Biennale of Sydney

Hannah Catherine Jones

Hannah Catherine Jones, Owed to Diaspora(s), (video still), 2019. Courtesy the artist

Hannah Catherine Jones (aka Foxy Moron)

Born 1987 in Doncaster, England
Lives and works in London, England

"I am attempting to use my position, privilege and powers to tell a story, one of many stories, that I see, hear and feel. As we continue the perpetual work to uncover the African diasporic their stories, we are absorbing, accumulating, accessing an ever-deepening, ever-nearing, never quite reaching…"

"The Oweds are my ongoing attempts to own a narrative, one that is simultaneously joyful, traumatic, depressive, hopeful, non-linear, and that is often owned and obfuscated by white noise.

"The story is in our DNA. How can we uncover, unlock, download it?

"Presence. Perseverance. Survivance.

"The local swells and bursts into the global into the celestial. How can this be observed?

"Mundana – the archaic ‘celestial’, must be placed in dialogue with its contemporary, ‘banal’.  The repercussions of this syzygy can be observed in the rhythms – through the body, through the universe, and through instruments.

"You may hear an uncanny sound, voice-like but non-human.
Searching, shrieking, scanning the air for pitch, snatching at rhythm, grasping for the truth whilst trusting intuitive signs. This is what it feels like to play the theremin. This is what it feels like to tell this story.

"Owed to Diaspora(s) is the latest version of this attempted, singular, collective, historical, contemporary their stories."

Exhibited at

Exhibited Artwork

Hannah Catherine Jones, Owed to Diaspora(s), 2020, mixed-media installation, dimensions variable. Commissioned by the Biennale of Sydney with generous assistance from the British Council Courtesy the artist

Photograph: Hannah Catherine Jones, Owed to Diaspora(s), 2020, mixed-media installation. Installation view (2020) for the 22nd Biennale of Sydney, National Art School. Courtesy the artist. Photograph: Zan Wimberley