios - Middlefork of the Salmon River, Frank Church - River of No Retur Archival Pigment Print, 6 x 9" https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1504822792230-6J81AEHHB22Y4KM4HW9G/hanel_sandstone.jpg Portfolios - Ocean Scrubbed Sandstone, Croajingalong National Park, Victorian Archival Pigment Print, 4 x 6" https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1504821785506-K5KBI48O9J8539ZRAEG9/hanel_grotto.jpg Portfolios - The Grotto, Great Ocean Road, Victoria, Australia,1998 Archival Pigment Print, 6 x 9" https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1504821813190-X5BT9GU6EFX927DV8VPX/hanel_ship_island_lake.jpg Portfolios - Ship Island Lake, Big Horn Crags, Challis National Forest, Centr Archival Pigment Print, 6 x 9" https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1504821807459-MYVXUN0HWUNNL19DVRHS/hanel_roughneck_lakes.jpg Portfolios - Roughneck Lakes, Frank Church - River of No Return Wilderness, C Archival Pigment Print, 13 x 42" https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1504821792233-IK9A8LM8P24XFLIDNMBG/hanel_iced_pine.jpg Portfolios - Iced Pine, Bogus Basin, Southern Idaho, USA, 2009 Archival Pigment Print, 7 x 8" https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1504821803279-5X15BNZEYKMMGLQVBSM1/hanel_murray.jpg Portfolios - The Murray River, Hatta Kulkyne National Park, Australia, 2003 Archival Pigment Print, 4 x 6" https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1504821772733-7QECUTQL8UWCW382WGAJ/hanel_arches.jpg Portfolios - Gateway to Arches National Park, Utah, USA, 2012 Archival Pigment Print, 8 x 12" https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1504821782170-8FUYGW01YZ5APG2VLV50/hanel_fungii.jpg Portfolios - Fungii, Pandani Rain Forest, Tasmania, Australia, 2004 Archival Pigment Print, 4 x 4" https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1504823370616-XP6VT8PP3AQHPO62Q0S0/hanel_buloke_scrub.jpg Portfolios - Buloke Scrub, Hatta Kulkyne National Park, Victoria, Australia, Archival Pigment Print, 4 x 6" https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1504822791809-P5O8SB33DUGS10IVHFOI/hanel_pandanis.jpg Portfolios - Pandani Rainforest, Cradle Mountain - Lake St. Clair National Pa Archival Pigment Print, 4 x 6" https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1504821810939-WNQ9IZ7M6Z6DDZQHM36R/hanel_rustynail_fishfin.jpg Portfolios - Rusty Nail & Fishfin Ridge, Big Horn Crags, Challis National For Archival Pigment Print, 6 x 9" https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1504821777410-4ULS8AN6X5LLSK2V5YYQ/hanel_big_horn_crags.jpg Portfolios - Big Horn Crags, Challis National Forest, Central Idaho, USA, 200 Archival Pigment Print, 6 x 9" https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1721082546970-2V8FOKXLXVV6Z22O55P8/donahue_prismatic.jpg Portfolios - donahue_prismatic.jpg Archival Pigment Print, 20 x 30" https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1721151622508-CS690HHVP156LAVVKBI0/donahue_meridian.jpg Portfolios - donahue_meridian.jpg Archival Pigment Print, 12 x 18" https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1717787099646-5744QZJN5LJAIKZL6BOQ/hanel_still.jpg Portfolios - hanel_still.jpg In the 1970s, my future father-in-law diligently collected and preserved insects as part of his entomology studies. Today, few specimens remain fully intact. Antennae and thoraxes scatter the bottom of the pinning boxes, with chunks of wings and insect fur conspicuously absent. Torn wings seemingly ground the flight of long stilled moths and butterflies…Erebid Moth in Punctum: 20th Annual Photography Exhibition, 2015Photographic Center Northwest, Seattle, WashingtonJuror: Julia Dolan, Minor White Curator of PhotographyPortland Art Museum, Portland, OregonPhoto Copyright Patricia Christakos https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1504826161729-PR45L6TW2N6IR755G5G7/hanel_erebid_moth.jpg Portfolios - Erebid Moth, 2015 Throughout the 1970’s my future father-in-law collected and preserved insects while studying entomology. Today, few of the specimens remain completely intact. Antennae