Danielle Hogan is an interdisciplinary artist, writer, curator and practice-informed researcher with a Ph.D. from the University of New Brunswick. She lives in Fredericton, Canada, which sits on traditional unceded territory of the Wolastoqey and Mi’kmaq peoples. Since the spring of 2018, she has been managing the Government of New Brunswick’s provincial art collection, collectionArtNB.
Founder of the intersectional feminist gallery called Gynocratic Art Gallery (2015), all of Danielle’s work is deeply inspired by networks of care, among and across communities of women, “women’s work”.
Danielle’s research embraces craftivism, DIY, women & gender studies broadly, in addition to other social justice issues. Her doctoral dissertation investigates the negative effects of femaffect on textiles in art. In 2016, she coined the term Femaffect – the word specifically addressing an affect which is feminized, either intentionally or unintentionally. In her research, she studies the effects of femaffect on women, and other members of LGBTG2+ communities, as it relates to their use of textiles in visual art. Danielle is currently writing a book on the weaver Nel Oudemans, due out in late 2020.
Journeys are the midwives of thought. [..] At the end of hours of train-dreaming, we may feel we have been returned to ourselves - that is, brought back into contact with emotions and ideas of importance to us. It is not necessarily at home that we best encounter our true selves. The furniture insists that we cannot change because it does not; the domestic setting keeps us tethered to the person we are in ordinary life, but who may not be who we essentially are.
If we find poetry in the service station and motel, if we are drawn to the airport or train carriage, it is perhaps because, in spite of their architectural compromises and discomforts, in spite of their garish colours and harsh lighting, we implicitly feel that these isolated places offer us a material setting for an alternative to the selfish ease, the habits and confinement of the ordinary, rooted world. ― Alain de Botton, (2004) The Art of Travel
I become a watercolourist when I travel. A methodology rather than an occupation; the practice of watercolour slows down the ‘gulp-like’ aspect of seeing for me as I struggle –unsettled and fascinated in equal parts – to take in the sights, smells, sounds and textures of each unique place.
Travel is a privilege, and the best way I know to repay such opportunity is to see well. Conceding to each new situation by suspending judgment, and yielding to a commonality of human experience represents the choice to welcoming curiosity, compassion, even friendship, in the face of unfamiliar cultures, customs, and beliefs.
Watercolour facilitates for me, the responsibility to savour experiences; in such way, the difference between painting and photographing are akin to the distinction between chewing chocolate cold, or allowing it to melt slowly over the tongue before consuming...