New biopolymers research imagines alternative material relations, and makes these visible in affective and tangible ways. Raewyn’s research draws on theories of feminist new materialism and science and technology studies, to understand how aesthetics and materiality produce political, social, and scientific impacts. Raewyn’s work has been presented in public artworks like the Wellington City Council Courtenay Place Lightboxes (2019); exhibitions like Not Standing Still (2018); in national awards like the Molly Morpeth Canaday Painting Awards (2019); international residencies like Enough Room for Space in Belgium (2018) and the Jan van Eyck Academy in the Netherlands—who are developing a biomaterials research collection that includes her work. Process-based parts of Hannah’s research are presented in real time on social media platforms like Instagram, reaching a range of audiences, gaining recognition within Aotearoa New Zealand and cited or acknowledged by prominent researchers like Stanford archaeologist Dr Michael Shanks. Beyond the PhD, future development and application of these materials will happen in collaboration with scientists, and within international or local teaching and/or post-doc positions, and facilitation of projects that engage with other practitioners.
GWNZ Fellowshop, 2020
In her practice-based PhD research Raewyn is investigating how scientifically derived biopolymer materials within art-making processes can generate new visual languages and discourse.