and thoraxes litter the bottom of the pinning boxes. Chunks of wings and insect fur are conspicuously absent. Wing tears seemingly ground the flights of long still moths and butterflies… Silver Gelatin Print, 8 x 8” Edition of Three and Archival Pigment Print, 20 x 20” https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1504826162121-U09PTMA6GS3AJWTOBT1P/hanel_privet_hawk_moth.jpg Portfolios - Privet Hawk Moth, 2015 Throughout the 1970’s my future father-in-law collected and preserved insects while studying entomology. Today, few of the specimens remain completely intact. Antennae and thoraxes litter the bottom of the pinning boxes. Chunks of wings and insect fur are conspicuously absent. Wing tears seemingly ground the flights of long still moths and butterflies… Archival Pigment Print, 20 x 30" https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1504826169050-MVDPWOSA4LDUXFB6KNHS/hanel_underwing_moth.jpg Portfolios - Underwing Moth, 2015 Throughout the 1970’s my future father-in-law collected and preserved insects while studying entomology. Today, few of the specimens remain completely intact. Antennae and thoraxes litter the bottom of the pinning boxes. Chunks of wings and insect fur are conspicuously absent. Wing tears seemingly ground the flights of long still moths and butterflies… Archival Pigment Print, 20 x 20” https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1504826168221-IC8IFAWVNXL2VHLRWUZO/hanel_sphinx_moth.jpg Portfolios - Sphinx Moth, 2015 Throughout the 1970’s my future father-in-law collected and preserved insects while studying entomology. Today, few of the specimens remain completely intact. Antennae and thoraxes litter the bottom of the pinning boxes. Chunks of wings and insect fur are conspicuously absent. Wing tears seemingly ground the flights of long still moths and butterflies… Archival Pigment Print, 20 x 30" https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1504826168219-6493YKFDNSZ4YNT755OT/hanel_swallowtail_butterfly.jpg Portfolios - Swallowtail Butterfly, 2015 Throughout the 1970’s my future father-in-law collected and preserved insects while studying entomology. Today, few of the specimens remain completely intact. Antennae and thoraxes litter the bottom of the pinning boxes. Chunks of wings and insect fur are conspicuously absent. Wing tears seemingly ground the flights of long still moths and butterflies… Archival Pigment Print, 20 x 30" https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1721766293435-XSJSBQWTS6YQK08JJ07O/donahue_gypsy_trails.jpg Portfolios - donahue_gypsy_trails.jpg Shawna Donahue (Hān Xuě Nà) and friends share a ride down the slopes of Tangkuban Parahu Crater, West Java, Indonesia, 1997With an art history degree in hand, I embarked on a journey to explore the world I'd studied. My travels took me along gypsy trails around the Ring of Fire, from Indonesia through Chile to Taiwan, and finally along the sunburnt coast of Australia. https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1509664619880-GU4DWG3WNTKHCZ7IWB3Q/hanel_tangkuban_parahu.jpg Portfolios - Tangkuban Parahu Crater, West Java, Indonesia, 1997 Archival Pigment Print, 6 x 9" https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1504908399373-URH3K6YNVRDCIVKXXQXZ/hanel_shi_shi_lion.jpg Portfolios - Shi Shi Lion, Tai Chung, Taiwan, 2000 Art history degree in hand, I set out to see the world I’d studied, traversing gypsy trails from museum to museum in Europe, around the ring of fire from Indonesia through Chile to Taiwan and finally along the east coast of the sun-burnt country, Australia.Australia. Archival Pigment Print, 6 x 9" https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1504908393859-OHTZUO3WAOTUEG9L5QMS/hanel_indonesian_ferry.jpg Portfolios - Ferry to Gili Trawangan, Lombok Strait, Indonesia, 1997 Archival Pigment Print, 6 x 8" Art history degree in hand, I set out to see the world I’d studied, traversing gypsy trails from museum to museum in Europe, around the ring of fire from Indonesia through Chile to Taiwan and finally along the east coast of the sun-burnt