Hannah Sawyer
Hannah Sawyer is an artist whose work is a harmonious fusion of diverse influences. Drawing inspiration from her education at Pratt Institute, her appreciation for antiques and traditional themes, and her fascination with natural forms, Hannah creates timeless and whimsical creations that captivate the viewer's imagination. Her designs focus on form and seamlessly incorporate these influences in a rhythmic and fluid manner.
Deeply interested in furniture history, Hannah seeks out forms and shapes that have been lost over the decades. She takes inspiration from these forgotten design elements and incorporates them into her work in fresh and modern ways. By infusing her creations with echoes of the past, she breathes new life into classic motifs, creating pieces that are simultaneously rooted in tradition and relevant to contemporary aesthetics.
Observing the flawless forms found in nature is another wellspring of inspiration for Hannah. She draws upon the organic shapes that emerge and evolve over time, harnessing their beauty and elegance in her designs. Her creations are a testament to her ability to blend diverse influences into a cohesive whole, resulting in designs that possess a timeless charm.
Background
Hannah Sawyer grew up in a Jewish household just north of NYC, where family weekends were city adventures filled with museum visits, theater outings, and culinary explorations. These traditions, along with mandatory Friday night dinners, solidified the family identity as ‘The Sawyers.’
Attending Pratt Institute in Brooklyn immersed Hannah in the vibrant art scene. It was in the woodshop that she stumbled upon woodworking, initially by accident. Her boundless enthusiasm caught the attention of the college shop manager, Rainy Lerhman, who offered her a part-time job and provided the foundational skills and confidence she needed to pursue woodworking and sculpture further.
Throughout college, Hannah spent her time building installations and conceptual artworks. After earning a BFA in sculpture, she transitioned into the world of fabrication and fixtures, where she honed skills for quick results and fast turnarounds, fostering creative exploration and immediate response.
Following a move to California and attending the Krenov School, Hannah went deeper into the study of furniture, refining her craft. Now based in Oakland, she divides her time between working and her own creative practice.
“Don't be afraid to make something weird. It feels good.”
Tell us more about how you discovered woodworking by accident? I studied sculpture in college, in my sophomore year. I was building this huge wooden ramp—a project of stacked plywood, for at least 20 hours in the school woodshop using a very loud grinder tool. The shop manager at the time, Rainy came over to me to ask if I wanted a job working for her as a shop tech: she liked that I ‘didn't give a shit’ about what other people think. She taught me the basics and gave me the confidence to move forward in woodworking and with my sculptor practice. I admire and adore her and am so grateful for her welcoming me into a space that is usually dominated by men. This allowed me the chance to freely explore and learn. I’m still working on building up my skill set—I am far from done learning.
Any awards or interesting exhibitions you’ve been part of? The Bench I made during my time at the Krenov School was featured in Architectural Digest, which is very exciting. In addition, I’m super proud to have a permanent outdoor sculpture at the sculpture park in Stevens Point, Wisconsin.
What is your design process? My process always begins with looking at lots of references. I’m on a hunt for forms that catch and satisfy my eyes. From there, I’m constantly drawing out ideas, making notes and exploring how it looks on the page to find the right balance for a piece. I also have a great interest in furniture history and look to forms and shapes that have been lost over the decades and incorporate it in a modern way.
A big part of my process has been looking at nature. To the flawless forms that grow and shape over time. Place has always found its way into my work, either with geographical locations, topographical map shapes or connection to the wood that was cut down in this location.
What’s your favorite wood and why? My childhood bed frame was hand carved in the late 1800’s by my great great uncles. The frame was made of beautiful European black walnut. In my own shop today I love using walnut, as it is a beautiful material to carve and shape. Nothing is more satisfying than adding finish to a dark wood.
When did you realize ‘this is it—I’m a woodworker now’? When I bought a $100 ruler.
Any goals or dreams you’d like to tell us about? I want to teach young people—particularly females and all who identify—about woodworking. There is a personal strength and power one learns about yourself when you are shown you are capable.
What is your favorite thing to make? Anything that isn't a perfect square.
If you could offer one tip for the future, what would it be? Don't be afraid to make something weird. It feels good.
