(b. 1977, Te Kuiti, New Zealand)
Bachelor of Fine Art, Elam Art School, Auckland University, 1999

Hana Carpenter is a New Zealander of Danish and English descent. She completed a Bachelor of Fine Art at Elam Art School, Auckland University 1996-1999. In 2000 she did a Secondary Teaching diploma, and from 2001-2006 taught Art and Art History at Epsom Girls Grammar School in Auckland. 

From 2007-2009 she painted full time, represented by The Lane Gallery, Auckland.

She and her husband Samuel have 4 children and live in Wellington, NZ.

Recent Projects include: Small Works (online group show), Trestle Gallery, New York (2019); Small Things (solo show), Hutt Gallery, Wellington, NZ (2019); Northland Annual Exhibition, Kerikeri, NZ (2009); Purakau Tai Tokerau/Northland Stories (solo show), Hokianga Art Gallery, Northland, NZ (2009); A Clear Case For Demolition (solo show), The Lane Gallery, Auckland, NZ (2008); Group Exhibition curated by John Daly-Peoples, Koru Lounge, Auckland Airport, NZ (2007/8); Summer group show, The Lane Gallery, Auckland, NZ (2007/8); Remnants, The Lane Gallery, Auckland, NZ (2007); Group Exhibition, Raye Freedman Arts Centre, Auckland, NZ (2006/7); Emerging Artists, curated by Carol Shepard, Studio of Contemporary Art, Auckland, NZ (2000); Stewed, Elam Painters, Dial Space Gallery, Auckland, NZ (1999); Group Exhibition Elam students, George Fraser Gallery, Auckland, NZ (1996)

Awards: Finalist, Walker and Hall Waiheke Art Award, NZ (2019); Finalist, Taranaki National Art Award, NZ (2019); Finalist, NZ Painting and Printmaking Award, Hamilton Pavilion, NZ (2009 & 2008); Finalist, Wallace Art Awards (selected for travelling exhibition 2008) Aotea Centre, Auckland and Dowse Gallery, Wellington, NZ (2008 & 2007); Finalist, Waiheke Walker and Hall Art Award, Waiheke Gallery, NZ (2007); Merit Award Winner, Waitakere Trust Art Awards, Auckland, NZ (2007)

The links: 
Hana Carpenter's Website
Interview with Resene
Interview with Resene (2)

 Fathom Statement

My work stems from a long-held fascination with biological processes. Immersive mark-making explores the interaction of chance and intent.  Controlled and directed, but without a pre-determined outcome, fluid paint emulates the cellular and subterranean.

My current body of work, titled ‘Fathom’, is an exploration of an occurrence in my body.  At my son’s conception, dividing cells formed a third chromosome on his twenty firstpair, giving him Trisomy 21 (Down Syndrome).  This caused heart defects which required bypass surgery at 5 months old and gave him characteristics that are both beautiful and physiologically challenging. 

Ultrasound, generated by high frequency soundwaves, produces obscure, eerie moving images of hidden forms. I am familiar with observing this exploratory imagery while holding my son for echocardiograms of his heart function.  Light is also used to make interior bodily forms visible.

The original sense of the word fathom is ‘something which embraces’, hence the length of outstretched arms informing the common usage of fathom to mean 6 feet.  It is a word associated with ocean depths.  Water soundings resemble bodily ultrasound imagery.

To ‘fathom’ something is to understand it with much thought.  Making this work has been integral to my personal journey of understanding my son’s condition and the random nature of its occurrence, and the process of finding my way in an unfamiliar world of medical terminology and procedures. Reuben is now 2 years old and brings incalculable joy to my life.