country, Australia. https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1504908382501-VN6BQ859KJ6UDOF0T2AX/hanel_buddhist_butcher.jpg Portfolios - Buddhist Temple, Tai Chung, Taiwan, 2000 This temple is dedicated to a once mortal butcher. Many Buddhists view the slaughter and consumption of animals as immoral. So how did this temple come to be devoted to a butcher? He realized the error of his ways and disembowelled himself. His intestine became a snake, his stomach a turtle, and he a god. Archival Pigment Print, 5 x 6" https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1504908388977-SE1TS2KQ7HQQZ9VPMP0V/hanel_elas_kitchen.jpg Portfolios - Hose, Brooms & Bicycle, Erla's Mexican Cafe, Jalan Dago Pojok, B Archival Pigment Print, 6 x 9" Art history degree in hand, I set out to see the world I’d studied, traversing gypsy trails from museum to museum in Europe, around the ring of fire from Indonesia through Chile to Taiwan and finally along the east coast of the sun-burnt country, Australia. https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1504908394156-3I7JF1004F618TD0W6J4/hanel_kampung_bunny.jpg Portfolios - Kampung Bunny, Bandung, Indonesia, 1997 Archival Pigment Print, 6 x 9" Art history degree in hand, I set out to see the world I’d studied, traversing gypsy trails from museum to museum in Europe, around the ring of fire from Indonesia through Chile to Taiwan and finally along the east coast of the sun-burnt country, Australia. https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1504908381900-LARBLHNLUPDZEOE1GQJ7/hanel_blue_jeans.jpg Portfolios - Blue Jeans, Jalan Cieumbeluit, Bandung, Indonesia, 2000 Archival Pigment Print, 6 x 9" Art history degree in hand, I set out to see the world I’d studied, traversing gypsy trails from museum to museum in Europe, around the ring of fire from Indonesia through Chile to Taiwan and finally along the east coast of the sun-burnt country, Australia. https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1504908385392-N38BAO3FU3MLBUOJINPW/hanel_cerro_san_cristobal.jpg Portfolios - Cerro San Cristóbal, Santiago de Chile, 1999 Art history degree in hand, I set out to see the world I’d studied, traversing gypsy trails from museum to museum in Europe, around the ring of fire from Indonesia through Chile to Taiwan and finally along the east coast of the sun-burnt country, Australia. Archival Pigment Print, 5 x 8" https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1504908385981-RT7Z8EBIHLPQJLS1URPB/hanel_cool_fuel.jpg Portfolios - Cool Fuel, Genoa, Australia, 1998 Art history degree in hand, I set out to see the world I’d studied, traversing gypsy trails from museum to museum in Europe, around the ring of fire from Indonesia through Chile to Taiwan and finally along the east coast of the sun-burnt country, Australia. Archival Pigment Print, 5 x 8" https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1504908399072-AIJCYIGVM7DU0AYXCDOV/hanel_qian_li_yan.jpg Portfolios - Qian Li Yan, Tai Chung, Taiwan, 2000 Translated as "Thousand Mile Eyes," Qian Li Yan is one of the sea goddess Mazu's two guards Archival Pigment Print, 6 x 9" https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1504908396380-27F5RWH6CB8FK3MCYHN6/hanel_paper_brides.jpg Portfolios - Paper Brides, Melbourne, Australia, 2003 Archival Inkjet Print, 5 x 9" A parade of one hundred paper wedding gowns and bridesmaids' dresses designed and sewn by RMIT University fashion students protesting the high cost of wedding gowns https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1717779987655-9NU3Z77P4L2LZHG9NRAY/hanel_readings.jpg Portfolios - hanel_readings.jpg Some books are to be tasted, others to be swallowed, and some few to be chewed and digested. —Sir Francis BaconShawna Donahue tying knots while making "Peace, Love & Happiness, A Braille Book" https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1504909739494-R05WJPP7BQC3EDUIDUQQ/hanel_braille_closed.jpg Portfolios - Peace, Love & Happiness, A Braille Book (closed), 1994 Distressed Wood and Knotted Twine, 11 x 25" https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1504909741395-2PM6QPJ8TJHFYUC5RLAB/hanel_braille_open.jpg Portfolios - Peace, Love & Happiness, A Braille Book (Opening), 1994 Distressed Wood and Knotted Twine, 11 x 25" https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1504909740774-JN9ZA6FWPOH3H9DCDLPX/hanel_braille.jpg Portfolios - Peace, Love & Happiness, A Braille Book, 1994 Distressed Wood and Knotted Twine, 11 x 25” https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1504909723838-ENG508RUMGLI5SFLIICJ/hanel_art_cover.jpg Portfolios - And She Gave Birth to Art (cover), 1993, 7 x 9.5" Selected for the inaugural Booker’s Dozen, Idaho Center for the Book, jurist Tom Trusky https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1504909724906-I0OP943L28K4DYUXIC0G/hanel_art_cover_detail.jpg Portfolios - And She Gave Birth to Art (cover detail), 1993, 7 x 9.5" A artist's book that asks, "What is art?" selected for the inaugural Booker's Dozen, Idaho Center for the Book, jurist Tom Trusky https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1504909725827-VO8OWMWRECDUTUIP63ZX/hanel_art_open.jpg Portfolios - And She Gave Birth to Art (open), 1993, 7 x 9.5" Selected for the inaugural Booker's Dozen, Idaho Center for the Book, jurist Tom Trusky https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1504909731344-4G3NK2OAH0957YHO3NTE/hanel_black_monk_cover.jpg Portfolios - The Black Monk (cover), 1994 An artist's book inspired by Anton Checkov's short story https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1504909729525-A0AG4B200QEMJHA301AP/hanel_black_monk_candle.jpg Portfolios - The Black Monk (candle detail), 1994 an artist's book inspired by the Anton Checkov short story https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1504909737519-4GL5G3ZJO96ONJQ8TTEN/hanel_black_monk_open.jpg Portfolios - The Black Monk (open), 1994 https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1504909734062-5DPVWMXKZ2PADMSFAAQB/hanel_black_monk_keys.jpg Portfolios - The Black Monk (keys detail), 1994 https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1504909735387-UQRXJALPKT8ND33LTTPX/hanel_black_monk_measurement.jpg Portfolios - The Black Monk: Points of Measurement (page detail), 1994 Toner Embedded in Handmade Rag Paper with Wax https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1504909745787-I868Q89A5ZHHGMAY9D0F/hanel_invisible_hands_cover.jpg Portfolios - Invisible Hands (cover), 2003 An artist's book made entirely of plastic, containing laminated pigment prints from the series Invisible Hands, a visual narrative that follows the flow of oil, through a terrain afflicted by the overwhelming production and consumption of superfluous goods. At the end of this viscous river, one finds in our invisible hands, a planet littered with petroleum by-products, the ubiquitous plastics our world is awash with. Vinyl Covered Boards, Toy Lizard, Binding Comb, Laminated Pages and Zip Ties, 9 x 12" https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1504909744962-WEMBZOGUO3686QJ1OHP9/hanel_invisible_hands_pageview.jpg Portfolios - Invisible Hands (page view), 2003 An artist's book made entirely of plastic, containing laminated pigment prints from the series Invisible Hands, a visual narrative that follows the flow of oil, through a terrain afflicted by the overwhelming production and consumption of superfluous goods. At the end of this viscous river, one finds in our invisible hands, a planet littered with petroleum by-products, the ubiquitous plastics our world is awash with. Vinyl Covered Boards, Toy Lizard, Binding Comb, Laminated Pages and Zip Ties, 9 x 12" https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1504909742577-2DJM4VO9CAUDJFO7FBXA/hanel_invisible_hands_binding.jpg Portfolios - Invisible Hands (binding), 2003 An artist's book made entirely of plastic, containing laminated pigment prints from the series Invisible Hands, a visual narrative that follows the flow of oil, through a terrain afflicted by the overwhelming production and consumption of superfluous goods. At the end of this viscous river, one finds in our invisible hands, a planet littered with petroleum by-products, the ubiquitous plastics our world is awash with. Vinyl Covered Boards, Toy Lizard, Binding Comb, Laminated Pages and Zip Ties, 9 x 12" https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1504909750255-OOYX72X7Y1VLHO1HMDGC/hanel_ticker_sos.jpg Portfolios - Ticker: SOS, 2003 An Artist’s Scroll from the series Invisible Hands Archival Pigment Print, Plastic Hangers, 9 x 60" Exhibited in PITspace Gallery, Melbourne Australia, 2004 https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1504909749228-1CYWDQWFN1HTO14JI0X4/hanel_ticker_sos_detail.jpg Portfolios - Ticker: SOS (detail) An artist’s scroll of the triptychs, Red Dots, White Dashes and Blue Dots from the series Invisible Hands Archival Pigment Print, Plastic Hangers, 9 x 60" Exhibited in PITspace Gallery, Melbourne Australia, 2004 https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1504909753500-IVFUQZ4VLLJYAGGZJ3CG/hanel_white_folk_closed.jpg Portfolios - Ten Little White Folk (closed), 2014, 2⅔ x 4 x 1“ In 1868, Septimus Winner penned the song “Ten Little Injuns” based upon an 1850s minstrel act. Eventually, an abbreviated version became a popular contemporary children’s rhyme. My parents, in 1974, purchased The Giant Golden Mother Goose for their already bookwormish toddler. As a child, I adored “Ten Little Injuns.” However, rereading the text as an adult eviscerated any affinity I had for the nursery rhyme and ultimately inspired me to create this revised edition. For the new version, I replaced every instance of the term “Injun” with “White Folk.” I also exchanged every illustration of an Indian with photographs of white characters from neighboring pages. I then had small cover boards cut from the inside back cover of an original The Giant Golden Mother Goose. Normally, I find the destruction of a book anathema, but my hope is that this effort clearly demonstrates the depths to which historical racism permeates modern material culture and points to a future in which genocide and assimilation can no longer masquerade as children’s literature. https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1504909753438-QX1D79PEPU79SUNANNXN/hanel_white_folk_open.jpg Portfolios - Ten Little White Folk (open), 2014, 2⅔ x 4 x 40“ In 1868, Septimus Winner penned the song “Ten Little Injuns” based upon an 1850s minstrel act. Eventually, an abbreviated version became a popular contemporary children’s rhyme. My parents, in 1974, purchased The Giant Golden Mother Goose for their already bookwormish toddler. As a child, I adored “Ten Little Injuns.” However, rereading the text as a forty-something adult eviscerated any affinity I had for the nursery rhyme and ultimately inspired me to create this revised 2014 edition. For the new version, I replaced every instance of the term “Injun” with “White Folk.” I also exchanged every illustration of an Indian with photographs of white characters from neighboring pages. I then had small cover boards cut from the inside back cover of an original The Giant Golden Mother Goose. Normally, I find the destruction of a book anathema, but my hope is that this effort clearly demonstrates the depths to which historical racism permeates modern material culture and points to a future in which genocide and assimilation no longer masquerade as children’s literature. https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1504909751193-FDXV7XM0WAIL1J7UO7TW/hanel_white_folk_extended.jpg Portfolios - Ten Little White Folk (extended), 2014, 2⅔ x 4 x 40“ In 1868, Septimus Winner penned the song “Ten Little Injuns” based upon an 1850s minstrel act. Eventually, an abbreviated version became a popular contemporary children’s rhyme. My parents, in 1974, purchased The Giant Golden Mother Goose for their already bookwormish toddler. As a child, I adored “Ten Little Injuns.” However, rereading the text as a forty-something adult eviscerated any affinity I had for the nursery rhyme and ultimately inspired me to create this revised 2014 edition. For the new version, I replaced every instance of the term “Injun” with “White Folk.” I also exchanged every illustration of an Indian with photographs of white characters from neighboring pages. I then had small cover boards cut from the inside back cover of an original The Giant Golden Mother Goose. Normally, I find the destruction of a book anathema, but my hope is that this effort clearly demonstrates the depths to which historical racism permeates modern material culture and points to a future in which genocide and assimilation no longer masquerade as children’s literature. https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1504909754512-TEO5TM9WGE77WE0UVH42/hanel_white_folk_pages.jpg Portfolios - Ten Little White Folk (pages), 2014, 2⅔ x 4 x 40“ In 1868, Septimus Winner penned the song “Ten Little Injuns” based upon an 1850s minstrel act. Eventually, an abbreviated version became a popular contemporary children’s rhyme. My parents, in 1974, purchased The Giant Golden Mother Goose for their already bookwormish toddler. As a child, I adored “Ten Little Injuns.” However, rereading the text as a forty-something adult eviscerated any affinity I had for the nursery rhyme and ultimately inspired me to create this revised 2014 edition. For the new version, I replaced every instance of the term “Injun” with “White Folk.” I also exchanged every illustration of an Indian with photographs of white characters from neighboring pages. I then had small cover boards cut from the inside back cover of an original The Giant Golden Mother Goose. Normally, I find the destruction of a book anathema, but my hope is that this effort clearly demonstrates the depths to which historical racism permeates modern material culture and points to a future in which genocide and assimilation no longer masquerade as children’s literature. https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1721486559476-8LAMZNSZT6W7FESITJD4/donahue_darkroom-1.jpg Portfolios - donahue_darkroom-1.jpg Every photograph created in the darkroom embodies the magical transformation that occurs during the print development process. The gradual revelation of a latent image on a blank piece of photographic paper immersed in developer is nothing short of alchemy, an awe-inspiring experience that captures the essence of analog photography. The hands-on nature of darkroom work, from carefully measuring and mixing chemicals to skillfully manipulating light and time, offers the practitioner a tactile and deeply engaging journey. Each hand-developed print in this collection is a unique, one-of-a-kind creation, showcasing the meticulous craftsmanship and profound connection to the art form that darkroom photography fosters.Shawna Donahue preparing to make a platinum print by deckling the paper’s edges. https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1721852108544-Q7SFZFK47GA9MDLHNIOH/donahue_platinum.jpg Portfolios - donahue_platinum.jpg Platinum Printing, a technique popular in the late 19th and early 20th centuries, was favored by renowned photographers such as Alfred Stieglitz and Edward Weston. Creating each platinum print involves a painstaking process. It begins with coating paper with a platinum solution, followed by exposing it to ultraviolet light and then developing it in several chemical solutions. The stable nature of platinum ensures that these prints are highly durable, capable of lasting for centuries without fading or deteriorating. Known for their exceptionally rich and subtle tonal range, platinum prints provide depth and detail that surpasses many other photographic processes. Due to the cost of materials and the skill required, platinum prints are relatively rare.Platinum Print, 6 x 9" https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1721861260139-VY1MYI50WJRL35GL8SJR/donahue_photograms.jpg Portfolios - donahue_photograms.jpg PhotogramsAs part of the Vanished Vespidae series, I crafted twelve silver gelatin (black and white) prints in a traditional darkroom. I selected intricately shaped and patterned paper fragments from abandoned wasps' nests, arranging them directly on top of photographic paper. Using a sheet of glass to flatten the fragments, I exposed the paper to white light, capturing the delicate details of the wasps' handiwork. The final step involved archivally processing the photographs in multiple chemical baths. This technique, which creates images without the use of negatives, produced one of a kind photograms that reveal the hidden beauty of nature's artistry. https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1723336235038-A1K9HQCV27QEVU9LD2NX/donahue_fragments_vespidae.jpg Portfolios - donahue_fragments_vespidae.jpg Archival Pigment Print, 35 x 38” https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1722199910617-SM1TOILJT03JW66UBK2E/donahue_vespidae_photogram_1.jpg Portfolios - donahue_vespidae_photogram_1.jpg Silver Gelatin Print, 9 x 11” https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1722715525371-FBNBU8ZXXECBH896FUPE/donahue_vespidae_photogram_2.jpg Portfolios - donahue_vespidae_photogram_2.jpg Silver Gelatin Print, 9 x 11” https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1722725112711-6LRVX1ZX8N4694D5T4KQ/donahue_vespidae_photogram_3.jpg Portfolios - donahue_vespidae_photogram_3.jpg Silver Gelatin Print, 9 x 11” https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1722729393346-K74W74V72HPZQ4A8U70N/donahue_vespidae_photogram_4.jpg Portfolios - donahue_vespidae_photogram_4.jpg Silver Gelatin Print, 9 x 11” https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1722027466508-DM4Q5N8LX7C8VABBV4SF/donahue_vespidae_photogram_5.jpg Portfolios - donahue_vespidae_photogram_5.jpg Silver Gelatin Print, 9 x 11” https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1722741996089-TUAW6I2UGBJEJGDNXB81/donahue_vespidae_photogram_6.jpg Portfolios - donahue_vespidae_photogram_6.jpg Silver Gelatin Print, 9 x 11” https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1722746080944-LMJH4Z19D1D4XBYXBAW1/donahue_vespidae_photogram_7.jpg Portfolios - donahue_vespidae_photogram_7.jpg Silver Gelatin Print, 9 x 11” https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1723072308195-1LBDRFEZQTPM5S91JLVM/donahue_vespidae_photogram_8.jpg Portfolios - donahue_vespidae_photogram_8.jpg Silver Gelatin Print, 9 x 11” https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1723152727872-OF1BVRHK6JEDOQAC09Y5/donahue_vespidae_photogram_9.jpg Portfolios - donahue_vespidae_photogram_9.jpg Silver Gelatin Print, 9 x 11” https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1723234292798-WKB9R1QK6Q83D6NHQ92K/donahue_vespidae_photogram_10.jpg Portfolios - donahue_vespidae_photogram_10.jpg Silver Gelatin Print, 9 x 11” https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1723241896499-3BBSUR29XKS1DSW8XDSZ/donahue_vespidae_photogram_11.jpg Portfolios - donahue_vespidae_photogram_11.jpg Silver Gelatin Print, 9 x 11” https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1723330168096-30DGL2P5A3QCCEXKYXEI/donahue_vespidae_photogram_12.jpg Portfolios - donahue_vespidae_photogram_12.jpg Silver Gelatin Print, 9 x 11” https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1505320502422-FJ0VDWJC6SR7UI86YUA2/hanel_invisible_hands_thumb.jpg Portfolios - Invisible Hands — Petroleum By-Products Introduction Shawna Hanel sliding Clothes Pin: Sabi into a CD case for display https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1505320587730-DVJTTP4Q8SZF43P165QR/hanel_tlwf_thumb.jpg Portfolios https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1505320633578-0I821X34HOFKJQGPTGHC/hanel_memento_familia_thumb.jpg Portfolios - Familial Fragments Thumbnail https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1505320664178-C2F8R9WRK8FJ63F2KT69/hanel_curios_thumb.jpg Portfolios - Nirvana Bees' Wax Collage, Bottle Cap Bicycle, 17¢ Electric Auto Stamp, Antique Key, Bicycle Chain, Photograph, Plastic Bag Bits https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1505320776548-FUEZMGCNSD3ZHW8XGRLH/hanel_painted_histories_thumb.jpg Portfolios - Painted Histories (White Notions of Native) https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1505320799268-GCIVQTC9R161DR3F9DC2/hanel_readings_thumb.jpg Portfolios - Readings | Artist's Books https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1505320845564-NYYR2TDYFFNKAV3RTOV0/hanel_persistent_splendor.jpg Portfolios - Persistent Splendor (Flawed Foliage) These images are dispatches for those who come after me. My generation and those before leave a damaged yet enchanting planet to be inherited by those who will need to find grace and grandeur in an increasingly desecrated world. The missive is simply this: though exploited and polluted, the splendor of our planet persists. —Shawna Hanel https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1505320864273-X25U4RYMDF22FFCQPGEU/hanel_riparian_thumb.jpg Portfolios - Along the River's Edge (Boise River Botanicals) https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1505321404851-ZZKMWN331R1ORQT8BZF5/hanel_white_thumb.jpg Portfolios - As Long As You Think You're White..., 2002 https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1505423930270-SL9GWYDSI4GIZ1BQRO9G/hanel_still_thumb.jpg Portfolios - Still Thumbnail https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1719608598155-SNM2F540STZ9KS0N51WS/donahue_vv_thumb.jpg Portfolios - donahue_vv_thumb.jpg https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1719608641505-08XWJ8Z5DJ32RA1ARZJ2/donahue_gypsy_trails-1.jpg Portfolios - donahue_gypsy_trails-1.jpg https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1721604135547-615UEQ0SGSFWCAKBRADE/donahue_darkroom_thumb-1.jpg Portfolios - donahue_darkroom_thumb-1.jpg https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1721605163070-SK1AHXCIF01JB2Y3Z9O3/donahue_carnival_electrique_thumb.jpg Portfolios - donahue_carnival_electrique_thumb.jpg https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1731357584985-B93ICJJ2M2040TL3AN0D/hanel_rwff_thumb.jpg Portfolios - hanel_rwff_thumb.jpg https://shawna-donahue.com/resume daily 0.75 2025-11-07 https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1517872968611-T9ND78PKTPJP6IVQ84EQ/fl3tch3r.jpg Resume https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/985a7ddd-8c79-4929-9676-f0eac7f91d5f/changing_the_converation_2022.png Resume - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1517873000655-ZM8XJP9ZTHNYB7J6OU7U/punctum.jpg Resume https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1517873197721-WXGDUBY0DSVENIMJ9US0/23sandy-book-power-redux.jpg Resume https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1a6afdec-f0f2-4ca5-b59f-84a70a8dde02/ucla.png Resume - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1517872773747-7LPIEOGP5V2S11Y1H1Y7/good_bokeh.jpg Resume https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/ae72ffdb-a23f-42e6-9248-35c00a805d64/schomburg.png Resume - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1528997654673-ATXA917MXEFAA76CYD23/THREE-evite_2.jpg Resume https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/d0e668b5-7495-4d18-bfdf-ce968424d9fe/otis.png Resume - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1518538434479-3R9H8543U5BBINT9MPHD/cycling_email_postcard.jpg Resume https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1518119234055-OWWX4VWUWOAUSUR81C7Y/c4fap-on-beauty.jpg Resume https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/851cce31-e639-4e59-86ea-83587ed09f0f/oberlin.png Resume - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1517872495995-C88EE4UZ5073XK637JGQ/viridian.jpg Resume https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/08ec095e-eb4c-4ab7-834f-e3d34d63164d/rmit.png Resume - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1517873163015-DHOI7OSQJAV809N5ZSXK/bookpower_pugetsound.jpg Resume https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1517875088642-QMYUTJV3AQYGDHWVPEMQ/Outside-the-Margin.jpg Resume https://shawna-donahue.com/bio daily 0.75 2025-07-23 https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/be6e1b9e-9769-4fd2-b284-2e2fea5cc216/donahue_shawna_headshot.jpg Bio https://shawna-donahue.com/links daily 0.75 2024-06-26 https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1505408909147-CX4CWW3X2DYG7T1XU4H3/hanel_impact_001.jpg Links https://images.squarespace-cdn.com/content/v1/592e2288893fc0e042b3b1eb/1505489375604-N2O3Z2EO91LC0VYYN2BS/hanel_ryhythm_collage_001.jpg Links https://shawna-donahue.com/reverse-look-up daily 0.75 2025-11-25